Two CFP on Performative Teaching and Learning in the Arts Within HE

1)  CFP Disruptions, Interventions and Liminalities: Critical Performative Pedagogies (conference stream) 

Stream organized by Dr Lee Campbell (University of Lincoln)
for *London Conference on Critical Thought 2018 *

Deadline:  April 2nd, 2018
Submission: Proposals of not more that 250 words to be sent to
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Event date: 29, 30 June 2018
Event location: University of Westminster, London
Event Details: http://londoncritical.org/

The 7th annual London Conference in Critical Thought (LCCT), hosted by the
Department of Politics and International Relations at the University of
Westminster, will offer a space for an interdisciplinary exchange of ideas
for scholars who work with critical traditions and concerns. Central to the
vision of the conference is an inter-institutional, non-hierarchal, and
accessible event that makes a particular effort to embrace emergent thought
and the participation of emerging academics, fostering new avenues for
critically-oriented scholarship and collaboration.
The event is free but registration is required. 


In any pedagogical situation, you want the learners to feel safe. On the other hand, you must know that you may be faced with a group where there isn’t a lot of dynamics, there’s a lot of sleepiness and so on, and you [the teacher] want to somehow make them active, challenge them. Performative arts would have a lot of strategies (Manfred Schewe, 2016) 

This stream asks: ‘What happens when performative arts meet pedagogy?’ and explores the possibilities of the emerging field of ‘performative pedagogy’ and its potential as useful and applicable to enabling learning across a range of artistic and possibly other disciplines. We welcome submissions from individuals and groups across all creative disciplines who deploy pedagogic approaches with an emphasis on performativity to drive learning. We invite papers that theorise, articulate and demonstrate some of the possibilities of using a critical performative pedagogy which may showcase good practice of making positive usage of performative teaching and learning.

Joe L. Kincheloe describes critical theorists as ‘detectives of new theoretical insights, perpetually searching for new and interconnected ways of understanding power and oppression and the ways they shape everyday life and human experience’. (Kincheloe, Joe L., 2008. Critical Pedagogy. Peter Lang: New York) With a similar curiosity around power plays, we are most interested in receiving submissions that reflect upon how power may be understood in critical pedagogy in relation to ‘the effects of power on shaping and misshaping the pedagogical act’ as a means of (re)thinking how power relations may operate in teaching practice. Applying Michel Foucault’s understanding of social power (1980), we envisage performance as a tool to make power relations visible (making performance as mirroring power plays that take place in all forms of daily human existence).

Raphael Hallett has suggested that students’ work tends to be valued in terms of a very circumscribed, clean, clear presentation. Disruption, intervention, liminalities are forms of expression that do not necessarily correspond with conventional criteria that lean towards focus, precision, clarity, coherence and structure. We encourage submissions where the strategies of performative pedagogy relate in some way to ‘disruption’, ‘intervention’ and ‘liminality’. Performance Art (and Art per se) is predicated on rule breaking, even on discomforting audiences, especially the elitist audiences of Live Art and Performance. As Dr Jane Munro recently pointed out at Tactics of Interruption, (Toynbee Studios, London, June 2016), interruption is about ‘creating new forms – allowing interruption to shape the work – not hiding them’. We are most interested in receiving papers that advocate the power of risk in teaching and learning, that explore disruption/interruption as a ‘risky’ pedagogic strategy to not only provoke students’ participation but also to demonstrate how performative pedagogy can be effectively deployed to break implicit rules surrounding the exchange of power relation between student and teacher.

2)  CFP Disruptions, Interventions and Liminalities: Performative Teaching and Learning in the Arts (edited collection by Dr Lee Campbell) 


200-250 word abstracts for chapters are invited to form part of a proposal to be made for an edited collection, with the current working title Disruptions, Interventions and Liminalities: Performative Teaching and Learning in the Arts, on the topic of critical performative pedagogies. The collection asks: ‘What happens when performative arts meet pedagogy?’ and explores the possibilities of the emerging field of ‘performative pedagogy’ and its potential as useful and applicable to enabling learning across a range of artistic and possibly other disciplines. Contributions will be made from individuals and groups across all creative disciplines who deploy pedagogic approaches with an emphasis on performativity to drive learning. 
The collection (60,000-120,000 words) will comprise of a package of two publications: a book with a critical forward written by Dr Campbell laying out the field of critical performative pedagogy as an extension of the term critical pedagogy followed by chapters that provide critical analyses of various concepts emerging from a scrutinisation of critical performative pedagogy. Whilst the book provides the theoretical, philosophical and conceptual terrain; an accompanying instruction manual will operate as a 'how to' guide on using performative pedagogies, on the sophisticated deployment of performative strategies in action, in practice. 
The first publication will be structured into three discussions housing various chapters approx. (5-6,000 words in length). The first set of chapters will propose how the strategies of performative pedagogy relate in some way to ‘disruption’, ‘intervention’ and ‘liminality’ and consider disruption, intervention, liminalities as ‘risky’ pedagogic strategies / forms of expression that do not necessarily correspond with conventional criteria that lean towards focus, precision, clarity, coherence and structure. As Raphael Hallett has suggested, students’ work tends to be valued in terms of a very circumscribed, clean, clear presentation. The next set of chapters will concentrate discussion on exploring aspects of ‘disruption’, ‘intervention’ and ‘liminality’ but with focused emphasis on multisensory learning – using performative pedagogies to generate haptic, gustatory, olfactory and aural sensorial-immersive encounters in the classroom. These discussions will collectively highlight and challenge a dominant approach in teaching and learning in the arts, the default reliance on the assumed primacy of the visual. Individual chapters will advocate that learning can take place through our bodies and not just our eyes, that knowledge acquisition can be multisensory and not exclusively derived from what we see. The final set of discussions will, again, explore aspects of ‘disruption’, ‘intervention’ and ‘liminality’, but this time focusing on the increasing importance of digital and virtual realities in students’ lives to advocate that never has there been a time in which the meanings of access are so broadened via technological mediation – with some chapters emphasising how access via technological mediation draws on all senses. The second publication will replicate the structure of the first in terms of thematic discussion but the nature of the chapters (2-3,000 words in length) will differ as contributions from authors will be written in an instruction-manual style. To ensure consistency across chapters, the presentation style of each chapter forming the second publication as follows:  1) a contextual introduction outlining a specific innovative pedagogic performative strategy; 2) the strategy laid out as a set of instructions - think Fluxus for teachers; 3) a reflective paragraph to conclude.

Deadline for chapter abstracts: May 1st 2018 
Notification of whether abstract will be included in book proposal submission by end of May 

Interested parties are requested to include 100-150 biography and affiliation with their abstract. 

Kind regards, 

Dr Lee Campbell
Senior Lecturer in Fine Art 
College of Arts
University of Lincoln. Brayford Pool, Lincoln, Lincolnshire. LN6 7TS

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