Call for Papers 2018: Fourteenth International Conference on the Arts in the Society

We are pleased to announce the Call for Papers for the Fourteenth International Conference on the Arts in Society, held 19–21 June 2019 at the Polytechnic Institute of Lisbon in Lisbon, Portugal.

We invite proposals for paper presentations, workshops/interactive sessions, posters/exhibits, colloquia, innovation showcases, virtual posters, or virtual lightning talks.

Themes include:

  • THEME 1: ARTS EDUCATION
  • THEME 2: ARTS THEORY AND HISTORY
  • THEME 3: NEW MEDIA, TECHNOLOGY AND THE ARTS
  • THEME 4: SOCIAL, POLITICAL AND COMMUNITY AGENDAS IN THE ARTS

Would you like to present at the 2019 Conference?

Submit your proposal by 19 July 2018.*

Click Here to Submit

*We welcome the submission of proposals to the conference at any time of the year before the final submission deadline. All proposals will be reviewed within two to four weeks of submission.

For more information about this conference, please click here.

 

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ATHE 2018

Registration begins May 31, 2018 to attend the conference!

Theatres of Revolution: Performance, Pedagogy, and Protest

The 2018 ATHE Conference focuses on revolution, resistance, and protest, and the multiple ways these ideas – and the actions that spring from them – impact theatre in higher education. Drawing on the city of Boston for its historical significance in the American Revolution, and as a site of both academic excellence and artistic innovation, we aim to explore revolutions at the multiple intersections of politics, theatre education, and professional practice.

Revolution and resistance are tools employed combat injustice and inequality. However, these tools can be used to effect change in any direction, to create more open and equitable societies, or less. In the 2016 US presidential election and its wake, and heading into 2018 midterm elections, the concept of revolution has been used by both left and right. We will consider various meanings of revolution, in scholarship and performance as well as in our work as educators with students in the classroom, rehearsal hall, and in the larger context of college campuses.

The conference theme invites examination of ways in which electoral representation resonates with theory and practice in theatre-making: How does representation in politics relate to equitable and fair casting and employment practices? How do changing practices require revolutions in production methods and pedagogies? How might theatre scholarship serve a meaningful public function, engaging with performances – both artistic and civic – that surround us? How might we create art that is aesthetically revolutionary and that activates audiences to make lasting social change?

Boston’s history allows us to consider performance and revolution in uniquely complicated ways. Events of the American Revolution are memorialized throughout the city in museums and public monuments, many involving performed reenactments. The site of the Boston Tea Party, a protest by white men who masqueraded as Native Americans to resist “taxation without representation” by the British, is marked by a museum only a short distance from the conference hotel. However, other revolutions remain unmarked, such as the systematic and violent dispossession of the Wampanoag, Nipmuc, Massachusett and other nations of the Dawnland by European colonists. In contemporary US politics, the Tea Party has itself become a kind of costume for protest. Groups claiming its ethos arguably play with tropes of revolution alongside those of racial superiority, misogyny, and nativism. Consideration of how contemporary and historical enactments of US foundational stories perform race and gender, as well as erasure of the land’s history before colonization, raises complex questions concerning representation and revolution in this context. These questions resonate in turn with debates prompted by popular theatrical productions like Hamilton, which not only evidences revolutions in storytelling and casting practices, but famously inspired a twitter war between artists and politicians about the role of theatre as “safe space” or platform for protest.

We see questions about safe space and protest rising on college campuses: demonstrations and counter-demonstrations by right and left, changing policies regarding academic freedom, the development of professor watch lists, conceal and carry laws, designation of sanctuary campuses, and the ongoing impact to students especially vulnerable under new policies, including undocumented and transgender students. These concerns intersect with urgent questions over funding for the arts and for higher education, the cost of education, and perpetuation of economic and institutional inequities on racial, ethnic, and gender lines.

Join us in Boston in 2018 to explore the precarity and potency of theatre in higher education to protest oppression and advance revolutionary change.

Vice President for Conference 2018
Ann Shanahan

 

For more detailed information on the submission and evaluation processes, please refer to the Proposals FAQs and Grant FAQs.

Important Dates

November 1, 2017 Deadline for online proposals
February 15, 2018 Notification of acceptance
March 30, 2018 Notification of ATHE Grant awards
May 1, 2018 Registration opens
May 15, 2018 Materials due to your Focus Group Conference Planner:
• Finalized session description for the printed program (no more than 30 words)
• Finalized session title
• Finalized listing of session participants, paper titles, and institutions for the printed program
June 4, 2018 Early Bird Registration ends
June 15, 2018 Conference registration required for all presenters

2018 Conference Committee

David Callaghan, University of Montevallo
Bethany Hughes, Northwestern University
David Kaye, University of New Hampshire
Baron Kelly, University of Louisville
Kareem Khubchandani, Tufts University
Monica White Ndounou, Dartmouth College
Karen Jean Martinsen, Chicago State University
Kathleen McGeever, Northern Arizona University
Ruth Pe Palileo, Current Theatrics and Pintig Cultural Group
Becky Prophet, Alfred University
Emily Rollie, Central Washington University
Rodger Sorensen, Brigham Young University
Megan Shea, New York University
Harvey Young, Northwestern University, ATHE President, ex officio member

Questions? Email conf2018@athe.org

Eugene O’Neill Theater Center: National Playwrights Conference 2018

The deadline to be considered for National Playwrights Conference 2018 was October 13, 2017.

However, they will be holding their National Puppetry Conference 2018 soon! With Pre-Conference Intensives from June 6-8, 2018 and the Main Conference being held June 9-17, 2018.

But for more information about the Eugene O’Neill Theater Center and their summer programs, click here.

 

Call for Papers: Life, the Universe, & Everything 37 – 2018

The Marion K. “Doc” Smith Symposium on Science Fiction and Fantasy is interested in collecting 40 minute papers for their 2019 conference. They are especially interested in papers in the following areas:

– Literary criticism/analysis of science fiction and fantasy and related literature (medieval, renaissance, mythology, magic realism, graphic novels, etc.)
– Science and technology (especially new or unusual)
– Serious analysis of science fiction and fantasy in cinema, television, radio, and other media
– Analysis of science fiction and fiction relating to poetry or theatre
– Critical analysis of the narrative, aesthetic, and thematic elements of science fiction and fantasy video games
– Mormon culture, literature, and society in relation to science fiction and fantasy

Submission must include the full paper. To submit, please send papers to LTUE—Academics, c/o Marny Park, 1063 JFSB, Provo, Utah 84602 or email electronic submissions as RTF files to marny_parkin@byu.edu. Include name, phone number, street address, and email address on cover sheet. Papers submitted without contact information will not be considered. Student papers welcome. Please see ltue.net for more information.

Papers must be submitted no later than October 1, 2018.

(*Accepted papers may be published in the Proceedings volume at a later date.)

6th Contemporary Cultural Studies Conference 2018: Call for Papers

 

 Full Paper Submission Deadline:  31 July 2018
 Early Bird Registration Deadline:  24 August 2018
 Late Registration Deadline:  05 October 2018
 Conference Dates:  26 – 27 November 2018

Papers/topics dealing with Contemporary Cultural Studies including but not limited to:

  • Art Criticism
  • Art History
  • Arts & Culture
  • Communication Studies
  • Cultural Studies
  • Ethnicity
  • Feminist Theory
  • Film/Video Studies
  • History
  • Ideology
  • Literary Theory
  • Museum Studies
  • Nationality
  • Philosophy
  • Political Economy
  • Political Theory
  • Sexuality
  • Social Class
  • Social Theory
  • Translation Studies

Submit Your Paper

Prospective authors are invited to submit original papers (not being considered for publication elsewhere) in standard format (double column, single-spaced, 10-pt font) describing new theoretical and/or experimental research. Submissions are recommended to have no more than 10 pages (extra pages are subject to surcharge), including figures, tables, and references. Submissions will be judged on originality, significance, interest, clarity, relevance, correctness, and presentation. To submit your paper online, click here. For access to a paper template for submission, click here.

Note For Authors

All submitted papers will be sent to reviewers for a blind review. The reviewers use the following in evaluating research papers:

  1. Novel Contribution
  2. Originality in Thought
  3. Inferences
  4. Key Strengths
  5. Key Weaknesses
  6. Areas of Improvement
  7. Presentation/Organization of Research

Code Of Ethics

  1. Contribute to society and human well-being: To improve the understanding of technology, and academic scientific research.
  2. Give proper credit for intellectual property: To seek, accept, and offer honest criticism of scientific work, to acknowledge and correct errors, and to credit properly the contributions of others;
  3. Be fair and take action not to discriminate: To treat fairly all persons regardless of such factors as race, religion, gender, disability, age, or national origin;
  4. Avoid harm to others: To avoid injuring others, their property, reputation, or employment by false or malicious action;
  5. Respect the privacy of others: To assist colleagues and co-workers in their professional development and to support them in following this code of ethics.
  6. To accept and provide appropriate professional review that can be accepted confidentially.
  7. To enable author understands the computing and its consequences in handling manuscripts.
  8. To manage resources to design and build information systems that enhances the quality of stored information.
  9. The citations referred in each submitted articles should exclude self and group citations.
  10. The data/results illustrated in the manuscript should not be from other published work (except for reporting results from further studies).

Access & Archiving

The manuscripts are archived in GSTF Digital Library (dl4.globalstf.org) and accessible by anyone at anytime.

Copyright for Authors

GSTF requires the author(s) to grant exclusive world-wide license in perpetuity, in all forms, format and media to a) publish b) distribute c) display d) store e) reprint f) translate into other languages and reproduce the paper g) the inclusion of electronic links of the paper to third party material where-ever it may be hosted h) and/or license to any third party to do any or all of the above.

The author(s) may use their own papers for non-commercial purposes by acknowledging first publication in GSTF Proceeding and giving full reference and/or web link as appropriate.

Misconduct

All conference proceeding articles submitted via Easychair will be scrutinized for any plagiarism and/or academic misconduct. In the event of complaints received against an author the board will investigate and may request the author to clarify and/or reject the submission for review.

Appeals

Authors can appeal against the editorial decisions about their submissions. Please contact appeals@globalstf.org. GSTF will respond to appeals from authors within 2-3 weeks.

GSTF extends free access to individuals and University libraries and fully embraces Open Access policies.

Revenue sources

From inception, GSTF receives revenue from a range of sources which includes rights, royalties, training programs, professional certifications programs, consulting, government and/or private funding and/or grants, sponsorships, conferences, sale of reprints, and open access publication fees. Separation is maintained between the editorial team and the advertising and sponsorship sales teams.

 

13th International Conference on the Arts in Society June 2018

Call for Papers

Founded in 2000, the conference offers an interdisciplinary forum for discussion of the role of the arts in society. It is a place for critical engagement, examination and experimentation, developing ideas that connect the arts to their contexts in the world—on stage, in studios and theaters, in classrooms, in museums and galleries, on the streets, and in communities.

We invite proposals for paper presentations, workshops/interactive sessions, posters/exhibits, colloquia, virtual posters, or virtual lightning talks. The conference features research addressing the annual themes and the 2018 Special Focus: “How Art Makes Things Happen—Situating Social Practice in Research, Practice, and Action”.

For more information regarding the conference, use the links below to explore our conference website.

We welcome the submission of proposals at any time of the year. All proposals will be reviewed within two to four weeks of submission.

Please submit by June 1, 2018.

  • WHAT: 2018 Special Focus: How Art Makes Things Happen—Situating Social Practice in Research, Practice, and Action
  • WHEN: June 27-29, 2018
  • WHERE: Emily Carr University of Art + Design, Vancouver, Canada

Conference Themes and Special Focus

The Thirteenth International Conference on the Arts in Society features research addressing the following annual themes.

  • THEME 1: ARTS EDUCATION
  • THEME 2: ARTS THEORY AND HISTORY
  • THEME 3: NEW MEDIA, TECHNOLOGY AND THE ARTS
  • THEME 4: SOCIAL, POLITICAL AND COMMUNITY AGENDAS IN THE ARTS
  • 2018 Special Focus: How Art Makes Things Happen—Situating Social Practice in Research, Practice, and Action

Theater Mitu 2018: South India Artist Intensive

Apply to Theater Mitu’s South India Artist Intensive by February 26th and receive a reduced tuition rate! We are still accepting applications for passionate and dedicated individuals to join the company on our South India Artist Intensive. Spend three weeks investigating socio-cultural rituals and training in Indian performance traditions from May 28th to June 17th, 2018. Don’t miss your chance, apply today!

REDUCED TUITION APPLICATION DEADLINE: MONDAY, FEBRUARY 26TH 2018

CLICK HERE TO APPLY!

The Outstanding Student Award 2018

Outstanding Student Award-08 (1)

This award is presented at the end of each school year to graduating students that are nominated by faculty and peers in their area of study. Those nominated will be notified and expected to fill out an application. Finalists are then expected to create a short presentation about their contributions to the department. After these presentations, the faculty will select one student to be an Outstanding Student recipient for each award. Submissions are due Friday, March 2. For more information, click here.