PR Journal – Reminder – Trans/Performance Proposal Deadline 11 December


Call for Proposals: Performance Research Vol. 21, No. 5 (October 2016)


Proposal deadline: 11 December 2015

Edited by Amelia Jones (University of Southern California)

This special issue of Performance Research comes out of a three-year-long research initiative linked to both Encuentro Montréal (2014) and Trans-Montréal, the Montréal node of Performance Studies International’s 2015 series of events under the rubric ‘Fluid States: Performances of Unknowing’ ( The project is theoretically and conceptually broad, linking the ‘trans-’ (implying exceeding, moving towards, changing; going across, over or beyond) to the performative (saying as doing, or that which performs something while articulating it); however, contributors are encouraged to develop the notion of trans/performance in relation to sharp and local themes, as well as potentially larger theoretical concerns.

On Trans/Performance seeks to address concerns that relate to sites and spaces (including potentially fluid ones, or moving across borders) as well as to modes of embodiment and performativity. The issue seeks to present the work of a range of thinkers, creators and performers interested in developing the concept of ‘trans-’ in relation to performance and Performance Studies in general, but also in relation to local geographies, whether the participants’ own or, as a site of inspiration, Montréal-Québec-Canada (in tension with a broader continental understanding of Indigenous cultures, which cannot be contained by Western nationalisms).

Trans- is a prefix designating a movement or connection across or beyond what it precedes. It also signals change. As such trans- is intimately linked to the claims for performativity or performance connecting (a performer and an audience, the present soon to be past act and future histories) and opening the creative arts to embodiment, fluidity, duration and change.

Trans- epitomizes the tension between the local and global in understanding how performance and performative identities work. It signals geographical, conceptual, linguistic and migratory crossings through terms such as transnational, transidentification, translation, transmigration. The trans (and trans*) is of course also frequently connected to transgender subjectivities and the discourses around transgender politics. The trans- is itself fluid and multipurpose, a mode of performing complex relationships between one site, identification or mode of speaking and another.

Topics addressed might include:
• Transmigration and Indigenous performance as ‘transnational’
• Transcultural, transnational, transformation (the name of a 2011 Australasian conference on performing across cultures)
• Transtemporality and performance (the ‘times’ of performance; the concept of queer time or Indigenous time)
• Transidentification and performance (going beyond transgender as a singular category; going beyond additive ‘intersectionality’ theory)
• Transnationality, disability and performance (diasporic bodies/differently abled bodies)
• Transhistory and performance (How do we document performance across history?)
• Translation (performance as a form of translation; linguistic translation and performativity)
• Transaction, transformation and performance (performance as a mode of social engagement)
• Transparency, translucency and the performative or the ephemeral; performance and the field of visuality
• Transgressive performance (What constitutes it? Does it always transgress?)
• Transfer, transit, transcontinental: performativity and modes of transportation
• Trans-, performance, the digital and the network
• Transfeminism and/or transgender performativities.

Short thought-pieces of 500–1,000 words as well as scholarly articles of up to 6,000 words will be included. Please indicate which type of contribution your proposal is for.
Artist’s portfolios (work addressing any aspect of trans/performance) will be included; please send a brief textual proposal as below and link(s) to a website or online images if available.

Issue contacts:
All proposals, submissions and general enquiries should be sent direct to the journal at: info

Issue-related enquiries should be directed to the issue editor: ameliaj

Amelia Jones is the Robert A. Day Professor of Art and Design and head of Critical Studies at the Roski School of Art and Design at University of Southern California, head of the Hybrid Performance Initiative at USC, and curated/convened Trans-Montréal, the Montréal node of Performance Studies International’s “Fluid States” events in 2015.

• Proposals: 11 December 2015
• First drafts: April 2016
• Publication date: October 2016

General Guidelines for Submissions:
• Before submitting a proposal we encourage you to visit our website ( and familiarize yourself with the journal.
• Proposals will be accepted by email (MS-Word or RTF). Proposals should not exceed one A4 side.
• Please include your surname in the file name of the document you send.
• If you intend to send images electronically, please contact the journal first to arrange prior agreement.
• Submission of a proposal will be taken to imply that it presents original, unpublished work not under consideration for publication elsewhere.
• If your proposal is accepted, you will be invited to submit an article in first draft by the deadline indicated above. On the final acceptance of a completed article you will be asked to sign an author agreement in order for your work to be published in Performance Research.