Category Archives: Journal

Publication; This Is Where We Dance Now: Covid-19 and the New and Next in Dance Onscreen

Cover photo by Elena Benthaus, used with permission. Cover design by Regina Harlig.

We are thrilled to announce the publication of The International Journal of Screendance vol. 12, This Is Where We Dance Now: Covid-19 and the New and Next in Dance Onscreen, at https://doi.org/10.18061/ijsd.v12i0.

As always, the issue is free to download.

This journal special issue arose in part to document and account for how amateur, artistic, and academic communities pivoted to reimagine what it means to practice dance and screendance under what for most of us were unprecedented circumstances, when all dance became screendance. A running theme of this issue is how well our existing understandings of screendance—and indeed of our world as a whole—held up under the pressures of a heavily mediated and mediatized pandemic. The intense and collective (though not universal) turn to screendance and to the internet has revealed and accelerated extant politics, platforms, norms, and genres in dance, while also opening up space to reconsider the values attached to each of these. This journal has always maintained the position that screendance encompasses more than dance film, and this issue reflects a renewed insistence that there is something both useful and urgent about gathering together the various projects of dance onscreen and considering them alongside each other.

We are very excited to have contributors writing from five continents, with articles by L. Archer Porter, Francesca Ferrer-Best, Hetty Blades, Claire Loussouarn, Siobhan Murphy, Callum Anderson, Dara Milovanovic, and Kate Mattingly and Tria Blu Wakpa. Provocations and Viewpoints were contributed by Elisa Frasson, Marisa C. Hayes, Marco Longo, Ariadne Mikou, and Katja Vaghi; Catherine Cabeen; Kathryn Logan; Maïko Le Lay; Sandhiya Kalyanasundaram; Elena Benthaus; Rebecca Salzer; Melissa Blanco Borelly and madison moore; Sumedha Bhattacharyya; Diane Busuttil; and Omari ‘Motion’ Carter. The issue also includes Interviews between Laura Vriend and Nichole Canuso, and Tsiambwom Akuchu and Alexandra Harlig, and a review by Jo Cork.

This issue introduces roundtables as a print format, featuring edited and condensed forms of the three roundtables presented at our March symposium: TikTok and Short-form Screendance, Screendance Festivals and Online Audiences, and The Future of Screendance. Additionally, full-length videos are available on both the journal and conference websites.

The editors Harmony Bench and Alexandra Harlig.

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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”  extended to 30 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“: extended to 30 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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What issues or questions would you like IJSD take up?

On Saturday 20 March 2021 the founding members of what was the AHRC Screendance Network and which expanded to become the Editorial Board of the IJSD invited Ohio State University symposium participants to discuss the future direction of the journal. After ten years of steering the journal this seemed to be a good moment for a review and for a wider consultation with our stakeholders. In preparation for the discussion, participants posted useful questions and suggestions on the symposium jam board, included below.

If you have any other suggestions or comments, please feel free to reply here or email the members of the Editorial Board.

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This Is Where We Dance Now: Covid-19 and the New and Next in Dance Onscreen

This Is Where We Dance Now: Covid-19 and the New and Next in Dance Onscreen is a symposium happening over two weekends—March 12-13 and March 19-20, convened by Harmony Bench and Alexandra Harlig at Ohio State University, US. The symposium will have focused roundtables on TikTok, screendance festivals, and the future of the field, as well as paper presentations and lightning talks. We’ll also have an opportunity for attendees to talk with the editorial board for The International Journal of Screendance and share thoughts and ideas about future directions.

Please see the full schedule and presenter bios at https://u.osu.edu/thisiswherewedancenow/symposium-schedule/

The symposium is free, but everyone must register at https://osu.zoom.us/meeting/register/tJwvcuuhqD4vGNSHPPn2Np_c2d9nwJ3jEoCO. This will generate an email with a link and password to join; there is one Zoom link for the entire symposium.

We will continue to update the website with more information. We will also be on social media with the hashtag #WhereWeDanceNow.

We’re really looking forward to this event, and hope you are too. Please share.

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IJSD, Volume 11

Cover image: detail from Anarchitextures by Ariadne Mikou

From the Editorial: This issue marks the 10th anniversary of the International Journal of Screendance. Our first journal appeared in the Spring of 2010 and was entitled “Screendance has not yet been invented.” It both looked at historical precedents and contested limited definitions of ‘screens’ or ‘dance’, opening a space for the discussion of past, present and future thoughts that might shape this field of practice. The title of our second issue, “Scaffolding the Medium” gave a clear sense of purpose as a publication, to create, or make visible, structures that support screendance practice. Each issue since has defined its own parameters and established its own identity: alongside the desire to scaffold, lives the desire to shake things up. (…)

TABLE OF CONTENTS
Editorial: Expanded Screendance
– Kyra Norman, Marisa Zanotti
ARTICLES
Screendance Narratives from around the Mediterranean Sea
– Ariadne Mikou
Witness: a response to Marlene Millar’s Witness
– Anna Macdonald
Reflections on Regards Hybrides, an International Forum (2019, Second Edition)
– Douglas Rosenberg
Evolving the field: Interviews with Naomi Macalalad Bragin and Cara Hagan
– Douglas Rosenberg
Walking in the light: reflections on screendance in a time of pandemic
– Katrina McPherson
Animating the Real: Illusions, Musicality and the Live Dancing Body
– Jo Read
Navigating Hyperrealities: Tamil Film (Kollywood) Choreography as Screen Dance
– Sandhiya Kalyanasundaram
BOOK, FILM, AND EVENT REVIEWS
Review: Perpetual Motion: Dance, Digital Cultures, and the Common by Harmony Bench (2020)
– Jaleea Price

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Cultural Compensation Won’t Sustain Anti-racism

I would like to share this podcast from a series called Convergence, an “ongoing series of critical conversations, screenings and written commissions, facilitated by the South London Gallery (SLG) and curated and hosted by invited guests.”

In Convergence: Cultural Compensation Won’t Sustain Anti-racism, Dr Clive James Nwonka, London School of Economics Fellow in Film Studies, Lanre Bakare, arts and culture correspondent at the Guardian, broadcaster journalist and filmmaker Bidisha, and Dr Francesca Sobande from Cardiff University, talk about how the arts and art institutions can go beyond tokenism to ensure longterm, structural change.

I found it very useful to hear the reflections on the current cultural and institutional responses to BLM in the UK. The speakers also propose, what needs to be done to get beyond words and beyond single interventions.

This is highly relevant for the International Journal of Screendance, as a large part – although not all! – of the published discourse has so far been white, written from white perspectives. We need structural change in order to bring on board more diverse voices, and the situation is doubly difficult in that much of this discourse is developed and sustained by people who have salaries from universities in the Anglosphere, thereby drawing on a predominantly white community of post holders who can just about afford the time and who can also benefit from this labour in terms of their academic careers.

If the journal has been a useful catalyst in the first ten years of its life, it now needs structural change in order to continue to push and pull, challenge and provoke. For more on this look out for the editorial and the 11th Volume of the IJSD, edited by Kyra Norman and Marisa Zanotti, just hot of the press!

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IJSD v. 9 Screening the Skin published

We are thrilled to announce the publication of Screening the Skin: Issues of Race and Nation in Screendance, Volume 9 of The International Journal of Screendance. Guest editors Melissa Blanco Borelli and Raquel Monroe have gathered together a wonderful group of artists and scholars for this issue. Their editorial precedes the following articles, provocations, interviews, and reviews, available online in both PDF and HTML formats:

Intimate Visualities: Intimacy as Social Critique and Radical Possibility in Kyle Abraham and Carrie Schneider’s Dance Response Project’s I am Sold and Blood on the Leaves, by Stephanie Leigh Batiste

Dis/Orientation: Rhythmic Bodies and Corporeal Orature in The Fits, by Elena Benthaus

“Fresher Than You”: Commercial Use of YouTube-Native Dance and Videographic Techniques, by Alex Harlig

Scratching the Surface of Spectacle: Black Hypermasculinity and the Television Talent Show, by Laura Robinson

Magic Mike, Dirty Dancing, and the (Empty) Promise of Heteromasculinity, by Addie Tsai

Choreographing “ChinAfrica” through Transnational Encounter, by Jingqiu Guan

Curatorial Practices for Intersectional Programming, by Cara Hagan

Narrative Shifts: Race, Culture, and the Production of Screendance, by Marcus White

Danced Out: When Passing for Almost Straight Is Not Enough, by Mark Broomfield

A Conversation with Abbey, by Michael Sakamoto and Angella Betina Carlos

Bodies in Confined Sites, or, ‘When You Go Out, Let Them Know That We Are Not Monsters’, by Ariadne Mikou

We thank and congratulate the guest editors and contributors for their hard work. We invite you to spend time with the newest issue, browse older issues, submit to our next issue, and to share IJSD with colleagues and students. IJSD is an open-access journal, and we thank The Ohio State University Libraries for supporting this enterprise. We additionally thank the Centre for Dance Research (C-DaRE) at Coventry University for their ongoing support.

With best wishes,
Harmony Bench and Simon Ellis
Editors of The International Journal of Screendance

new licensing for International Journal of Screendance

We are thrilled to announce that from Volume 9 of the International Journal of Screendance will be published under a Creative Commons Attribution license (CC BY). This move formalizes what has been the informal practice and ethos of IJSD since its inception: we believe that authors should be able to widely share their own final, published work (i.e. not pre-prints) without having to pay for open access, and that audiences everywhere should be able to read this work free of charge. While authors will retain copyright ownership of their work, this Creative Commons license will allow readers to print, share, re-post, and republish IJSD articles, without asking for permission, as long as the work is properly attributed to authors.

You can read more about the license here: https://creativecommons.org/licenses/by/4.0
or view the full legal text here: https://creativecommons.org/licenses/by/4.0/legalcode

– Harmony Bench and Simon Ellis (co-editors, IJSD)

 

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International Journal of Screendance Volume 10: “Screendance Now” open call for papers

 

This is an open call for submissions to Volume 10 of the International Journal of Screendance: http://screendancejournal.org.

The past several years have witnessed the growth and consolidation of screendance studies as a scholarly field, while the creative practices at the intersection of dance and screen continue to proliferate, change, and challenge. The first volume of IJSD asserted with the provocation that “Screendance has not yet been invented.” Volume 10 of IJSD presents an opportunity to reflect on screendance now. Where do we find ourselves as a field? How do audiences currently engage with dance onscreen? On what tools and resources do artists rely? What pressing questions and concerns are on our collective horizon, and what are the lingering issues that have not been fully addressed?

We invite contributions related to all aspects of screendance production, curation, reception, history, and analysis in the forms of scholarly research (articles), interviews, reviews, provocations and viewpoints, and visual essays. We invite contributions that address dance film and festivals, dance in global popular cinemas and television, dance in social media, installation and digital dance, dance games, and any other possible combination of dance and screen. We particularly welcome contributions from emerging scholars, and from artists and scholars working outside the United States and United Kingdom.

The focus of IJSD is to support and nurture cross-disciplinary writing on screendance by developing ideas and debates at the intersection of film, dance, visual arts, and media arts. Contributions to IJSD will expand and critique contemporary notions of screen-based images and changing choreographic practices, and engage with theories and philosophies from interdisciplinary fields.

Schedule:

  • Submission Deadline: 1 August 2018
  • Publication Date: April 2019

For enquiries please email the International Journal of Screendance editors Harmony Bench bench.9@osu.edu and Simon Ellis skellis.info@protonmail.com

Further information

  • 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 our review process, 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 editors for additional direction.
  • Authors must register with IJSD at http://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 – http://screendancejournal.org/about/submissions#authorGuidelines – to correctly format your document.
  • Example article (to help with formatting and style guide questions): http://dx.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.
  • The International Journal of Screendance 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 under a Creative Commons Attribution license (CC BY). You can read more about the license here: https://creativecommons.org/licenses/by/4.0/
    or view the full legal text here: https://creativecommons.org/licenses/by/4.0/legalcode
    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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volume 9 call for papers: screening the skin

Screening the Skin: Issues of Race and Nation in Screendance

Guest editors: Melissa Blanco Borelli (Royal Holloway University of London) and Raquel Monroe (Columbia College, Chicago)

This is a call for papers for volume 9 of the International Journal of Screendance. The theme for this volume will interrogate the assumption that the screen is a white space. In similar fashion to Richard Dyer’s work on whiteness, screens and filmic representation, we are interested in questioning the ‘space’ of the screen as one that constructs particular raced imaginaries, yet one that is predominantly imagined as ‘white.’ Just as the art world is questioning the idea of the “white cube” and the gallery space, we would like to find alternative modes and voices for engaging with the idea of a white screen. We would like to receive contributions that showcase a broad range of ideas on how race intersects with screendance, philosophies, aesthetics, mediation, and notions of subjectivity and the artist.

We envision contributions to be centered around the practice and mediation of dance via the screen. Contributors might choose to speak about video artists, practices, media circulation of viral videos, racialized/affective communities as they manifest on screens on the Internets, Holly/Bolly/Nollywood casting and representation practices, screendance festivals, and historiographies of screendance.

Other topics could include:

  • Discourses of decolonizing aesthetics
  • Issues of citizenship, migration, and national identity
  • Intersections of race with gender, sexuality, class, ability, and more
  • The gallery or other spaces of display and presentation
  • Circulation, consumption and commodification of identities and aesthetics

Schedule:

  • Submission Deadline: Friday 1 September 2017
  • Publication Date: April/May 2018 following the peer-review and editorial process

For enquiries regarding this volume please email the IJSD guest editors Melissa Blanco Borelli (melissa.blanco@rhul.ac.uk) and Raquel Monroe (rmonroe@colum.edu).

For general inquiries regarding IJSD please email the editors Harmony Bench (bench.9@osu.edu) and Simon Ellis (simonkellis@gmail.com).

Previous issues of the IJSD are available at www.screendancejournal.org.

Further information

  • Scholarly articles (3500–6000 words) are peer-reviewed in a fully anonymous process. All other contributions will be reviewed by the editorial board: http://screendancejournal.org/about/editorialTeam. 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 editors for additional direction.
  • Authors must register with IJSD at http://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 – http://screendancejournal.org/about/submissions#authorGuidelines – to correctly format your document.
  • Example article (to help with formatting and style guide questions): http://dx.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: http://screendancejournal.org/about/editorialPolicies#sectionPolicies for more information.
  • The International Journal of Screendance is published via the Open Journal System: https://pkp.sfu.ca/ojs/.
  • 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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