• maximum 6,000 words.
• maximum 4,000 words.

• Proposals/first drafts: Monday 20 January 2025.
• Notification of acceptance: Friday 7 February 2025.
• Full drafts: Friday 23 May 2025
• Peer review: June-July 2025
• Final deadline for papers: Friday 26 September 2025.
• Publication: October 2025.

• Performance or drama and care ethics
• Relational, spatial and/or temporal patterns arising when performance or drama projects adopt care as a guiding principle
• Metrics for success, time pressure and care-full performance
• Performance or drama and ‘after-care’
• Performance or drama and environmental care
• The politics of care and/ or discomfort in historical or contemporary performance or drama practices
• Relationships between discomfort and agency in care and performance or drama contexts
• Temporality and the value of discomfort, e.g. the long-term benefits of short-term discomfort or shock in performance or drama
• Re-negotiation of ‘ambiguous’, ‘ephemeral’ or ‘static’ modalities of practice in socially engaged performance, arts and care contexts
• Risk management and ‘safetyism’ in performance or drama training, institutions, events and works
• Instrumentalization of performance practices for health and well-being.

1. James Thompson, Care Aesthetics: For Artful Care and Careful Art (London & New York: Routledge, 2023) 10.
2. Ibid., 100.
3. Ibid., 6, 10-11, 100.
4. Laura Salisbury and Lisa Baraitser, ‘Depressing Time: Waiting, Melancholia, and the Psychoanalytic Practice of Care’, in Elisabeth Kirtsoglou and Bob Simpson (eds), The Time of Anthropology: Studies of Contemporary Chronopolitics (Abingdon: Routledge, 2021) 104, 113.
5. Berenice Fisher and Joan Tronto, ‘Toward a Feminist Theory of Caring’, in Emily K. Abel & Margaret K. Nelson (eds), Circles of Care: Work and Identity in Women’s Lives (Albany, NY: SUNY, 1990) 40.
6. Rachelle Chadwick, ‘On the Politics of Discomfort’, Feminist Theory, 22: 4 (2021) 560-561, 564
7. Rachelle Chadwick, ‘On the Politics of Discomfort’, Feminist Theory, 22: 4 (2021) 563

• Marlis Thiersch Prize for research excellence in an English-language article or book chapter published anywhere in the world in the broad field of theatre and performance studies. (OPEN)

• Philip Parsons Prize for a senior student (honours or postgraduate) who has completed a performance as research project. (OPEN)

• Rob Jordan Prize for the best book on a theatre, drama or performance studies related subject published in the previous two years. Awarded every TWO years. (OPEN)

• Flinders University Ausstage Prize to recognise research excellence that utilises Ausstage in articles, books, and non-traditional digital outputs. (OPEN)

• Marlis Thiersch Prize for research excellence in an English-language article or book chapter published anywhere in the world in the broad field of theatre and performance studies. (OPEN)

• Philip Parsons Prize for a senior student (honours or postgraduate) who has completed a performance as research project. (OPEN)

• Rob Jordan Prize for the best book on a theatre, drama or performance studies related subject published in the previous two years. Awarded every TWO years. (OPEN)

• Flinders University AusStage Prize to recognise research excellence that utilises AusStage in articles, books, and non-traditional digital outputs. (OPEN)

• maximum 6,000 words.
• maximum 4,000 words.

• short provocations or reflections of maximum 1,500 words.

• Proposals/first drafts: Monday 19th August 2024.
• Notification of acceptance: Friday 30th August 2024.
• Full drafts: Friday 25th October 2024.
• Peer review: October – December 2024.
• Final deadline for papers: Friday 21st February 2025.
• Publication: April 2025.

• Musicals and popular entertainment
• Musicals and linguistic diversity
• Musicals and traditional theatre
• Musicals in unconventional venues
• Musicals and touring
• Musicals and adaptation
• Broadway, West End and musicals in Taiwan
• Transnational musicals and local productions
• Musicals in Asia
• Musicals and criticism

• Form open for submissions: June 6th
• Submission close: EXTENDED TO JULY 12th 
• The Subcommittee will call for ADSA members interested in being mentors through another form (date TBC).
• After submissions close, the Subcommittee will meet to discuss the applications and match mentees to mentors
• Mentors and mentees will join the Subcommittee in a virtual meeting to start the program in September 2024
•  

• You are a current paid-up financial ADSA member,
• You have submitted your PhD, and
• If you are employed by an education institution (this is not a requirement), you currently hold a position no higher than a Level B.

• queer archives and archiving
• queer work in/with decolonial critique
• queer intersections with race, ethnicity, nation, migration and diaspora 
• First Nations queer work    
• queer live art
• drag in all its diversity and international locations
• queer’s intersections with disabilities
• queer takes on class and poverty in performance-making
• trans performance
• performance work created by trans writers
• performance work centring trans performers, stories and experiences
• performance work directed by trans directors, makers, practitioners
• transness as creative methodology
• national/international perspectives on queer performance cultures
• queer theatre-making: playwriting, directing, dramaturgy
• queer nightlife performance and dance cultures
• queer plays on mainstages
• musicality and queerness
• queer performance histories and historiographies
• fatness and queerness
• queer sound
• queerness and affect
• queer design
• queer making processes
• queer hauntings and hauntologies
• HIV and AIDS in performance
• contagion and viral dramaturgies

• Celeste Rodrigues Luoro (The University of Western Australia) and Glenys Collard (Mallee Aboriginal Corporation): Sharing their journey through their First Nations-le collaboration to study Australian Aboriginal English, an Indigenised variety of English spoken by approximately 80% of First Nations people in Australia (Rodríguez Louro & Collard, 2020,2021a,b). Their sociolinguistic research into Aboriginal English as spoken in Nyungar country, Southwest Western Australia, has allowed them to record and analyse the way that people use language in everyday contexts.
• Daz Chandler, creative producer and interdisciplinary storyteller: Speaking from their background in documentary filmmaking, broadcast journalism and media and human rights advocacy, Daz shares their work exploring the intersections of philosophy, ethics, history, technology and parallel worlding frameworks. They will speak on their current practice steering into immersive, experiential spaces using quantum mechanics and ‘parallel futuring’ frameworks, and the role AI and technological advances play in capturing - and sharing - our voices and stories.
• Nazaree (Naz) Dickerson, Actor/Writer/Director and Associate Lecturer at VCA: Naz is a Wardandi/Bibbulman Noongar and Burmese person from Boorloo (Perth), whose work explores themes of experiencing the world as a neuro-divergent, queer, First Nations woman. She will unpack the complexities of ‘Voice’ through a First Nations perspective and share moments where ‘Voice’ has played a pivotal role in affecting change for individuals and community.
• Philip-Michael Pandongan, aka Yung Philly, freestyle rap artist: Yung Philly bring his stagecraft, wit, and panache off the stage and into community spaces in his Rap workshops. Informed by his work with various community arts practitioners, as well as his mentoring of young people from Melbourne’s outer north, Yung Philly has developed Rap workshops that help undergraduate Theatre students connect to heightened language. Explore using rap to organically stimulate the articulators, exercise wit and wordplay, and take a deep dive into mood and feeling. Yung Philly’s workshops offer an engaging, contemporary approach to exploring rhythm, flow, sense and meaning.

• How do artists create work, or engage with creative materials and audiences guided by notions of love or compassion? What impact does this focus have on participants, audiences, and communities?
• How can demonstrations or performances of love, both within and for marginalised communities, operate as radical acts of resistance or liberation?
• How can love and compassion be strategically deployed by scholars and artists to decolonise their practices to enhance the dignity of their subjects, collaborators, or colleagues?
• In what ways does love feature within artworks that aim to resolve conflict and build bridges?
• How can scholars and practitioners show compassion for the cultural and creative practices of artists within mutual spaces? What happens when cultural practices are ‘un-loved’?
• How is ‘showing’ compassion or respect more than a performative gesture, for example, in land acknowledgements, in pōwhiri or other rites of welcome?
• How might explorations of love and compassion support a decolonised teaching approach? In what ways can creative methods in teaching address the lack of love and compassion in our educational institutions?
• In what ways do ‘economies of affection’ (Cram 2021) feature as part of performance practices? And in what ways do they restore relationships and personhood?
• What are the affordances of theorising through compassion within performances of restorative justice? What role does compassion play in affective representations of both perpetrators and survivors of crime in artistic forms?

Healing Stories Symposium:
First Nations Performing Arts and Wellbeing

Where and when

Registration

"Walking as applied critical practices: methodologies, pedagogies and performances"

Editorial Team: Dee Heddon, Stephanie Springgay, Harry Wilson 

The dynamic relationships between walking, performance and performativity are long-standing, from psychogeographical drifts, which trace capitalism’s appropriations and productions of place, to protest marches which re-claim the streets as a demonstration of power, from ceremonial walks as memorialisations of place, to (mis)guided tours which rewrite partial histories, from attentive walking as ways to know and feel differently, to technologically-enabled walking performances that take the city as their stage. Walking as a mobile method of applied critical practice - with bodies located in and moving through space – offers a plurality of ways to explore, feel, attend, make, enact, connect, contest and demand. Walking is often simultaneously method (a process of rigorous investigation), pedagogy (a mode of engaged learning), and practice (a way of doing and sharing). 

For many, COVID-19 and its attendant restrictions focused a spotlight on walking. For some, it became permitted and encouraged as daily exercise or a safe way to travel, while for others, it became out of reach because of policing or total lock downs. Walking was experienced as liberating, boring, necessary, scary, a lifesaver, and forbidden (Rose, Heddon, Law et al., 2022). Practitioners and teachers of drama and performance engaged with walking, some for the first time, as a means to continue their work, finding innovative ways to offer continued access to social, cultural and learning experiences. However, barriers to walking – time, access, confidence, safety – were amplified, including the affordances given to different bodies that walk in different places. Inequalities in the Global North and South were also magnified during this time, including people’s access to walking. This themed edition on walking as a critical applied practice takes its cue from the multiple ways in which walking was oriented during COVID-19, to consider how walking can be harnessed as creative, critical and pedagogical resource in an ongoing/’post’-pandemic world.

We invite submissions which engage with the diversity of walking as methodology, pedagogy and performance, attentive not just to walking’s potential as a critical applied practice, but also its current exclusions and barriers:  

• Walking work in and beyond COVID-19 

• Walking as a creative and investigative practice (Stenna and Marland, 2020, p. 1) – embodied, located, somatic, and affective – and mobile research method (O’Neill and Roberts, 2020) 

• ‘Walking-with’ as a form of solidarity, unlearning, and critical engagement and a mode of ‘politics-in-movement' (Springgay and Truman, 2019, p. 12)  

• Walking as protest, resistance and intervention  

• Walking and transformation 

• Walking and relationality  

• Walking, health and wellbeing 

• Walking and pedestrian in/equity (Heddon, Qualmann, Rose et al., forthcoming) 

• Walking and presumptions of democracy (Arora, 2019, p. 173) 

• Walking and the ‘postcolonial body/site dialectic’ (Murali, 2017, p. 86) 

• Walking and decolonization 

• Solitary and/or group walking practices 

• Walking as a socially engaged practice 

• Virtual walking, remote walking, proxy walking and surrogate walking  

• Walking facilitated by/with digital technologies 

Submission Instructions 

We welcome research articles (c.6,000) and other forms of contributions such as interviews, provocations, practitioner statements and case studies (c.1,500) as well as creative contributions, such as photo essays, walking scores, or online outputs (10-15 minutes). 

Online outputs could include peripatetic conversations between researchers or practitioners recorded on the move, clips of performances and/or workshops, and more. All submissions will be reviewed by two anonymous referees and by the editors. 

Please send 300-word proposals for contributions, plus 100-word biographies for each contributor, to Deirdre.Heddon@glasgow.ac.uk 

• Deadline for proposals: 1 December 2023 

• Deadline for first full draft: 1 Sept 2024 

• Deadline for final submission: end Sept 2025 

Editorial Biographies 

Professor Dee Heddon holds the James Arnott Chair in Drama at the University of Glasgow and has practiced and published widely on walking as a creative practice. In 2012, she co-founded with Misha Myers, the ongoing creative-research project, The Walking Library. She is currently completing an AHRC-funded project, Walking Publics/Walking Arts: Walking, Wellbeing and Community during COVID-19, a collaboration with Maggie O’Neill, Morag Rose, Clare Qualmann, and Harry Wilson. 

Professor Stephanie Springgay is Director of the School of the Arts (SOTA), at McMaster University, Canada. She is a leading scholar of research-creation with a focus on walking, affect, queer theory, and contemporary art as pedagogy. She runs WalkingLab, an SSHRC-funded international research-creation project with a goal to create a collaborative network and partnership between artists, arts organizations, activists, scholars and educators interested in walking, movement, and sensory knowledge. Springgay’s other funded project is The Pedagogical Impulse. She is the author, with Sarah E. Truman, of Walking Methodologies in a More-than-Human World: WalkingLab (2019).  

Dr Harry Wilson is an Early Career Researcher in Digital Theatre at the University of Bristol. His research focuses on interdisciplinary explorations of live art and performance, photography, documentation, digital art and new media and he has recently been exploring intersections between immersive technologies and intimate performance, including virtual and remote walks. 

References 

• Arora, Swati, “Walking at Midnight: Women and Danger on Delhi’s Streets”, Journal of Public Pedagogies, Number 4, 2019. 

• Heddon, Dee, Clare Qualmann, Morag Rose et al., “Just Walking: creative methods towards pedestrian equity”, in Coping Creatively, eds. Victoria Tischler and Karen Gray, Manchester: Manchester University Press (forthcoming). 

• Murali, Sharanya, “A Manifesto to Decolonise Walking”, Performance Research, 22:3, 2017.  

• O’Neill, Maggie and Brian Roberts, Walking Methods: Research on the Move, London: Routledge, 2020. 

• Rose, Morag, Dee Heddon, Matthew Law et al., #WalkCreate: Understanding Walking and Creativity During COVID-19. Walking Publics/Walking Arts Public Report (2022).  

• Springgay, Stephanie and Sarah E. Truman, Walking Methodologies in a More-than-Human World: WalkingLab, London: Routledge, 2019. 

• Stenning, Anna and Pippa Marland, “Introduction”, in Walking, Landscape and Environment, eds. David Borthwick, Pippa Marland and Anna Stenning, London: Routledge, 2019. 

Professor Deirdre Heddon, PhD, FRSE

James Arnott Chair in Drama & Head of Theatre Studies 

University of Glasgow 

https://www.gla.ac.uk/schools/cca/staff/deirdreheddon/ 

PI Walking Publics/Walking Art: Walking, Wellbeing & Community During COVID-19

CoI, newLEAF

Job Opportunity: Assistant Professor in Pasifika Theatre and Performance Studies, UCLA

Job Opportunity: Positions in Acting, WAAPA

• Senior Lecturer (Acting), the Course Coordinator role; and
• Lecturer (Acting), the core acting skills teacher in the team. 

Performing Care and Carelessness: An interdisciplinary conference delivered in hybrid format

Symposium

Precarity, Creative Arts and Wellbeing

• What roles do the arts play in relation to experiences of precarity?
• How can the creative arts help to communicate the lived experience of precarity?
• What needs to be considered (ethically) before using the arts to communicate such experiences?
• What role might the arts play in addressing factors that contribute to precarity and advancing the rights of the precariat?
• What innovative research methods can be used to understand the contribution of the creative arts to the well-being of precariat communities?

Call for Papers: The S-Word, 2024

Stand in Place / Stanislavsky and Place

4 — 6 April 2024
WAAPA, Edith Cowan University
Perth/Boorloo, Western Australia

1. Performance and theatre in relation to ideas of being in place and being out of place
2. Stanislavskian performance in your place (what changes with/in it?) 
3. Placemaking and theatre making 
4. Futures of Eco dramaturgy and theatre form
5. Decolonisation strategies and First Nation knowledge of place and performance 
6. Beyond Stanislavski, extending his ideas in concepts of place/space 
7. Training in relation to ideas of place including but not limited to intercultural/transcultural form and practice
8. Site specific and place specific performance modes in relationship to realism, Stanislavsky and actor and audience relationship
9. Movement, body weather and other performance modalities and training methodologies.

2023 ADSA Conference 

Archives, Artists & Absences

Kaurna Country, Adelaide
Monday 27 November – Friday 1 December

Performance Research

Call for Reviews Edtior

• Monitors press catalogues and selects the works to be reviewed
• Commissions reviewers for each review/receives submissions for reviews
• Liaises with relevant presses to secure a review copy text for contributing reviewers
• Supports first-time reviewers in shaping their submissions in terms of content and style
• Liaises with the designated managing editor to support final revisions

2023 Annual Conference

SAVE THE DATE: 27 NOVEMBER — 1 DECEMBER

PhD Scholarship, Murdoch University

 “Life after digitisation: future-proofing WA’s vulnerable cultural heritage”

We have extended the deadline for our special issue at RiDE: Journal of Applied Theatre and Performance on the topic of solidarity by 3 more weeks (April 5); please see call below.

We invite all forms of contribution, including articles, short reflective essays, interviews or other artistic responses to the topic. We also welcome contributions from PGRs.

RiDE: The Journal of Applied Theatre and Performance
THEMED ISSUE 29:3
Call for Papers

Performing Solidarities or Solidarities performed
Edited by Réka Polonyi and Kirsten Sadeghi-Yekta

October 17, 2019. Riots broke out in Lebanon in response to heightened economic pressure and corruption scandals surrounding the political elite. Within days, people flooded the streets, repurposed public spaces, organised public debates and mass actions. As a resident at the time, I, Réka, found myself caught up in trying to find my place as both a foreign national and an ally to the struggle of my Lebanese friends and colleagues. Do I stand alongside them, shout the chants in my rusty Arabic, share the face cloth when there’s tear gas? Or do I stand quietly on the side - present, but on the margins? This was not ‘my fight’, I was often reminded; it was clear that I was here to listen, not necessarily to be heard or noticed. I soon found my place: I joined the garbage collective, a group of volunteers who met up every morning to pick up the rubbish on the streets of the protests. Here, in the sleepy hours of the morning, no one questioned who I was, or why I was there: every revolution leaves some rubbish in its wake.

The Lebanese riots bring to light various concerns around the idea of solidarity, or the idea of ‘unity (as of a group or class) that produces or is based on community of interests, objectives, and standards’ (Merriam-Webster). When does a ‘quiet’ act of solidarity speak louder than its more directly-recognised, public enactments? How is it performed without necessarily drawing attention to its enactment, and when is this the appropriate response? In the immediacy of an event, how can solidarity be embodied, rather than stated? In this themed issue, we ask, what purpose does solidarity serve in applied theatre and performance? We are particularly interested in capturing the possibly ‘quiet’, micro-practices of solidarity that occur not only within sites of struggle, but also in everyday life.

Critical positionality is a feature of solidarity. Many aspects of solidarity are implicit in works of applied theatre and performance, which are deeply embedded in community involvement and rely on one’s critical positionality. Participatory theatre-making often values relationality and involves the creation of meaningful and respectful environments. And yet the word ‘solidarity’ is not commonly referred to within current scholarship in applied theatre arts. Solidarity is articulated as a moment of inter-relational care - of ‘affective solidarity’ (Thompson 2015) - which deliberately counters a ‘careless’ society. Is solidarity, then, an act of attentiveness, kindness and attunement? Or, on the contrary, is it a process of recognising differences and distinctiveness in personal opinions, behaviours and actions, rather than of ‘finding common grounds’ or identifying others ‘like us’ (Walhof 2006)? Diana Taylor (2020) argues for being ‘presente’ with and alongside participants. ‘To be’, she writes, ‘I have to walk and talk with others’ (Taylor 2020, 2). Negotiating the idea of presence enables us to re-examine what she calls a form of ‘cognitive imperialism’ within our artistic practices. In other words, walking and talking alongside others, and at times deliberately choosing to be silent and to listen, can both be forms of solidarity. In Taylor’s work, solidarity is implied in the idea of non-presence or in the act of deliberate silence - and in what silence can signify in applied theatre practices as a way to listen, to hear, and not to interrupt. When is the knowledge of when to stay quiet a form of solidarity (if at all)? Similarly to Diana Taylor’s questioning of ‘cognitive imperialism’ through presence, activist and scholar Harsha Walia calls for replacing a ‘politics of solidarity’ with a ‘practice of decolonisation’. She argues that this involves creating ‘a radical terrain for struggle where our common visions for justice do not erase our different social locations, and similarly, that our differing identities do not prevent us from walking together towards transformation and mutual respect’ (Walia 2012: 254). Is solidarity then - instead of avoiding conflicts of beliefs - a way to engage with a multitude of voices potentially all existing within dissonance? The lack of focused theorisation of solidarity in applied theatre and performance – and the sense that applied theatre assumes it is performing solidarity – asks for this urgent themed issue.

The last few years have seen various expressions of solidarity in relation to tragedies around the world. The global COVID-19 pandemic, the killing of George Floyd and the (re)ignited Black Lives Matter movement, the humanitarian crisis in Afghanistan, the war in Ukraine, the women’s movement in Iran, are just a few examples of moments when individuals were engaged in finding their performance(s) of solidarity. Whether it was the act of ‘clapping for the health care workers’ (during lockdown in the UK and Canada), uploading a blank social media profile photo (as a sign of allyship with BLM), or flying kites (see Good Chance Theatre’s Kite Festival for Afghanistan), we have had to locate and navigate our positions as being spectators-in-solidarity, participants-in-solidarity, or marching in solidarity ‘alongside’ others. Some joined mass, performed actions of solidarity - such as protests or on social media - whereas others felt less inclined to join in what could arguably be seen as a spectacle or commodification of solidarity (Nash 2008; Vastergaard 2008). Large, visible enactments of solidarity, although often very effective in inciting mass participation, can also be seen as narcissistic sentimentalism (Nash 2008: 177). Media scholar Lilie Chouliaraki, for instance, extensively writes on the critical emergence of a ‘post-humanitarian’ solidarity, which is made of loud gestures that provide an instant sense of gratification and reveal more about the individual self rather than the cause, or the ‘vulnerable other’ (2011). Chouliaraki believes we are thus becoming ‘ironic spectators’ (Chouliaraki 2013) of things going wrong in the world. Tensions in these ‘louder’ forms can also be noted by expressions of solidarity arising from grassroots and media generated public debates in which ‘everyday people participate in unequal ways in constructing this debate and its parameters’ (Siapera 2019), where solidarity is becoming an expression that is widely accessible, but potentially more equalized in access rather than in nature. Spectacles of solidarity - loud, statement-led - are nuanced in complexity, as intention does not always correlate with best practices. There is a story told by the activist artist Banksy, during his work among many other street artists leaving their marks of solidarity on the West Bank’s Separation Wall in the occupied Palestinian Territories (recounted in Parry 2010: 10):

Old Man: You paint the wall, you make it look beautiful.
Banksy: Thanks.
Old Man: We don’t want it to be beautiful. We hate this wall, go home.

The questions this raises for applied theatre and performance are how best practices relate to critical positionality, and how good intentions of ‘performing solidarity’ can potentially harm the people and communities involved.

Commonly-recognised forms of solidarity are also visible in the theatre arts industry, as Bree Hadley (2020) points out in her work on allies, ally skills and allyship in disability arts. Performances of solidarity by ‘allies of convenience’ are aimed to benefit the individual and can look like a number of things: ‘be it tokenistic mainstream work, community work facilitated by allies who fail to afford disabled artists control and/or financial benefit, or companies that present disabled artists work but only in tagged ‘disability arts’ programmes separate to their main activities’ (Hadley 2020: 179). The kind of solidarity that valued allies do falls in the skill set described by Hadley as: ‘professional, social, and singular – all allies must remember their privilege, listen, accept the realities oppressed people describe, and allow oppressed colleagues and/or audiences to speak for themselves’ (180). Bradley endorses this form of ‘social allyship’ in disability arts, as it can be a start of outlining the requirements for professional, social and aesthetic support for artworkers (185).

Can solidarity be seen as reciprocal co-perception (Walhof 2006) in which teachings of otherness are vital? Our interest in quiet, micro practices of solidarity in applied theatre and performance follows the rationale that these performances often go unnoticed, or do not necessarily enter the scope and language of more commonly recognised acts of solidarity. They are not the loud, deliberate brush strokes on a giant separation wall. They are not always clear, and well-defined forms of expression. Although the editors of this themed issue recognise the significance and importance of acts that catch the public’s and authorities’ attention, what does it look like when, as philosopher Gadamer (2009) proposes, solidarity does not leave the other completely other, nor does it make the other same? Is there even reciprocity in acts (or intention) of solidarity? If not, is this vital for the work that we are undertaking?

Format
For this special themed issue, we are inviting research articles (6000 words), as well as reflective accounts of artistic works, interviews, and other conceptual explorations of solidarity (1500 words) in relation to the encounters being made in applied theatre and in relation to the positionality of our work. All submissions will be reviewed by the editors and blind peer reviewed at least once prior to final acceptance.

Possible topics
Small/quiet acts of solidarity in applied theatre and performance
Challenges or ethical limitations within acts of solidarity
Solidarity as reciprocal
Absence (in solidarity)
Solidarity as spectacle
Embodiment and solidarity
Solidarity and decolonialist practices
‘Making’ or ‘doing’ solidarity vs ‘being in’ solidarity
Practices/limitations of allyship
Nuanced practices of activist presence/co-presence

Please send your proposed abstract of 300-500 words and 100 words biography to Réka Polonyi (email) and Kirsten Sadeghi-Yekta (email) by 5 April, 2023.

Full papers will be expected by September 1, 2023 and publication is estimated for summer 2024. Submissions will all go through one or more rounds of blind peer review. Please feel free to get in touch if you have any questions.

ksadeghi@uvic.ca
reka.polonyi@manchester.ac.uk

Timeframe
Proposal for contributions: April 5, 2023
Final Publication of accepted submissions: Summer 2024

References:
Chouliaraki, Lilie. 2013. The ironic spectator: Solidarity in the age of post-humanitarianism. John Wiley & Sons.
Chouliaraki, Lilie. 2011. “Improper distance: towards a critical account of solidarity as irony.” International journal of cultural studies 14(4): 363-381.
Gadamer, Hans-Georg. 2009. “Friendship and Solidarity.” Research in Phenomenology 39(1): 3–12.
Hadley, Bree. 2020. “Allyship in disability arts: roles, relationships, and practices.” Research in Drama Education: The Journal of Applied Theatre and Performance 25(2): 178-194.
Nash, Kate. 2008. “Global citizenship as show business: the cultural politics of Make Poverty History.” Media, Culture & Society 30(2): 167–181.
Parry, William .2010. Against the Wall: The Art of Resistance in Palestine. London: Pluto Press.
Siapira, Eugenia. 2019. “Refugee solidarity in Europe: Shifting the discourse.” European Journal of Cultural Studies 22(2): 245-266.
Taylor, Diane. 2020. Presente! The Politics of Presence. Durham: Duke University Press.
Thompson, James. 2015. “Towards an aesthetics of care.” Research in Drama Education: Journal of Applied Theatre and Performance 20(4): 430-441.
Vestergaard, Anne. 2008. “Humanitarian branding and the media: The case of Amnesty International.” Journal of language and politics 7(3): 471-493.
Walhof, Darren R. 2006. “Friendship, Otherness, and Gadamer's Politics of Solidarity.” Political Theory (34)5: 569-593.
Walia, Harsha. 2012. “Moving beyond a politics of solidarity toward a practice of decolonization.” In .), Organize!: Building from the local for global justice, edited by Eric Shragge, Jill Hanley, and Aziz Choudry, 240–253. Los Angeles: PM Press.

Job Opportunity: Lecturer in Theatre Studies, University of Melbourne

Performance Paradigm 17 (2022)

Perform or Else? Revisiting Jon McKenzie's Work in the Post-Pandemic World

Job Opportunity: First Nations Writer's Fellowship, University of Adelaide

Call for Proposals: Women’s Innovations in Theatre, Dance, and Performance
Volume 3: Designers & Crafters

Co-edited by Greer Crawley and Carolina E. Santo

Proposals due: 15 April 2023

• Who are the women who made significant innovations and contributions as designers and stagecrafters, and what were those innovations? What were the social/political/economic conditions under which they worked? How did their status as women affect their ability to define their status in the field and exercise autonomy as artists? What creative endeavors required the naming/claiming and consolidation of the status of designer?
• How have design and innovation intersected in women’s stage or performance work, particularly in historical eras or in cultures/theatrical practices in which design, as a subspecialization, did or does not exist? What role have women played in defining design subspecialties or in challenging and changing established conventions? Are there other ways to consider female stagecraft practice beyond the limited constraints on the word and process of creation that upholds a singular, genius model of innovation?
• How did their work help to shape or change the future of theatre or dance as an art form? Why is the recuperation of their legacies important?

• The marginalization of women’s craftmanship and aesthetic processes
• The importance of women as stagecraft educators and mentors
• The spaces of innovation: the workshop, the studio, the rehearsal room, the home, the classroom
• Representations of theatre designers and crafters in literature, visual art, film, and photography
• Innovations in the exhibition of stagecraft
• Stagecraft and cultural identity

• Innovations in artistic practices and design methodologies
• Innovations in labor and production
• Innovations in craft knowledge
• Innovations in sustainability and stagecraft
• Innovations in digital technologies
• Innovations in interdisciplinary practices
• Innovations in theatre technology
• Innovations in scenic vocabularies and strategies
• Innovations in making and materiality
• Innovation in working environments
• Innovations in experimental practices
• Innovations in pedagogies
• Innovations in exhibiting stagecraft

Australasian Drama Studies, vol. 83 (Special Edition)

Resilience? Response, Resourcefulness, Recovery, Resistance

Call for proposals

• Managing precarity and vulnerability: in response to climate crisis, global pandemic, cultural and social and change
• Australasian innovations in approaches to partnership and collaboration to engender more sustainable approaches to performing arts.
• Performance practices and training for resilience, cultural safety and well-being
• Key questions regarding liveness and presence in performance and pedagogy which have arisen (or re-emerged) in relation to the pandemic.
• Alternatives to current renditions and conceptions of resourcefulness and resilience
• Government and policy responses to the Covid pandemic and the post-lockdown environment.
• Alternate economies and the loss of economic certainty for artists and small to medium companies in the performing arts
• Designing robust strategic change approaches to embed arts and artists in communities
• Artistic responses to the Covid pandemic, climate emergency, global economic instability, and war
• The place of care and personal wellbeing within the performing arts
• Intimacy, institutional and corporate responsibility in the performing arts
• University responses to the Covid pandemic
  • The changing nature of the Higher Education landscape 
  • Losses to the sector during Covid
  • Strategic rebuilding for a sustainable future
• Changing aesthetics and production processes in the post-lockdown environment.
• Economic and social labour in the small to medium and independent artist sectors
• Holistic working practices and technologies for a sustainable performing arts sector
• How the industry is contending with with and leading/innovating in policy and procedures embedding First Nations, disability, LGBTQI+ concerns to sustain diverse teams and cultural safety for artists and audiences
• Imagining the future: practice, training, scholarship

Theatre Dance and Performance Training Journal (TDPT)

Special issue: Green Trainings to be published in September 2024 (15.3)

Call for contributions, ideas, proposals and dialogue with the editors

If not now, when? 

• How have training regimes and their articulation contributed to the discourse of eco criticism?
• What historic practices of performance training can we draw on as inspiration for green training today?
• How have historical training approaches differed in their approach to green training, cross culturally?

• Which trainers, institutions, networks, models should we be looking to for help in shaping green trainings? 
• What is the relationship between indigenous and first peoples’ practices and environmentally aware training practice in other cultural contexts today?
• How have recent statements on the climate crisis (IPCC, COP 26/7) impacted upon approaches to performer training? 
• Given the known disparity between richer nations that emit the most carbon and poorer nations that suffer the greatest climate change impacts, how does geography impact on training’s reaction to rising temperatures?
• In work outside of theatres, in site-based practice for instance, how is the training congruent with the performance’s ethics and politics?
• How are performance-based activists trained and what might be learned from such approaches? 

• What value and impact might interdisciplinary connections and research have for green trainings?
• What would a carbon literate curriculum for training include?
• What are the opportunities and threats associated with digital green trainings?
• How will training be shaped by factors of climate change in the future? What will rising sea levels, extreme weather, bioodiversity reduction, new energy sources mean for performance training? 
• What can performer training do to play its part in global adaptation? What small acts can be taken that might excite and motivate others?
• What training initiatives might be taken to lower our carbon footprint?  

• 'Articles’ features contributions in a range of critical and scholarly formats (approx. 5,000-6,500 words) 
• ‘Sources’ provides an outlet for the documentation and analysis of primary materials of performer training. We are particularly keen to receive material that documents the histories and contemporary practices associated with the issue’s theme.
• ‘Training Grounds’ hosts shorter pieces, which are not peer reviewed, including essais (more speculative pieces 750-1250 words); postcards (up to 100 words); visual essays and scores; Speaking Images (short texts responding to a photo, drawing, visual score, etc.); and book or event reviews. We welcome a wide range of different proposals for contributions including edited interviews and previously unpublished archive or source material. We also welcome suggestions for recent books on the theme to be reviewed; or for foundational texts to be re-reviewed. 

• 13 June 2023: proposals to be submitted.
• Early July 2023: Response from editors and, if successful, invitation to submit contribution
• Early July to end October 2023: writing/preparation period
• End October to end December 2023: peer review period
• January 2024: author revisions post peer review
• September 2024: publication as Issue 15.3

• Date: Friday 17 & Saturday 18 February
• Venue: Rex Cramphorn Theatre, University of Sydney
• Cost: $55 (or $30 for 1 day only)
• Enquiries: thomas.deangelis@sydney.edu.au 
• Registration: via the USyd Events Calendar.

• New intercultural practices
• Pedagogic models and values
• New canons, traditions & lineages
• Post-pandemic experimental performance
• Student agency 
• Technique
• The normalisation of technologies and media 
• Telematic music performance and composition 
• Equity, diversity and inclusion
• Emerging practices in industry and professional organisations
• Identity
• Translation
• Creative practice research in Higher Education 
• Consent and safety
• Matrixes of authority 
• Ethics in vocational training
• Citizenry 
• Listening, empathy & attunement

Opportunity-Visiting Professor of Australian Studies (TOKYO)
2023-24 and 2024-25

The Centre for Pacific and American Studies at the University of Tokyo is seeking applications for Visiting Professor of Australian Studies for two terms (2023-24 and 2024-25).

Position title: Visiting Professor of Australian Studies

Open to: Australian citizens and permanent residents

Location: Centre for Pacific and American Studies, University of Tokyo, Komaba Campus

Salary: Starting salary ¥600,000 per month (before tax). See position description for further details.

Duration: Approximately 10 months

Commencement of position: Late September 2023 or late September 2024. Applicants may apply to be considered for a specific term only or for either term. This must be indicated clearly on your application.

Closing date for applications: 1 February 2023

For the recruitment call and more information about the opportunity see the attached PDF or go online to the link provided.

Dear members,

We hope this email finds you well and enjoying a relaxing end to the year.

As telegraphed at our recent Annual General Meeting, the current Editor of Australasian Drama Studies Dr Yoni Prior will conclude her term as Editor at the end of 2023. We will celebrate Yoni's achievements as Editor across the next year, and formally commend her work at the 2023 AGM; in the meantime, we thank Yoni on behalf of the membership for all that she has done to modernise and streamline the journal's activities.

The ADSA Board has opened applications for the role of ADS Editor, with a closing date of 3 February 2023 at 11.,59pm AEDT. This will allow for a substantial handover period across 2023. Details of the application procedure can be found in the attached Position Description. As is noted there, the Board strongly encourages applications from both individual members, and from pairs of applicants who would like to be considered as co-Editors. 

Informal questions about the role can be directed to Yoni (editor.ads@adsa.edu.au). For any other questions about the wider recruitment process, please contact the ADSA Board via Rea (president@adsa.edu.au) and Chris (vice.president@adsa.edu.au).

Best wishes,
Rea, for the ADSA Board.

 

Call for papers: Confronting the Global Climate Crisis: Responsibility, Agency, and Action

Research in Drama Education The Journal of Applied Theatre and Performance

Guest Editors: Rachel Turner-King (University of Warwick) and Bobby Smith (University of Warwick)

In 2012, Deirdre Heddon and Sally Mackey’s themed issue of RiDE made an explicit plea for a deeper ‘critical engagement’ with environmentalism, education and applied drama, theatre, and performance. In the decade since, the discourse around climate change has shifted to reflect the immediacy of rising temperatures and ecological catastrophes: a climate crisis and emergency that requires urgent action (IPCC 2022). This necessitates a reengagement with the challenge of exploring, understanding, and representing the crisis in our field and, particularly, how the idea of responsibility underpins or complicates such work and related action. This issue invites researchers, educators, and practitioners to confront the climate crisis with a revived interest in the diverse pedagogical, ethical, aesthetic, and sensory qualities of our work.

For more information, the full call is attached.

300-word proposals for contributions, plus 100-word biographies for each contributor due by 31^st January 2023
To Rachel Turner-King [rachel.turner-king@warwick.ac.uk] and Bobby Smith [bobby.smith@warwick.ac.uk].

Dear colleagues,

The University of Tasmania is currently recruiting for a full-time, ongoing Technical Officer (Performance) to support the activites of the Theatre and Performance program, based in Launceston. Full details and the application link can be found via the UTas Careers site (https://careers.utas.edu.au/en/job/498111/technical-officer-performance) — please note the deadline for applications is rapidly approaching: Monday 28 November, 11.55pm (AEDT). 

Best wishes.
Chris.

• Devise and deliver the existing Sexwise programme in line with Manatū Hauora – Ministry of Health guidelines and current best practice.
• Identify and secure funding for new programmes through applications to funding bodies and liaison with community groups and other current and potential stakeholders.
• Devise and deliver new programmes in accordance with the needs of the stakeholder/clients while upholding the principles and mana of Te Tiriti o Waitangi. https://waitangitribunal.govt.nz/treaty-of-waitangi/meaning-of-the-treaty/
• You will devise, direct, and supervise interactive applied theatre programmes and work in ways that respect and accommodate gender and cultural diversity. You will be able to tailor programmes to fit the needs of specific communities and groups, Māori and Pacific, rural and more.
• You will liaise with the THETA Board on the strategic direction of the organisation, and with the THETA Manager/Coordinator in the production of reports to the Board and stakeholder organisations.
• You will be responsible for budget creation and administrative oversight of the programmes.

There are a suite of positions currently advertised for Theatre at VCA, University of Melbourne.

Specialist in Movement<https://jobs.unimelb.edu.au/en/job/910460/specialist-in-movement>

Specialist in Voice<https://jobs.unimelb.edu.au/en/job/910484/specialist-in-voice>
 

Specialist in Directing<https://jobs.unimelb.edu.au/en/job/910463/specialist-in-directing>
 

Lecturer in Acting/Undergraduate Course Co-Ordinator, Bachelor of Fine Arts Acting<https://jobs.unimelb.edu.au/en/job/910456/lecturer-in-actingundergraduate-course-coordinator-bachelor-of-fine-arts-acting

Lecturer in Theatre (Contemporary)/Undergraduate Course Coordinator, BFA Theatre<https://jobs.unimelb.edu.au/en/job/910458/lecturer-in-theatre-contemporaryundergraduate-course-coordinator-bfa-theatre>
 

Closing dates are 14^th and 17^th (see listings).

Contact Chris Mead christopher.mead@unimelb.edu.au<mailto:christopher.mead@unimelb.edu.au> (Head of Theatre) with questions regarding the positions in Theatre.

With the hurly burly of semester still in flow, we thought it best to extend the deadline of the Call for Papers for the Critical Stages special edition on Australasian Dramaturgy until 30 November, 2022.

The full Call for Papers is attached, with all of the details, but new timelines here, at a glance:

For information about submission: click here.
Those interested should send a 300-word abstract to kl.kelly@qut.edu.au by 30 November, 2022 and please don’t hesitate to be in contact if you have any queries.
The abstract should outline the planned submission, indicate the format of submission and also include a 50-word biography identifying all collaborating authors.

Timeline
Proposals (Abstracts of 300 words, including a short biography): 30 November, 2022

Selection:     27 January 2023
First drafts:  30 June 2023
Final drafts: 15 September 2023
Publication: 30 December 2023

Best, Kath, Julian, Fiona, Moana and Emily