Call for Papers for Volume 13, due out in 2022

Volume 12 of the International Journal of Screendance is about to be published and meanwhile we are inviting two types of submission for the next issue, Volume 13:

  • Papers that respond to the theme, Choreographing the Archive, as proposed by guest editors Marisa C. Hayes and Luisa Lazzaro (further details below)
  • Papers presented as an open submission, on any topic of relevance in the context of an international, artist-led journal exploring the field of screendance, edited by Kyra Norman

Introduction

The International Journal of Screendance is an international, artist-led journal exploring the field of Screendance.  It is the first-ever scholarly journal wholly dedicated to this growing area of worldwide interdisciplinary practice.  Since our first publication in 2010, an annual volume has brought together emerging and established voices in the field – and from a range of areas with which this hybrid form intersects – to stimulate ongoing debate and discourse.  https://screendancejournal.org

Some previous volumes have been themed around a particular artist, topic or proposition, for example the work of Maya Deren; notions of communities in screendance practice; or the impact of Covid19 on our field, in our forthcoming volume This Is Where We Dance Now: Covid-19 and the New and Next in Dance Onscreen.  Other volumes have resulted from open calls for submissions: the range of contributions indicating something of the questions being asked of and through screendance in that moment.  For Volume 13 we will combine these approaches, and in 2022 our publication will provide space for articles responding to an open call, alongside articles addressing the theme Choreographing the Archive.

Choreographing the Archive: Interfaces Between Screendance & Archival Film Practices

Archival footage represents a broad scope of moving images, including amateur films & family archives, educational films, advertisements, newsreels, documentary and feature films. Whether randomly happening upon “found footage” or actively researching film collections, screendance artists have created a growing number of films that incorporate the use of archival footage. David Hinton and Siobhan Davies’ collaboration All This Can Happen has become exemplary of how archival footage can be reimagined and composed as choreographic material for the screen, following Hinton’s collaborations with Rosemary Lee (Snow, 2003) and Yolande Snaith (Birds, 2000). Miranda Pennell has been instrumental in applying and developing a performative approach to archive (The Host 2016, Gestures of Love and Violence 2013, Why Colonnel Bunny was killed 2010) that also expands ideas of choreography and performance with still images and archival footage. In the visual arts and film an extensive body of archive-based project has emerged throughout the 20th century with the appropriation of existing visual material, and the rise of appropriation art in the 1980s.

Archival footage presents an opportunity to highlight temporal shifts between past and present. The original context may be eschewed entirely in favor of creating a fictional framework. For many, the process of identifying choreographic material within archival images resonates strongly with recent studies in media archaeology. Using this approach, lost, forgotten, and found material is analysed through its resurgence, historical context and communicative style. This process leads to observations and questions about the ethical, aesthetic, curatorial and ontological implications entwined within archive footage. For this journal issue, the hybrid nature of screendance may allow for new explorations in relation to archival footage to emerge and the issue aims to provide an opportunity for researchers, practitioners, and curators to present new ideas about the archive in screendance. How do works of screendance that use archival/found footage challenge definitions of dance, compositional methods, and the way we envision movement on screen? Areas of interest for this call include but are not limited to:

  • Expanded choreography practices through identification and editing of found/archival footage
  • Media archaeology and screendance
  • Relationships of ontology, authenticity, and reinvention in archival footage
  • Interface between concepts of found footage and found choreography
  • Ethics of working with found & archival footage in screendance
  • Approaches to curating found and archival footage at screendance events
  • Family and Autoethnography
  • Shifting historicities and temporalities
  • Interface between old technologies and new technologies
  • Performative approaches to archival footage and/or archive photographs

Please note, as volume 7 of The International Journal of Screendance is dedicated to David Hinton and Siobhan Davies film All This Can Happen,the guest editors will favor submissions that discuss other films and artists working with archival images in screendance. References to All This Can Happen are fine but should not be the sole focus of submission proposals.

Schedule for themed submissions:

  • Preferred but not required: Expression of interest and short proposal sent to marisa@videodansebourgogne.com & luisa.studiosei@gmail.com  with the subject line “Choreographing the Archive: Interfaces Between Screendance & Archival Film Practices”  1 July 2021
  • Preliminary submission deadline on journal platform: 1 October 2021
  • Publication date: May/ June 2022

For enquiries relating to themed submissions, please email the IJSD guest editors Marisa C. Hayes and Luisa Lazzaro: marisa@videodansebourgogne.com & luisa.studiosei@gmail.com

Schedule for open submissions:

  • Preferred but not required: expression of interest and short proposal sent to kyra.norman@gmail.com with the subject line “IJSD Open Call“: 1 July 2021
  • Preliminary submission deadline on journal platform: 1 October 2021
  • Publication date: May/June 2022

For enquiries regarding open submissions please email the IJSD editor Kyra Norman at kyra.norman@gmail.com

Further information about the International Journal of Screendance submission process

  • Scholarly articles (3500–6000 words) are peer-reviewed in a fully anonymous process. All other contributions will be reviewed by the editorial board. We are also interested in publishing Interviews (2000–3000 words), Reviews of books, films, or events (750–1000 words) and Provocations and Viewpoints (750–1000 words). For the purposes of review, please indicate which of the above categories best characterizes your contribution.
  • If you are interested in submitting a contribution that does not fall into the above categories, please contact the editor for additional direction.
  • Authors must register with IJSD at https://screendancejournal.org/ in order to upload submissions. All submissions should be uploaded by authors in .docx or .rtf format.
  • Please use the IJSD style guide – https://screendancejournal.org/about/submissions#authorGuidelines – to correctly format your document.
  • Example article (to help with formatting and style guide questions): https://doi.org/10.18061/ijsd.v5i0.4423
  • Publications in all sections are indexed, but only scholarly articles are peer-reviewed. Please see IJSD’s Editorial Policies for more information.
  • IJSD is published via the Open Journal System.
  • IJSD is published in English and uses American spelling and punctuation.
  • IJSD is published as PDF and HTML files and is fully open access. We serve the screendance field as a whole; therefore, there are no fees for submission, processing, publication, or access to IJSD.
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