- Choreographic Practices is an international peer-reviewed journal.
- Full article should be approx 6,000 words.
- Deadline for full essays: 1 June 2016
- To submit a contribution email [email protected].
- For questions about the theme or focus of your submission, please email Robert Vesty (associate editor for this special issue).
This special journal issue of Choreographic Practices—WORDS and DANCE—aims to draw together, contribute to and exemplify debates around the use of spoken word in current and future 21st Century dance practices as well as its place in the contemporary cultural landscape.
What are the intersections between spoken words (in the form of live narrative, poetry, dialogue or writing) and choreographic practices?
What is the relationship between the word and the move?
How can/do spoken words and dance work together, especially in improvisatory practice?
What implications does the use of voice have in dance practice?
Choreographic Practices journal provides a space for disseminating choreographic practices, critical inquiry and debate. Serving the needs of students, teachers, academics and practitioners in dance (and the related fields of theatre, live art, video/media, and performance), the journal operates from the principle that dance embodies ideas and can be productively enlivened when considered as a mode of critical and creative discourse. This journal seeks to engender dynamic relationships between theory and practice, choreographer and scholar, such that these distinctions may be shifted and traversed.
We seek new critical insights into interdisciplinary, immersive, participatory and collaborative dance practices, and an articulation of how these may elucidate the way in which spoken words are used by dancers in choreographic practice. Submissions that reflect upon the historic lineages of contemporary dance in Europe and their relationship to new and emerging contexts are welcome. Contributions that capture and articulate choreographic practices explicitly engaging with poetry, aesthetically, thematically, politically or socially, and employ practice-as-research/practice-led research as a methodology are especially encouraged.
The above might include considerations of:
- Ways in which dance practices might both respond to and shape the use of spoken word in 21st-century performance practice.
- Contemporary relationships to representations of the political body and identity through dance practices that incorporate spoken words.
- Experimental approaches to dance making that make explicit the use of spoken words with a particular focus on instant composition as a methodology.
- Somatically informed approaches to vocal practice.
- Contemporary propositions for the interpretation, experience, critique and creation of dance that uses spoken word either for or as poetry.