IFTR Conference on Public Performance in Morocco June 2013


Call for Papers

Performance in/and the Public Sphere: An International Conference


The conference aims at reframing the discussion on the public sphere and questioning the performative articulations of political critique. It is a continuation of our discussions in the “Performance and Transformations” conference (2012). The normative Habermasian model of the ‘public sphere’ generates a discursive arena of free flow of information and formation of public opinion that culminates in a pragmatic consensus. However, the public sphere is also an arena wherein pluralities of competing publics contest each other. It is a ‘battleground’, as Chantal Mouffe once put it. Some activist performers bring into play the public sphere to call attention to their political standpoints; they deploy the politics of visibility to make statements in public without discussion. In this context, ‘activist performance’ is a “form of political action which is located outside the political consensual realm of party politics as it is not institutionally affiliated with parties, unions, or other organizations…” (Pia Wiegmink, 2011: 31) Performance and theatre function as constant players in a turbulent public sphere. The Seattle ‘giant puppets’ march against the World Trade Organization in 1999, the ongoing ‘Occupy Movements’ and so-called ‘Arab Spring’protests, Community theatre forums, and even the phenomenon of self-immolation in public … share the politics of impersonation as imitative political behaviors.

The Arab world “has long been characterized by its Orientalizers, past and present, as not only lacking in civility but also in public-ness and public-ity.”(Seteney Shami, 2009: 14) Is there an ‘Arab Public Sphere’? Does it conform to the Habermasian model? Or, is it a post-Bourgeois model? Is it different from the public sphere of the North? Or else, an exemplary instance of what Gayatri Spivak calls the ‘Feudal North-in-the-South’? The aftermath of the Arab Spring, with the rise of the Islamist tide in the region, exposes conflicting “communities of interpretation”. The public articulation of religion and particularly its relationship with the arts has recently been subject to more thorough reflection in public debate. Many Arabs today consider modernity a fortress to be defended against religious extremism. Such reaction brings into play the risk of another kind of fundamentalism, that of modernity itself –or at least, the Arab version of modernity. “However, must we not look at a similar impasse from the other side, too?” asks Habermas, “[i]s a learning process only necessary on the side of religious traditionalism and not on that of secularism, too?” We invite scholars from around the world to join the debate and offer elements of reflection on the various problematics related to the following proposed panels:

·         Theatre/Performance Studies and Public Sphere theories

·         The role of Theater and Performance in the Public Sphere

·         The Performance of Protest in/and the “Transnational Public Sphere”

·         Shifting Terms of Public Debates in Post-Arab-Spring: Morality,

Community, and Theatre

·         Spirituality, Performance and/in the Public Sphere

Simultaneous Interpreting in all Panel Sessions

‘Performance in/and the public Sphere’ features: Keynote presentations by eminent practitioners

and scholars// Round tables with guest speakers from the field of performance and academy//

Performances// Installations// Workshops (to be announced later)…


The conference theme was chosen with the expectation that it would be sharp enough to elicit diverse intellectual contributions from distinguished experts and colleagues from many parts of the world and in many areas of research. Besides academic panel sessions, the conference program will be nourished by a rich artistic public agenda with workshops, exhibitions, book launch, and diverse performances and artistic interventions, plus receptions and gala dinners to be announced after opening.

Proposals: The organising committee welcomes abstracts strictly on the above issues. A 250-WORD abstract, along with a ONE PARAGRAPH curriculum vitae, should be submitted electronically (preferably in Word or Rich Text format) by 31 January 2013 to the scientific committee care of Professor Khalid Amine (Conference Convener). Acceptance, however, unfortunately does not include any financial support – participants are responsible for their own funding (i.e. securing grants, etc.) to pay for travel and lodging expenses. Selected conference papers will be published in a special volume upon the approval of the scientific committee. Submitters of accepted proposals will

be notified within two weeks of the above deadline and all decisions of the scientific committee are



·         Abstract Submission Deadline: 31 January 2013.

·         Notification of Acceptance/Rejection: 15 February, 2013

·         Final Paper Submission Deadline: 15 April, 2013 (included)

Emerging Scholars’ Panel: The conference is also a home for graduate students and emerging

scholars from different parts of the world. The establishment of an emerging Scholars’ panel invites

new voices to join the debate (provided that their contributions must be relevant to the theme of this

year). Up to FIVE participants will be selected for this panel, and each panelist will have ten to fifteen

minutes to deliver her/his paper. Graduate students whose papers are accepted will receive free

conference registration, free admission to conference luncheon, and a one-year membership in ICPS.

Who is eligible? Scholars who meet the definition of ‘emerging scholars’ are postgraduate students

writing up their PhD dissertation or post-doctoral researchers whose PhDs have been completed less

than three years.

Registration Fee: 100 Euros payable upon arrival or via Bank transfer (see ICPS bank Details).

Registration includes 2 Gala Receptions, conference pack, tickets for any public concerts or site specific

performances within the conference’s public agenda, free guided tour of the Kasbah Museum, and one of the books of published proceedings from previous conferences. Since the conference is again pulling a very international public, registered attendees, participants from past conferences, and

friends of ICPS will be most welcome to attend too. Women and underrepresented minorities are

especially encouraged to apply. ICPS is an Affirmative Acting/Equal Opportunity Organization.


Conference Location: Faculty of Letters at Abdelmalek Essaâdi University, Tétouan & the Kasbah Museum, Sahat El Kasbah, Rif Spa Hotel, Tangier.

Conference Board (2013)

·         Erika Fischer-Lichte (Head of DFG Collaborative Research Centre "Performing Cultures" and Director of BMBF International Research Centre "Interweaving Cultures in Performance", Berlin, Germany

·         Christopher Balme (President of the International Federation for Theatre research IFTR/FIRT)

·         Christel Weiler, Professor at Institute for theatre science of the Freie Universität, Berlin

·         Carol Malt, Museum Curator, Adjunct Professor at the University of West Florida, and Ex-Director of the Art & Culture Center of Hollywood, USA

·         Richard Gough, Senior Research Fellow and Artistic Director of the Centre for Performance Research, Department of Theatre, Film and Television Studies, Aberystwyth University, Aberystwyth, Wales

·         George F. Roberson, Adjunct Assistant Professor, Geography Human Dimensions Research Cluster, University of Massachusetts-Amherst, USA

·         Marjorie Kanter, Author of short literary and poem-like pieces, USA

·         Mohammed Samir Al-Khatib, Art Critic, the Academy of Arts, Cairo);

·         Azzeddine Bounit, Professor of Theatre & Regional Director of Culture in Agadir,

·         Morocco

·         Hassan Youssfi, Theatre Professor, University Moulay Ismail, Meknes, Morocco



Khalid Amine, Conference Convener, Residence Al Andalous N° 11, Rue Birr Anzaran, Tanger 90 000, Maroc

Adresse: E-mail: khamine55@gmail.com, Tél/Fax: (212) 5393330466, Portable: 0664596791/ Web:


Call for Nominations: Performing Artists for Cultural Diplomacy Program

Call for Nominations: Performing Arts Ensembles from Morocco, Pakistan, Tunisia, and Vietnam

Second round of Center StageSM fosters cross-cultural understanding


Music, dance, and theater ensembles from Morocco, Pakistan, Tunisia, and Vietnam are eligible. Learn more.


November 15, 2012


Adrienne Petrillo


617.951.0010 x527



Learn more about NEFA.


The Bureau of Educational and Cultural Affairs at the U.S. Department of State, in partnership with New England Foundation for the Arts (NEFA), calls for nominations of performing arts ensembles from Morocco, Pakistan, Tunisia, and Vietnam for the second round of Center StageSM.  By bringing international performing arts ensembles to tour the U.S., Center StageSM  builds cultural awareness, develops long-lasting relationships between people, and enhances mutual understanding.   


Artist Selection Criteria:

  • Demonstrate high artistic quality and accomplishment.  
  • Have an interest in engaging with U.S. communities, including youth, through public and in-school performances, workshops, discussions, artist-to-artist exchanges, and social events.
  • Are comprised of two to nine ensemble members (artists and staff) living in one of the countries listed above.
  • Have previous touring experience but have rarely been seen in the U.S.
  • Have an ability to communicate electronically via email and/or Skype, and a working knowledge of English and/or access to translators.

Nominations of ensembles working in contemporary forms are strongly encouraged.


Click Here to Apply

November 15, 2012 (tours will take place in 2014).

More information: www.centerstageUS.org.


Center StageSM is made possible by the U.S. Department of State's Bureau of Educational and Cultural Affairs, administered by the New England Foundation for the Arts in cooperation with the U.S. Regional Arts Organizations.  Additional funding for Round 1 tours in 2012 comes from the Asian Cultural Council, the Robert Sterling Clark Foundation, and the Doris Duke Foundation for Islamic Art. General management is provided by Lisa Booth Management, Inc.

Al Akhbar English – Daba Theater: All Morocco's a Stage


webpage includes photo

Daba Theater: All Morocco's a Stage
Daba Theater is also open to other activities. During the first week of every month, it hosts bloggers and theater productions.

By: Mohammad al-Khudairi http://english.al-akhbar.com/author/mohammad-al-khudairi [1]

Published Sunday, September 30, 2012

*Rabat* – Since its launch three years ago, the Daba Theater group has engaged Moroccan audiences with the theater. The project is the brainchild of theater director, Jawad al-Sinani, who was later joined by the writer Idriss Kassis. It began in 2009, when Sinani called on interested young people to join him in creating an “experimental lab.” The aim was to create experimental theater out of current political and social events and to find a way to mirror contemporary Moroccan society and its disintegration.

They would dissect events occupying the main headlines and satirize them, producing a critique of real events.Their first production was called *Daba Theater Citizen*. Its show *News from The Theater* was the main event and became very popular among audiences in Rabat. At the beginning of each month, hundreds of people from various age groups and social classes would come to the Gerard Hall at the French Institute in Rabat. In *News from The Theater* the events of the past months were turned into theater, written by young people in workshops directed by Idriss Kassis and others. They would dissect events occupying the main headlines and satirize them, producing a critique of real events. They took on many topics, such as parliamentary elections, political leaders, relationships between young people, virginity, immigration, tense relations with their Algerian neighbors, lost football matches and, of course, extremism.

Daba Theater is also open to other activities. During the first week of every month, it hosts bloggers and theater productions. The group’s activities are also not limited to Rabat. They have been to Casablanca and other cities. They have recently partnered with the Boulevard Association with the aim of organizing a monthly event, called *Daba 36*, which will include alternative and experimental music concerts. It will also hold an event similar to the one in Rabat called *Daba Off*.

For the new season, which begins in October, *News from The Theater*will be replaced by a new show called *The People of the Country.* According to the organizers, the event will invite civil society organizations backstage every month to share their experience in their field of specialization. After that, a director, writers and actors will work on producing a play about the organizations. It will be on show for two nights at Daba Theater before moving on to other venues. The aim of this cooperative meeting is to become more open towards civil society organizations and civil associations and this will inspire*The People of the Country* every month.

The event will invite civil society organizations backstage every month to share their experience in their field of specialization.New for this year is a program of artistic residence, Daba Play Now, which aims to build bridges between artists from the Eastern Arab world and the Maghreb. The residences, which will be three weeks long, will develop shows around a theme chosen by the participating artist. They will have the freedom to choose which Moroccan artists will take part in these shows with them, be they professionals or amateurs. Next January, Daba Play Now will celebrate the Tunisian revolution with an artistic residency. The artistic director of the group, Jawad al-Sinani believes that the residency will “honor the Tunisian artistic sphere. We will host the singers Lubna Numan and Mahdi Shaqroon.”

The residencies will conclude with three days of shows, including discussions and dialogues such as the seminar on “the body in the theater.” Some plays and seminars will be held in civil association schools and centers in Rabat. This is a new initiative for Daba Theater, who used to put on most of their shows at the French Institute. Jawad al-Sinani says that Daba Theater's new activities will come to “48 workshops, a season of Daba Theater Citizen 2012, one day with Daba 36, another day of Daba Off as well as three days of Daba Play Now.

Daba Theater, which describes itself as citizen theater, adopts an educational approach to theater and its culture. Many of those who have acted or taken part in any writing workshops for any theatrical production put on by the company have not been trained in the theater. They are young people attracted by the cultural event they take part in. Because of this initiative, a new generation of Moroccan theater and cinema makers has developed.

This article is an edited translation from the Arabic Edition.

Travel Grant‏ in Mediterranean area – Roberto Cimetta Fund for Mobility

Deadline: Every 5 to 6 weeks
Open to: all professionals, artists or cultural operators in all fields of contemporary arts in the Mediterranean
Grant: individual travel grants – arts mobility, travel, meeting with other professionals

The Roberto Cimetta Fund is an international association promoting artistic exchange and the mobility of professionals in the field of contemporary performing arts and visual arts within the Mediterranean area.

In the Mediterranean region, the frontier region between the Arab, European and Turkish worlds, mobility is an historic reality and an absolute necessity today. It is essential to give shape to the concept of « the dialogue between cultures » and to ensure that individuals really meet ; more concretely this means to make financial resources available to facilitate travel, to capitalise on the opportunities for professional gathering, but also to recognise the free circulation of culture professionals as an integral part of their work. These are amongst the objectives of the Roberto Cimetta Fund.

Arts mobility, travel, meeting with other professionals are all aspects of artistic vitality. In a region where artists are often confronted with economically difficult situations, the Roberto Cimetta Fund supports and encourages travel which allows culture professionals to find the opportunities, partners and means to realise personal or collective projects; thus facilitating networking, exchanges of experience and cultural and artistic cooperation.

With the support of a number of partners, the Roberto Cimetta Fund has set up a programme for awarding individual travel grants. These cover travel and visa costs for trips such as attending professional cultural network meetings, workshops, artist’s residences, symposiums etc. The programme is intended to operate simply, flexibly and quickly. Selections are organised regularly (every 5 to 6 weeks).


The Roberto Cimetta Fund organises professional platforms for comparing experience and knowledge on regional artistic issues in the Mediterranean.

If you apply on one of the two priority strands listed below you will have more chance of being successful if your application fits the criteria of these strands. If your project or travel aims do not fit either of these strands then your application will be examined under the general funding line which is multidirectional, transdisciplinary and open to candidacies from all EU countries, all countries around the Mediterranean and Arabian Gulf countries (see list under “travel grant for whom?” section).

Priority strand one
Priority is given to artists and operators coming from or going to the following cities and countries :

* Algeria (Algiers)
* Armenia (Gumri)
* Israel (Haifa)
* Italy (Province of Genova)
* Morocco (Marrakech)
* Palestine (Bethlehem)
* Tunisia (Tunis)

Priority strand two
Priority is given to artists and operators whose travel aims or projects can link into the Marseille-Provence, European capital of culture 2013 events, themes or the region (which encompasses 130 local communities from Arles to Hyères, through St. Remy de Provence and the Pays d’Aix. See MP2013 website for detailed map). If the applicant is travelling from South to South (ie from Maghreb to Near East or vice versa) or from South to East ((ie Balkans to Near East including Turkey, or Maghreb including Egypt and vice versa) then chances of making a successful application are even higher.


The travel grant programme is addressed to all professionals, artists or cultural operators in all fields of contemporary arts in the Mediterranean (the countries on the north shore from Portugal to Turkey, and on the south side from the Near East to the Maghreb). European professionals may apply but only if their project has a strong Mediterranean connection. The Roberto Cimetta Fund travel grants are individual – they are granted to specific individuals and not to organisations. The application must therefore be filled in and sent by the person desiring the grant. A maximum of three applications linked to the same project will be accepted (participants for short term training events, for example), but the selection will be based on the merit of each individual personally: he/she must clearly describe their career path, motivations and personal objectives.
The project must involve one of the following artistic disciplines

  • contemporary performing arts : new theatrical forms, new writing for theatre, dramaturgy, contemporary dance, circus, street performances in situ, puppet theatre and inter-disciplinary projects,
  • visual arts including photography, film, digital arts, video arts
  • literature : especially travel for authors’ meetings, writing workshops, poetry…

The exchange must take place in the Euro-Mediterranean area

  • the 27 countries of the European Union- the Southern and Eastern countries of the Mediterranean: Turkey, Morocco, Tunisia, Egypt, Lebanon, Syria, Jordan, Palestine, Israel, Algeria, Libya
  • Balkan countries that are not members of the EU: Serbia, Albania, FYROM (Macedonia), Bosnia-Herzegovina, Montenegro, Kosovo, Croatia.
  • The countries of the Arabian Gulf (UAE, Saudi Arabia, Kuwait, Yemen, Bahrain, Oman).

Applicants’ profile

  • nationality: the selection committee does not take into account the nationality of the applicants but the country where they live and work (see the list above).
  • age: no age limit, but the selection committee prefers to support professionals who are starting their professional careers and who have not already developed their access to international professional networks.
  • profession: artists (interpreters, creators, teachers, writers), cultural operators (organizers, managers).
  • projects: projects at a professional level.
  • financial means: priority is given to applicants who do not have access to other funds supporting their travel, and to those who are the most artistically and economically isolated.

The applications must be made by an individual
Up to three applicants from the same organization or project can apply for a travel bursary related to the same project, but their applications will be evaluated separately according to their individual professional pathway
The travel grant

RCF will only reimburse one international return travel ticket and visa costs (no reimbursement for local transport costs, registration fees, accommodation, per diem…). The amount reimbursed is the amount you estimate on the application form. You must choose the cheapest way to travel (economy class…).

How to apply?

The request must be written and sent by the individual applicant him/herself and not by an organisation.
The process is quite simple and fast (about one month).

  • to know the date of the coming session in advance, check on webpages www.cimettafund.org or contact the coordinator info@cimettafund.org
  • Use one of the application forms which you will find at the end of this text. The application forms correspond to the priority strands that are indicated in the “priorities” webpage. Use the blue arrow to help you navigate down to the bottom of this text. Just click on the link and download the document. Fill it in carefully and provide the correct and concise information.
  • Fill it in in French or English.
  • Send it by e-mail to grant@cimettafund.org

Required documents

  • the application form, completely filled in
  • If possible an invitation letter from the organisers of this event.


The dates of the sessions of selection are indicated on the site and are subject to change so check regularly.  Late applications won’t be submitted.

Application forms

Click here to download the application form for the RC fund.
Click here to download the application form for strand 1.
Click here to download the application form for strand 2.
The filled form has to be sent to grant@cimettafund.org before the next deadline.

Click here for more information.

Please note that Mladiinfo does not give scholarships or any financial support, but only informs about different opportunities. Click on the direct link to the official page above to apply for the program.

New Plays from the Arab World in NYC


This Week at the Martin E. Segal Theatre Center:

Wednesday, April 28 at 4:00 p.m.:

The Royal Court's Elyse Dodgson and the International Playwrights Program

Please join us for a very special visit and presentation by Elyse Dodgson, Associate Director International for London's renowned Royal Court Theatre. Dodgson will discuss the Royal Court's International Playwrights program, which partners with and encourages the development of playwrights from around the world. Since 1993, theRoyal Court International Playwrights Program (supported by the Genesis Foundation) has fostered creative dialogue between innovative theatre writers and practitioners in countries including Brazil, Cuba, France, Germany, India, Mexico, Nigeria, Palestine, Romania, Russia, Spain, Syria and Uganda. Playwrights mentored by the Program early in their careers include Marius Von Mayenburg (Germany), Juan Mayorga (Spain), Vassily Sigarev (Russia), Rafael Spregelburd (Argentina), Marcos Barbosa (Brazil), and Anupama Chandrasekhar (India), among many others.

Thursday, April 29 at 4:30, 6:30 + 8:00 p.m. and Friday, April 30 at 4:30, 6:30 + 8:00 p.m.:

PEN World Voices: I Come From There– New Plays from the Arab World

A British Council/Royal Court Theatre Project, presented in New York in collaboration with the Martin E. Segal Theatre Center, The Graduate Center, CUNY, with additional support from the Sundance Institute Theatre Program

Join us for full readings of new plays by emerging playwrights from Syria, Lebanon, Morocco, Egypt, and Palestine, all participants in the Royal Court Theatre's International Playwrights Program, plus panel discussions with the visiting playwrights, the British Council, and the Royal Court. Readings directed by Trip Cullman, Kareem Fahmy, Robert O'Hara, Lisa Peterson, and Meiyin Wang. Full schedule and details online at www.theSegalCenter.org, or click here for more information.

Martin E. Segal Theatre Center, The Graduate Center, CUNY 
365 Fifth Ave at 34th St. 
Free! First come, first served.

Spring 2010 International / World Theatre Series also includes: