Towards an Arab-American American Theatre Movement – News – Silk Road Rising

Towards an Arab American American Theatre Movement – News – Silk Road Rising

Video Essays WATCH: In this video essay, Silk Road Rising Artistic Director Jamil Khoury envisions an Arab American theatre movement that is vibrant, visible, daring, and unafraid of its own power. If you've got 10-15 minutes, this is a striking and passionate presentation from Jamil Khoury at Silk Road Rising in Chicago about building an Arab-American theatre movement.

Source: June 2013 Newsletter

In June, ASEF launches 2 new calls to support artistic collaborations and the creation of network’s activities respectively: the 3rd Edition of Creative Encounters and the new ASEF Creative Networks. Both calls are open to organisations from the 49 member countries of the Asia-Europe Meeting (ASEM). Deadline for submission is 15 August 2013.
Also this month, in the series By People/In Cities, Sali Sasaki interviews Shirley Surya, Assistant Curator (Design & Architecture) at the M+ Museum in Hong Kong, about the ‘culture of design’ and the shaping of culture by design in the 21st century.
ASEF’s Project Manager Valentina Riccardi attended the Memory! Film Heritage Festival in Phnom Penh and took part in the discussions between film archive professionals and organisations involved in film heritage. She sums up the challenges and some of the shared experiences in the Magazine article “the importance of preserving, restoring and promoting film heritage”.
Finally, in anticipation of the Experts’ Meeting “Investing in Heritage Cities: Stimulus for Sustainable Tourism and Livelihoods” organised by ASEF in Yangon, Myanmar on 24-25 June around the theme of sustainable urban conservation, has looked back at some of the articles that have been written on heritage cities in Asia.  


The importance of preserving, restoring and promoting film heritage

Cambodia, France, Italy, Philippines, Singapore, Switzerland, ThailandHeritage, In Focus, Magazine

The Memory! International Film Heritage Festival that took place on 1-9 June in Phnom Penh, Cambodia, was the first festival in the region with a precise focus on film restoration.  Read More

By People / In Cities: Hong Kong | interview with Shirley Surya, Assistant Curator at M+ Museum

China, SingaporeFeatures, Magazine

Former Asia Editor, Sali Sasaki interviews Shirley Surya, Assistant Curator (Design & Architecture) at the M+ Museum in Hong Kong. The two met through the Royal College of…  Read More

Investing in Heritage Cities: Stimulus for Sustainable Tourism and Livelihoods | Myanmar

Asia, Europe, Myanmar

On 24-25 June in Yangon, Myanmar, the Asia-Europe Foundation (ASEF) will organise a two-day Experts’ Meeting and Public Forum on the theme of “Investing in Heritage Cities: Stimulus… Read More

Browse more →

Latest Opportunities

Salzburg Global Seminar | call for young cultural leaders

Austria, InternationalOpen Calls

The second annual Salzburg Global Forum for Young Cultural Leaders will bring together fifty dynamic young cultural leaders from around the world at Schloss Leopoldskron in Salzburg, Austria for…  Read More

MUSLIHAT OK.Video | 6th Jakarta International Video Festival | open call

Indonesia, InternationalOpen Calls

OK. Video – 6th Jakarta International Video Festival open call to artists to submit works on the theme ‘Muslihat’ (Deception). Biennial festival taking place at National Gallery Indonesia in…  Read More

India | Sangam House residencies for writers
Japan | Beppu international artist residency | open call
Lightship International Literary Prizes | various categories
Toyota Foundation | International Grant Programme

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Featured News

Artists' mobility and visa issues | public online consultation

Europe, InternationalCulture News

The European Commission–DG Home Affairs is revising the EU visa code and has opened a public online consultation to improve the procedures for obtaining short-stay Schengen visas.  Artists and…  Read More

Mind your Artspeak | guidance for artists, curators, museums
European external cultural relations | Expectations from the outside | publication
Asia-Pacific Creative Landing Pad Inflight Magazine
The Poetry Project | start the week with a poem and artist video from Ireland
EU Report on Export and Internationalisation Strategies for the Cultural and Creative Industries
Tara Books awarded Best Children’s Publishers Asia award

Browse more →


Latest Events

Malaysia | George Town Festival 2013

International, MalaysiaFestivals

George Town Festival (GTF) is a month-long celebration of art, music, theatre, dance, opera and film to commemorate George Town’s inscription on the UNESCO World Heritage listing on 7…  Read More

Venice Biennale

International, ItalyExhibitions

The 55th International Art Exhibition will take place in Venice from 1 June to 24 November 2013 at the Giardini and at the…  Read More

Displacements | exhibition 
Seoul | PAMS Performing Arts Market in Seoul 2013
Barcelona | Chiharu Shiota exhibition

London | Yoko Ono curates Meltdown Festival | retrospective exhibition in Denmark
France | Digital Heritage 2013 | international conference

Browse more →

The views expressed in this newsletter are in no way taken to reflect the official opinion or position of ASEF, ASEF’s partner organisations, or its sponsors.

This newsletter has been produced with financial assistance of the European Union. The contents of this newsletter are the sole responsibility of ASEF and can under no circumstances be regarded as reflecting the position of the European Union.

Asia-Europe Foundation (ASEF), 31 Heng Mui Keng Terrace, Singapore 119595,
Contact us at:

Fulbright Stories: Maureen Towey | TCG Circle

Between World Theatre Day, the Global Connections Round 2 Cycle B application deadline, and our delegation to Cuba, March was a big month for international theatre exchange here at TCG. Although TCG is always actively working towards facilitating cultural exchange for the artists and organizations in our family, it’s important to remember that we are not the only ones! The Fulbright Scholarship program, sponsored by the U.S. Department of State, offers opportunities to artists in all stages of their career to live and work abroad.

In an effort to mine some golden truths about the Fulbright experience, I spoke with the lovely theatre director Maureen Towey (currently a TCG Leadership U: One on One recipient working with Berkeley Repertory Theatre in California) about her experience directing theatre in South Africa in 2006. Maureen traveled to Cape Town to assist Brett Bailey—in her words, a “wild man of the theatre.” She ended up spending a chunk of her Fulbright traveling the rural Eastern Cape of South Africa, living with Sangomas (traditional healers) and doing research that would eventually turn into a collaboration with Sojourn Theatre in Portland, OR called Throwing Bones. After her experience in the Sangoma community, Maureen spent the remainder of her Fulbright traveling through rural villages in South Africa that were on the verge of getting electricity with Swallow What You Steal, a show she created with South African actors on that topic. Of course, as is the case with all of the Fulbrighters I’ve spoken to, Maureen didn’t start her year in South Africa knowing where it would end up.

JL: So your original project was this collaboration with Brett Bailey?

MT: Yeah, exactly, and his company is called Third World Bun Fight. Both laugh. Also on my grant as a collaborator was the Baxter Theatre, which is affiliated with the University of Cape Town, which I think was helpful for my application—just because they are more known and more established, and having a university on there was useful (and was useful to me for research and stuff).

Really the thing that pointed me in the direction of Brett was a college friend of mine who had lived in South Africa for a while, and she knew my style and interests as a theatre-maker, and she was like, “oh, you need to talk to Brett, you’re going to love what he does, and I think you could learn a lot from him.” So I really just kind of cold-called him, which is crazy that it worked. But I just sent him my proposal and said, “Hey, can I put you on?” And then, you know, a year later or whatever, I was like, “Um, I got it, like, here I come!”

So that was how I found him, and I didn’t really know how it was going to go as his assistant, but he ended up being very generous with me. He allowed me to work with the artists a lot. And his process is really long, and really flexible, so I was hands on doing choreography, and doing scenework, and learning to work with artists who English is not their first language, so it becomes a much more physical style of directing. I’m actually much physically closer to the artists as I work. And it was the same thing with the sort of secondary connection/collaboration with the Baxter and the University of Cape Town. They really were there to introduce me to the wider theatre community and act as a resource. And I didn’t end up being over there all that much, but I think if you’re going to apply as an independent artist, that having a secondary connection to a university helps to validate your cause a bit.

JL: That’s not the first time I’ve heard that. That’s great advice. Did you plan on spending your entire time there assisting Brett?

MT: Laughs. That’s a good question. That is kind of what I implied in my application, but everything changes once you get there. And really, the timing of it worked out in an amazing way, where they started rehearsals like the day after I got there. So I was able to be with him for maybe two or three months. But for me, I felt like I really wanted to put into practice the things that I was learning. So actually directing my own work while I was there felt like a priority. And Brett had done these rural tours himself, and he was the only one that I knew who had done that type of thing. And I had seen pictures of it, and some of the pictures I’d seen of it were like the reasons why I wanted to go to South Africa. So having it be sort of like apprenticeship and then research and then creation was for me a really satisfying way to use the year. And also, it was much more possible in a place like South Africa, where there’s a lot less red tape. And, you know, I wanted to do a tour, so I drove around to the villages and shook hands with the elders and said, “We’re going to be back in your village on this date at this time, and can we use that field?” And that was it. You know? So things were able to move a lot faster, I think, than the way they would here.

JL: That’s really cool. This is going to be an impossible question and you’re going to hate me for it, but you mentioned that you wanted to put into use the things you were learning with Brett in your own practice. Is it possible to articulate a little bit more specifically what you learned with Brett that you hadn’t been learning in your artistic experiences back in the states?

MT: Yeah, well, I mean, that tour—I had only ever made work for American, educated, urban audiences. And what that tour forced me to do, and really Brett’s sensibilities and where he places value was, you know, I was suddenly making work for rural, African, not traditionally educated, some maybe not even literate audiences. You know? So I think finding that those people could also be my audience—that I could also be in an artistic dialogue with them—cracked shit open for me. You know? In terms of why I make work and who I make work for. And the fact that there was great wisdom in those audiences, and that they understood the work, and actually requested us to come back and create something more challenging next time, do you know what I mean? That I think still really stays with me as an artist in terms of audience. And I think that’s what he meant by like, “Don’t stay in Cape Town and make theatre in a box here. Get out. Get out into the country.” And, you know, other South African theatre-makers were like, “We haven’t been that far out.” And even for the black actors that I was working with, they were like, “Where are you…this is crazy! What are we doing?” You know? So I think it was really more the philosophy that’s at the heart of his work and his collaborations that kind of crossed over.

JL: Was that unexpected for you to find that active, participatory partner in those audiences?

MT: Yeah, I think it was. And you know, some of it was too that these audiences didn’t know that you were supposed to clap at the end of a performance. So sometimes we would add a closing speech, like, if you like what you saw, you could clap for us. Or sometimes it would be more of an exchange, like our drummer would keep drumming and they would dance for us, sort of as a thank you. So it’s
a very performative culture in that region anyway. Their song and dance is part of their world, but just not necessarily in the context of the theatrical performance. So it was interesting to navigate that and what that exchange wanted to be. You know, and one night, when we went to what became my other home village with the Sangomas, the Sangomas gave us dinner that night and sat us down, and they really danced for us that night. So it really was like, “You perform for us and we’ll perform for you.” I think people understood that exchange.

I think my favorite [performance of Swallow What You Steal] that we did, we were late to the performance, and we got stuck in the mud, and I went running out of the van, out to the performance area in the middle of this village, and the whole village was there. They were all just sitting, very patiently waiting for us. And it was men and women and children, which is rare there—to get the men out of their workday to come see it. And then afterwards, the sort of local councilwomen, they had a discussion about electricity and modernization and the collision of modern and traditional lifestyles. They used our play as a jumping-off point for a community discussion, which for me was super exciting. And not all of the villages we went to embraced it that thoroughly, but that place certainly did, and that was really amazing, to feel like it could have an impact in that way.

JL: That’s really great. And since you’re a Fulbright scholar and a current Leadership U recipient, I was wondering if you draw a connection between the two. How did the Fulbright shape your leadership skills and your interest in leadership, which I know is a very vague word that can have many definitions, but I’m interested in what you say.

MT: I think that going abroad and having to figure stuff out in this really foreign place and making it happen made me braver in my home context. You know, it’s almost like, they say that when you exercise in the beginning of the day, you do this really hard thing, and the rest of it is easier in comparison to that workout. And it was the same thing. South Africa is TOUGH, you know? It is a really beautiful but also really violent place. It’s a real land of extremes. And by getting stuff done there, it felt like, “Oh, this is easier now. Oh, what? We’re only dealing with one language? And we actually have a theatre building that we’re working in? Great, no problem.” And I think also it just allowed me to really refine my point of view as an artist in the world, and I think that makes you a better leader for sure, just when you’re clearer about what you want to see and you feel like you have the capacity to make it happen.

I think these residencies and these grants are so valuable, because it’s so hard to make it as a theatre artist financially and time-wise, and making space to make work, and having enough headspace to allow your imagination to roll with things, that being able to be an artist-in-residence or something like that gives you the time and space. I do feel like my time in South Africa sowed the seeds for my next five years of work, and allowed me to grow enough as an artist that I felt like I had a stronger tool belt, and just like stronger chops to be able to get it done and to have the drive to get it done.

JL: Finally, do you have any advice for theatre artists who are considering a Fulbright or who are applying?

MT: I think first, start early. The process takes a long time—and particularly, identifying your sort of sponsor or mentor is going to take time. So give yourself time, and do a lot of revisions on your essay. Statistically, make sure that you look at what the odds are in the country that you’re applying to, and allow that to influence the decision of where you’re going. It’s a lot harder to get a Fulbright in Europe than in Africa. And look at who has gotten the Fulbright in the past, because if that country has never given a Fulbright to an artist before, they’re probably not going to give one to you either. So really study that alumni list so you know which countries are friendly to artists.

Maureen Towey directs plays and live performance. She worked with Arcade Fire as their Creative Director on their international tour in support of the Grammy award winning album, The Suburbs. Other highlights from that campaign include working on the ground-breaking interactive video, The Wilderness Downtown, working with Terry Gilliam for a livestream concert at Madison Square Garden, and managing a number of Arcade Fire’s charitable projects in Haiti. Most recently in her concert work, Towey art directed Ray LaMontagne’s 2012 solo tour and directed stage design for The Walkmen at BAM. For her theater work, she has received two Princess Grace fellowships and a 2006 Fulbright Scholarship in South Africa. Theater highlights include The Saints Tour (River to River Festival), Finding Penelope, Throwing Bones (Sojourn Theatre), Three Sisters (Working Theater), Emergence (Foundry Theatre), Swallow What You Steal (ubom, South Africa), Gruesome Playground Injuries, Animals Out of Paper, I Have Before Me a Remarkable Document… (Boise Contemporary Theatre). She has assisted Michael Rohd (GOOD), Brett Bailey (Opening ceremonies, Harare International Arts Festival, Zimbabwe) and JoAnne Akalaitis (Beckett Shorts, New York Theatre Workshop, starring Baryshnikov). Maureen is a native New Yorker, a Sojourn Theatre ensemble member, a former Development Director for Anne Bogart’s SITI Company, and a graduate of Northwestern University. She was recently awarded a TCG Leadership U Fellowship and is spending this season working with Tony Taccone at Berkeley Rep.

Jake Lasser is the Project Coordinator in Artistic and International Programs at TCG. He is a freelance actor and dramaturg, and he is currently an Artist in Residence with Theater in Asylum. Jake also teaches and tutors in New York with the Princeton Review. Education: B.A. in Drama and Theatre Arts from Columbia University.

Performance Retreat


Performance Retreat led by Dr Dawn Albinger from Ladyfinger

August 14 – 18, 2013

Have you ever wanted to (re-) write your life story or share a significant life experience in a creative way? Have you felt the stirrings of an inner diva longing to unbridle her tongue? Perhaps you secretly desired to let your inner monster run amok. Do you need space for tenderness? Would you like to make a ritual of release?

Framed by Ladyfinger investigations of divas, lamenters, lullaby-makers and monsters, this fully catered live-in retreat explores the potential for personal and cultural transformation in the making of live performance.

Life experience speaks in new and surprising ways when we dare to encounter with curiosity and humour:

• the painful, the pleasurable,

• the odd, the silly,

• the mundane, the simple,

• the sacred and the profane.


Drawing on processes used to create one-woman shows and ensemble productions, and on Ladyfinger’s research into the voice of the of the sirens, this retreat will include :

• processes for opening to your own creative impulses,

• writing and physical explorations (in-door and in nature),

• perceptual practices, breath awareness and vocal strategies,

• storytelling with word, image and sound,

• meditation and ritual.


Be prepared to surprise and entertain – first yourself and then others – as we seek new perspectives on our ordinary and extraordinary experiences. Discover how personal story interacts with the stories of our culture.

Participants will work towards small solo and/or group performances, which will be shared on the final day of the retreat. Open to all ages and levels of experience.

This live-in laboratory style retreat will be held at High Spirits, 297 Sister Tree Creek Road, Kin Kin.

High Spirits Retreat is set in the lush rolling hills of the Sunshine Coast Hinterland, 1.5 hours north of Brisbane. Accommodation is simple but comfortable with four participants per room. Each room has its own bathroom. Meals will be served in the main house, a Queenslander set high with wrap-around verandahs and stunning views. Indoor activities will take place in the hall. Outdoor activities will take place on the property or nearby walks. There is a saltwater swimming pool and a sauna – why not choose to de-tox while you stay? The menu will be fresh, delicious and vegetarian. Tea and coffee will be available but as High Spirits is a health retreat there will be no alcohol.

Dawn Albinger trained as an actor at Victorian College of Arts and has worked as performance practitioner for over twenty years, creating numerous solos and ensemble works. She has taught drama, theatre and contemporary performance at Griffith and Edith Cowan Universities, and gender studies at the Australian Catholic University. Dawn also co-facilitates the annual Spirit of Woman Retreats run by Mettes Institute. She has co-founded the performance group Sacred COW, as well as the women in theatre network Magdalena Australia. She was artistic director of the inaugural 2003 International Magdalena Australia Festival, Theatre-Women-Travelling. Dawn has undertaken doctoral studies at the Western Australian Academy of Performing Arts, investigating the Diva icon and its usefulness to feminist theatre praxis.

For more information and to secure your place please contact

Dawn on 0405 013 122 or

Ladyfinger is a Queensland-based contemporary performance company founded on divas, lamenters, lullaby makers and monsters, and privileging the female voice. Co-directed by Dawn Albinger and Julie Robson, the company devises new performance, manages creative productions and events, and innovates arts-led research and education.

Full Price: $1190

Early-bird (pay by June 15): $990

Christopher Chen shortlisted for the first James Tait Black Prize for Drama

Dear friends and colleagues,

We are thrilled to announce that Christopher Chen's play THE HUNDRED FLOWERS PROJECT has been shortlisted for the first James Tait Black Prize for Drama!

The James Tait Black Prize is the UK's oldest literary award, and the Drama Prize is a new addition this year. The five shortlisted plays have been chosen from more than 180 plays from around the world. Chris' play is the only play from the US on the shortlist. 

The judging panel includes representatives from Edinburgh University, National Theatre of Scotland and Edinburgh's Traverse, where the successful work will be read on August 5th. 

Please find the press announcements with more information here: The Herald  and BBC News.

THE HUNDRED FLOWERS PROJECT was produced at Crowded Fire and Playwrights Realm this past year and will be produced by Silk Road Rising in Chicago this year.  

Let us know if you'd like to read THE HUNDRED FLOWERS PROJECT. We'd be happy to send you a script!


Antje Oegel

Sarah Rose Leonard

AO International

e-misférica 11.1 Call | Convocatoria | Convocatória: The Decolonial Gesture | El gesto decolonial | O gesto decolonial

Dear colleagues / Queridos colegas / Caros colegas:

We invite you to send contributions for the Winter 2014 issue of e-misférica, the journal of the Hemispheric Institute of Performance and Politics.

Los invitamos a enviar contribuciones para el número del invierno del 2014 de e-misférica, la revista del Instituto Hemisférico de Performance y Política.

Gostaríamos de convidá-los a enviar contribuições para a edição de inverno de 2014 da e-misférica, a revista do Instituto Hemisférico de Performance e Política.

Best regards / Saludos cordiales / Atenciosamente

e-misférica 11.1: The Decolonial Gesture
Editors: Jill Lane and Marcial Godoy-Anativia, NYU
Invited editor: Macarena Gómez-Barris, USC

e-misférica invites the submission of scholarly essays, artist/activist presentations, and reviews of books, performances and films for its Winter 2014 issue, “The Decolonial Gesture.” Through the term “decolonial” we invite dialogue with a range of intellectual critiques of the power and epistemology of colonialism and the legacies of these in the present. On one hand we follow writers theorizing the “decolonial”— Dussel, Quijano, Mignolo, Walsh, among others—and on the other, follow a wider arc of anti-colonial and de-colonializing theory and practice, that could include W.E.B. Dubois, Frantz Fanon, Ngugi Wa Thiongo, indigenous and Chicana feminists from Gloria Anzaldúa to Julieta Paredes, and Silvia Rivera Cusiquanqui. Central to the “decolonial” is a performative critique that practices epistemologies otherwise; and in so doing opens space for other subjectivities, communities, and politics to take place. Through “gesture” we underscore this performative practice, and invite reflection on whether and how action, bodies, and expressive behaviors allow for a particular decolonizing practice.

In her article, “1492: A New World View,” Jamaican philosopher Sylvia Wynter argues that 1492 inaugurated a new representational order that emerged from a European colonial ideology of humanity’s non-homogeneity—a new world view that ultimately produced racial and labor classificatory systems that, she writes, “provided the foundations of the post-1492 polities of the Caribbean and the Americas, which, if in a new variant, continue to be legitimated by the nineteenth-century colonial systems of Western Europe, as well as the continuing hierarchies of our present global order.” The world that colonialism constructed emerged from a fundamental rupture that reshaped time, space, labor, and produced a gender/sex racial order. Thinking about the “upside down world” that colonialism created, then, decolonization scholarship and art expose the shadow and ongoing effects of European colonialism, chattel slavery, and settler capitalism, and their symbolic and material persistence in modernity.   We welcome contributions that advance such thinking by considering the intersections between colonialism, race, and performance in the Americas.

Please submit completed essays by October 15, 2013; advance queries and abstracts are most welcome. To submit multimedia presentations and reviews, please contact the editors with proposals not later than September 1, 2013, with texts and materials due October 15.

All contributions, proposals, and consultations should be sent to the editors Our guidelines and style sheet can be found at

e-misférica 11.1: El gesto decolonial
Editors: Jill Lane and Marcial Godoy-Anativia, NYU
Invited editor: Macarena Gómez-Barris, USC

e-misférica invita a contribuir con ensayos académicos, presentaciones artísticas y activistas y reseñas para el número de Invierno 2014, “El gesto decolonial”. El término “decolonial” incita a un diálogo entre una variedad de críticas intelectuales al poder y la epistemología del colonialismo, así como al legado de estos en el presente. Por un lado, el acercamiento se centra en teorizaciones de lo “decolonial” desde las perspectivas de escritores como Dussel, Quijano, Mignolo y Walsh, entre otros—y por el otro, nos interesa, también, un marco más amplio de teorías y prácticas anti-coloniales y descolonizantes dentro de las cuales se situan figuras como W.E.B Dubois, Frantz Fanon, Ngugi Wa Thiongo, feministas indígenas y chicanas, desde Gloria Anzaldúa a Julieta Paredes y Silvia Rivera Cusiquanqui. Un replanteamiento epistemológico articulado desde la crítica performativa es central para pensar lo “decolonial”; de esta manera, se crean espacios para que otras subjetividades, comunidades y políticas se manifiesten. A través del “gesto”, enfatizamos esta práctica performativa e invitamos a reflexionar sobre  las posibles maneras–si es que así sucede—en que acciones, cuerpos y expresiones permiten la emergencia de ciertas prácticas decoloniales.

En su artículo “1492: A New World View”, la filósofa jamaiquina Sylvia Wynter argumenta que el año de 1492 trajo consigo la formulación de un nuevo orden representacional fundado en la ideología colonial europea de la no-homogeneidad de la humanidad. Esta nueva visión del mundo tuvo como una de sus principales consecuencias la producción/creación de sistemas clasificatorios laborales y raciales que, en sus palabras: “sentaron las bases de las entidades políticas en el Caribe y las Américas y cuya legitimidad, de distintas maneras, sigue sustentada en los sistemas coloniales decimonónicos de la Europa occidental, así como en las continuamente construidas jerarquías de nuestro orden global actual”. El mundo que creó el colonialismo emergió de una ruptura fundamental que reestructuró las nociones de tiempo, espacio y trabajo, además de que produjo un orden basado en jerarquías raciales y el binario género/sexo. Los procesos de colonialismo crearon un “mundo al revés” que ha sido pensado y cuestionado desde la vertiente decolonial en el trabajo académico y en el arte. Estos afluentes de decolonialismo crítico han creado espacios para exponer las sombras y los efectos continuos del colonialismo europeo; la esclavitud, el asentamiento colono-capitalista así como su persistencia y presencia tanto material como simbólica en la sociedad moderna. Invitamos contribuciones que desarrollen este pensamiento, considerando las intersecciones entre el colonialismo, la raza y el performance en las Américas.

La fecha límite para el envío de ensayos finalizados es el 15 de octubre de 2013. Por favor envien consultas y propuestas para ensayos, textos del dossier, multimedios y reseñas antes del 1 de septiembre de 2013. El plazo final es el 15 de octubre. Todas las contribuciones, propuestas y consultas deben ser enviadas a los editores a Nuestros lineamientos y normas de estilo las pueden encontrar aquí:

e-misférica 11.1: O gesto decolonial
Editores: Jill Lane e Marcial Godoy-Anativia, NYU
Editora convidada: Macarena Gómez-Barris, USC

e-misférica convida os interessados a submeter ensaios acadêmicos, apresentações artísticas/ativistas e resenhas de livros, performances e filmes para a sua edição de inverno de 2014, “o gesto decolonial”. Com o emprego do termo “decolonial”, estendemos um convite ao diálogo com uma diversidade de críticas intelectuais sobre o poder e a epistemologia do colonialismo e os seus legados no presente. Por um lado, seguimos escritores que teorizam o “decolonial”— Dussel, Quijano, Mignolo e Walsh, dentre outros—e, por outro lado, seguimos uma gama mais ampla de teorias e práticas anti-coloniais “decolonializantes”, que poderiam incluir W.E.B. Dubois, Frantz Fanon, Ngugi Wa Thiongo, além de feministas indígenas e “chicanas”,  de Gloria Anzaldúa a Julieta Paredes e Silvia Rivera Cusiquanqui. A crítica performática que pratica epistemologias de outros modos é algo central ao conceito de “decolonial” porque, ao fazê-lo, abre espaço para o surgimento de outras subjetividades, comunidades e políticas. Através do “gesto”, destacamos essa prática performática e convidamos à reflexão sobre se e como a ação, os corpos e os comportamentos expressivos possibilitam uma prática decolonizante específica.

No seu artigo “1492: uma nova visão de mundo”, a filósofa jamaicana Sylvia Wynter argumenta que o ano de 1492 deu início a uma nova ordem representacional que emergiu de uma ideologia colonial europeia acerca da não-homogeneidade da humanidade—uma nova visão de mundo que terminou por produzir sistemas classificatórios raciais e trabalhistas que, segundo ela, “forneceu as bases para as entidades políticas pós-1492 no Caribe e nas Américas, as quais, ainda que como novas variantes, continuam sendo legitimadas pelos sistemas coloniais do oeste europeu do século dezenove, e também como contínuas hierarquias da nossa ordem global atual”. O mundo que o colonialismo construiu emergiu a partir de uma ruptura fundamental que remodelou tempo, espaço e trabalho e produziu uma ordem relativa ao gênero/sexo e à raça. Ao refletir sobre o “mundo de ponta-cabeça” criado pelo colonialismo, a arte e o estudo acadêmico da decolonização expõem a sombra e os efeitos contínuos do colonialismo europeu, da escravatura e do capitalismo do colonizador, e também a sua persistência simbólica e material na modernidade. Serão bem vindas contribuções que desenvolvam este pensamento, analisando as interseções entre o colonialismo, a raça e a performance nas Américas.

Favor submeter os ensaios completos até o dia 15 de outubro de 2013; pedidos de informação e resumos antecipados são muito bem vindos. Para submeter apresentações e resenhas em multimídia, favor entrar em contato com os editores para apresentar as suas propostas no máximo até o dia 1 de setembre de 2013, sendo o prazo para a entrega de textos e materiais até o dia 15 de outubro.

Todas as contribuições, propostas e consultas devem ser enviadas para os editores através do e-mail As nossas normas e manual de estilo estão disponíveis no site

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Call for applications: Banff Puppet Theatre Intensive

Presented by the Old Trout Puppet Workshop

Program dates: Jan. 3 – 17, 2014
Application deadline: Nov. 4, 2013
Faculty: Peter BalkwillJuanita Dawn

Join our two-week residential exploration into the creative art of puppet theatre!

In this workshop, you'll explore exercises that identify the physical awareness and synchronicity of an ensemble. You'll design and build individual puppets, engage in small ensembles, and collectively create short experimental projects for public presentation.

The residential nature of this intensive allows for an artist colony focused on stimulating inspiration. The work is vigorous and requires a level of investment that grows as the workshop progresses. When artists push themselves to the wall and climb over, they discover something unexpected, and this is what they take home.

The Banff Puppet Theatre Intensive will address:

  • elements of design/build (both set and puppet)
  • scripting the silent narrative
  • collaborative directing
  • manipulation of puppets

Last 2013 Call for Artists (multidisciplinary)

ARTErra is a residency for artists placed in a small village in Portugal. This structure as several work rooms, resources tools and partnerships that are able to provide to artists exceptional conditions to develop their work and projects. We are now accepting applications to our residency space.

Deadline-15th September
Please check out our webpage ( to learn more about ARTErra, and we also have a updated facebook page.
To apply contact us by mail to :