The University of the West Indies
The Errol Barrow Center for Creative Imagination
Cave Hill Campus, Barbados
3rd Biennial International Dance Conference
May 23rd to 26th, 2018
Extended the submission date for proposals for papers, movement workshops, performances, site-specific works, academic posters, dance for the camera, theater, and multidisciplinary projects to March 16th, 2018. Notifications: April 2nd, 2018.
Abstract Submission Portal:
https://catalyst.uw.edu/webq/survey/mcmains/346031
Proposal submission – contact: [email protected]
We welcome dance professionals, practitioners and scholars across disciplines from around the world whose research focuses on decolonization to contribute to dynamic discussions and cultural encounters on the topic:
“Decolonizing Bodies: Engaging Performance”
Colonialism strategically positioned the aesthetics of the dominant group as a model under which any other cultural expression is held in a subaltern state. It is argued that dance and the performing arts in general have, as a consequence, been held under an imposition of a rigid, mono-cultural and patriarchal aesthetic model.
Globalization, on the other hand, as an epistemological project of colonialism, perpetuates the invisibility of uprooted cultures of countries from the Global South deemed "less valuable", which are strategically appropriated by the hegemonic high art.
According to the theoretical postulates of the Caribbean philosophers Frantz Fanon and Aimé Césaire , decolonization begins with awareness, opposition to hierarchies and institutions of socio-political power, and the creation of forms of human solidarity.
This conference, therefore, asks practitioners to interrogate the established structures and the creative individual, as well as philosophical and educational processes, towards the search for decolonization of the body and the form; and by so doing effect a decolonization of knowledge specifically in dance but generally across disciplines.
We therefore invite responses to the following questions from perspectives that include but are not limited to gender, race and social class:
- What is the impact of fusion forms in knowledge production, language and traditions?
- How can the current category of contemporary dance be expanded to include a dancing body
“other”?
- Is there still a role for ritual to play in informing performance?
- How do dancers negotiate the market forces in both their training and professional lives?
- What possible changes in dance education may support the development of the awareness of self-
identity among dance/performing arts students around the world mesmerized by the
commercialized styles broadcasted by the media?
- How is the discourse and performance of cultural difference negotiated spatially and physically?
- To what extent can dance forms “others” can be consciously diversified/hybridized while avoiding the pitfall of appropriation?
- To what extent are the multi-culturalist/inter-culturalist projects valid?
- In what way can the project of decolonizing dance as an artistic discipline be expanded?
- Which bodies are allowed to show the dance in migration sites and in the Global South and which are not?
- What is the impact of a homogenizing aesthetic to creative forms in the periphery?
- What is the responsibility of dance practitioners, cultural activists and dance scholars in the project of the decolonization of the body and in the production of knowledge?
Conference sessions will include:
Individual Paper Presentations – original research including in-depth exploration and analysis of an issue related to the conference theme. [20 minutes paper followed by a 10 minutes for Q & A]
Curated Panels – organized panels of 3-4 papers on related topics, each presenting original research related to the conference theme. [3-4 panelists – 1.5 hours] [15-20 minutes paper followed by 10 minutes for Q & A]
Workshops – practical presentations of fusion dance forms including a narrative component based on the applied pedagogy of fusion [45 minutes followed by a 15 minutes for Q & A]
Performance and Dance for the Camera – presentation. Six to eight dance works approximately 10 to 15 minutes in length will be selected to be part of the program as well as six to eight Dance on Camera works. A minimum of five years of professional choreography experience is required. Submission of video of the proposed work must be in its full version with a link to an online resource such as YouTube or Vimeo.
Submission Guidelines
Digital submission only – Mailed paper proposals will not be accepted.
Deadline for abstracts and videos: March 16th, 2018
Notification of acceptance: April 2nd, 2018
Submission date for publication of papers: July 15th, 2018
Conference registration fees: US$300 (early registration), US$350 after April 25th, 2018.
Hotel Accommodation: Discovery Bay Resort, Holetown, Barbados. Fees: US$125 (early registration) US$140 after April 25th, 2018.
The Errol Barrow Center for Creative Imagination
Cave Hill Campus, Barbados
3rd Biennial International Dance Conference
May 23rd to 26th, 2018
Extended the submission date for proposals for papers, movement workshops, performances, site-specific works, academic posters, dance for the camera, theater, and multidisciplinary projects to March 16th, 2018. Notifications: April 2nd, 2018.
Abstract Submission Portal:
https://catalyst.uw.edu/webq/survey/mcmains/346031
Proposal submission – contact: [email protected]
We welcome dance professionals, practitioners and scholars across disciplines from around the world whose research focuses on decolonization to contribute to dynamic discussions and cultural encounters on the topic:
“Decolonizing Bodies: Engaging Performance”
Colonialism strategically positioned the aesthetics of the dominant group as a model under which any other cultural expression is held in a subaltern state. It is argued that dance and the performing arts in general have, as a consequence, been held under an imposition of a rigid, mono-cultural and patriarchal aesthetic model.
Globalization, on the other hand, as an epistemological project of colonialism, perpetuates the invisibility of uprooted cultures of countries from the Global South deemed "less valuable", which are strategically appropriated by the hegemonic high art.
According to the theoretical postulates of the Caribbean philosophers Frantz Fanon and Aimé Césaire , decolonization begins with awareness, opposition to hierarchies and institutions of socio-political power, and the creation of forms of human solidarity.
This conference, therefore, asks practitioners to interrogate the established structures and the creative individual, as well as philosophical and educational processes, towards the search for decolonization of the body and the form; and by so doing effect a decolonization of knowledge specifically in dance but generally across disciplines.
We therefore invite responses to the following questions from perspectives that include but are not limited to gender, race and social class:
- What is the impact of fusion forms in knowledge production, language and traditions?
- How can the current category of contemporary dance be expanded to include a dancing body
“other”?
- Is there still a role for ritual to play in informing performance?
- How do dancers negotiate the market forces in both their training and professional lives?
- What possible changes in dance education may support the development of the awareness of self-
identity among dance/performing arts students around the world mesmerized by the
commercialized styles broadcasted by the media?
- How is the discourse and performance of cultural difference negotiated spatially and physically?
- To what extent can dance forms “others” can be consciously diversified/hybridized while avoiding the pitfall of appropriation?
- To what extent are the multi-culturalist/inter-culturalist projects valid?
- In what way can the project of decolonizing dance as an artistic discipline be expanded?
- Which bodies are allowed to show the dance in migration sites and in the Global South and which are not?
- What is the impact of a homogenizing aesthetic to creative forms in the periphery?
- What is the responsibility of dance practitioners, cultural activists and dance scholars in the project of the decolonization of the body and in the production of knowledge?
Conference sessions will include:
Individual Paper Presentations – original research including in-depth exploration and analysis of an issue related to the conference theme. [20 minutes paper followed by a 10 minutes for Q & A]
Curated Panels – organized panels of 3-4 papers on related topics, each presenting original research related to the conference theme. [3-4 panelists – 1.5 hours] [15-20 minutes paper followed by 10 minutes for Q & A]
Workshops – practical presentations of fusion dance forms including a narrative component based on the applied pedagogy of fusion [45 minutes followed by a 15 minutes for Q & A]
Performance and Dance for the Camera – presentation. Six to eight dance works approximately 10 to 15 minutes in length will be selected to be part of the program as well as six to eight Dance on Camera works. A minimum of five years of professional choreography experience is required. Submission of video of the proposed work must be in its full version with a link to an online resource such as YouTube or Vimeo.
Submission Guidelines
Digital submission only – Mailed paper proposals will not be accepted.
Deadline for abstracts and videos: March 16th, 2018
Notification of acceptance: April 2nd, 2018
Submission date for publication of papers: July 15th, 2018
Conference registration fees: US$300 (early registration), US$350 after April 25th, 2018.
Hotel Accommodation: Discovery Bay Resort, Holetown, Barbados. Fees: US$125 (early registration) US$140 after April 25th, 2018.
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