CONVOCATORIA DOSSIER

KAYLLA N°3

Staging Temporalities: Generating Alternative Worlds and Knowledges through Body and Sound

Guest editors: PhD Leticia Robles-Moreno (Muhlenberg College, EE. UU.) and PhD Sandra Bonomini (Universidade Federal do Estado do Rio de Janeiro, Brazil).

Deadline: June 15, 2024 (EXTENDED)

Through their diverse expressions, shapes, angles, and aesthetic-politics, performance practices articulate two powerful gestures: they transform the space that harbors the staged action, and they put the quotidian time on hold. From theatre plays to artivist demonstrations in public spaces, live performing arts negotiate with theatre buildings, auditoriums, parks, coffee shops, or great avenues - all spaces that carry their own histories. Moreover, these negotiations between those who create and the spaces where they create generate a dialogue between the presentness of the action, history, and memory, thus opening paths towards the possible futures that the performing arts allow to (re)imagine. The confluence between live performing arts, the diversity of the subjects that shape them, and the semantic value of the space that hosts them, is the site of emergence of new forms of production of alternative knowledge and doings. In turn, these confluences generate multiple temporalities, simultaneously in flux between what has happened, the present, and what is about to happen.  

             This Dossier focuses on performing projects that generate alternative space-time, thus questioning the linearity of expectations such as “productivity,” “progress,” “multitasking,” “ubiquity,” and “maximization” of a 24/7 lifestyle, imposed by capitalistic, neoliberal, and extractivist systems that have expanded throughout Latin America.  We are interested in the role of the material, the corporeal, and the sonority as axis of production of ways of being, doing, thinking, and feeling that invite us to imagine different worlds. We ask, to what extent live performing arts can offer a different way to relate with our surroundings, as well as with natural territories, especially the ones that are ecologically endangered? How can sonority transport us to a space-time where pause, melodic juxtaposition, and even silence, reveal the artificiality and Westernization of a linear space-time whose only horizon is the future? How are these alternative forms of resistance and re-existence in Latin American contemporaneity, hemispherically and globally?  

            We want to dialogue with work that explores the role of live performing arts as foci of political imagination, acknowledging, in particular, the routes already shown since ancestral times through the knowledges and practices of Latin American originary cultures. We are inspired by Silvia Rivera Cusicanqui’s intercultural and interdisciplinary decolonial dialogues, as well as by Leda Martins’s research on orality, corporality, and curved and spiral temporalities in dialogue with afro-descendent cultures.  Within these contexts, we want to collectively think what it means to create in a world in crisis and difficult to inhabit; a world that demands to be transformed as a way of fighting; a world where occupation, then, becomes an insistent willingness, and a revolutionary force.  

            Kaylla receives scholarly writing, theoretical essays, artistic essays, translations, memoirs, bibliographical and performance reviews, in Spanish, Portugues, and English. 

 

THEMATIC FOCUS

This Dossier welcomes pieces that work “with and against” writing, as articulated by José Muñoz, where the text can reveal the creative tensions that emerge from the encounter between body and sound’s multidimensionality, and the written word’s linearity. These themes can include:

> Academic and artistic explorations that consider themselves as alternative modes of doing and thinking.

> Academic, artistic, and artivist analyses of performing practices, corporeal and sonic, that can generate space-time alternatives.
> Reflections about the notion/practice of “anti-” (anti-neoliberalism, anti-extractivism, anti-colonial), that invite to question hegemonic models of thinking and action.
> Dialogues with originary cultures that highlight the transmission of knowledges, identity, and memory.
> Two-way or three-way co-authorship work that can offer fresh perspectives about the relationship between writing and performing.
> Discussions about different ways to inhabit space-time, through notions/practices such as border, exile, transition, pause, silence, etc.

Deadline: June 15, 2024 (EXTENDED)

Publication date: November 15, 2024

Submissions: kaylla@pucp.edu.pe / https://bit.ly/Kaylla_Envio

Guidelines for authors: https://bit.ly/Kaylla_NormasAutores

 

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PERMANENT CALL FOR PAPERS

FLUJO CONTINUO SECTION

 

We have a permanent Call for Papers on topics such as performance, theater, dance, music, scenic creation and production, as well as inter, multi and transdisciplinary intersections. These papers will be considered for evaluation and publication considering the date of submission by the authors.

Manuscripts submitted and accepted to this permanent Call for Papers will be published on the Flujo Continuo section of the journal.

Read more on our permanent Call for Papers here:  https://bit.ly/Kaylla_Convocatorias

 

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PAST CALL FOR PAPERS

Dossier Kaylla N°2: Scenic practices, scenes of equality and worlds in common

Editors: Fwala-lo Marin and Leticia Paz Sena (Universidad Nacional de Córdoba, Argentina)

Deadline (extended): June 1, 2023

In the territory of performing arts, it is possible to recognize experiences whose creative dynamics and compositional strategies display political potentialities: explorations of ways of being together, inventions of possible worlds, and compromises for the common. The moments in which these practices and processes interrupt neoliberal subjectivity –that which imposes an economic logic of efficiency and competition on all spheres of life– can be studied on the basis of the configuration of what Jacques Rancière calls scenes of equality in Proletarian Nights: The Workers' Dream in Nineteenth-Century France. This category of Rancière's ideas makes it possible to observe instances in which the given order is suspended and the logics of the visible, the decipherable and the thinkable are transformed, which could be understood as rehearsals of other possible worlds.

This dossier invites us to critically approach performing arts practices as possibilities for the construction of other worlds, sensibilities, and ways of inhabiting the common. How do creative processes or artistic education practices challenge equality and inequality in the distribution of roles, in the relationship with spectators and communities? How do creative processes in which hierarchical relations are put in tension problematize the ways in which power is produced and distributed? How do works and creation in performing arts fracture the usual allocation of the word and rework the narratives of the world? Through which ethical and aesthetic stakes does artistic practice strengthen its political character and reconfigure views on the common?

We are seeking works that study or self-examine stage practices of artists, educators, groups, managers or communities whose work logics expand the possibilities of creation through different strategies: explorations of the collective, experimentation of languages, alternative ways of constructing archives, questioning hierarchies and role specificity, among others.

The inquiry that focuses on artistic practices and processes allows for a deep understanding of production, its participants and the conceptions that guide their work. Within this framework, the contributions of artist-researchers, due to their particular link between creation and thought, strengthen, and broaden both the questions and the methodological paths for researching from, about or for art.

In this dossier, Kaylla will receive research papers, theoretical essays, translations, memoirs, bibliographical and performance reviews in Spanish, English and Portuguese.

 

THEMATIC FOCUS

The dossier will receive writings that articulate theory and practice, reviews of processes or critical reflections on the possibility of transforming the world of the possible from:

• Modes of the collective in creative processes (particularities from the direction, interpretation, composition, acting, etc.), scenic works, educational experiences, community projects.
• Creative processes: questioning the roles of creation, hierarchies, the enunciation of the collective or individual word, its context of production and the experience that crosses them.
• Formations and poetics of acting, performance and stage interpretation.
• Aesthetic and political proposals in the performing arts.
• Methodologies for researching artistic processes: challenges of approaching one's own practice or observing ephemeral experiences.
• Writings, archives and forms of pervasiveness in scenic practices.

 

Deadline:  May 15, 2023 - CLOSED

Publication date: November 15, 2023

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Dossier Kaylla N°1: Performing Arts to create dialogue during times of crises

 Editors: Mg. Rodrigo Benza Guerra, Mg. Lucero Caroll Medina Hu, Mg. Aurelio Efraín Tello Malpartida (Pontificia Universidad Católica del Perú).

Deadline: July 1^st, 2022

 In a world marked by ideological polarization and war, the scenarios of political, economic, and social crisis are constant, and their scope in daily life pierce our ways of coexistence. In Peru, within the framework of the commemorations of the bicentenary of independence, the promise of a nation guided by ways of justice and dialogue is far from fulfilled. We live in fragmentation, inertia, and disenchantment. In response to this, there are performing art experiences that focuses on generating spaces for dialogue and discussion to overcome conflict. Stage productions, research-creation projects, pedagogical proposals in performing arts, projects in community settings, artivism experiences, amongst others, propose alternative ways of feeling, thinking, and living.

Thus, we ask ourselves: How can performing arts help getting through crises together? How can its poetics and aesthetics contribute to break dichotomies and to generate dialogue for the common good? How are these experiences embodied by the individual and collective bodies of performing artists and audiences?

We invite artists and researchers to share their thoughts on creation processes, plays, and contexts in which performing arts can contribute with dialogue and its facilitation. These can stem from approaches such as interculturality, community, applied performing arts or plays that, through their topics or treatment, question spectators.

In this inaugural thematic dossier, Kaylla will receive research papers, theoretical essays, translations, memoirs, bibliographical and performance reviews in Spanish, English and Portuguese.

 

THEMATIC FOCUS

Products, processes, or reflections fostering or proposing discussion and dialogue coming from or about performing arts in crisis contexts. These may be:

• Performing art creation
• Research-creation projects
• Pedagogical propositions
• Community projects
• Artivism experiences
• Poetics and aesthetics

Deadline (extended to): Juy 1^st, 2022 - CLOSED

Publication date: November 15^th, 2022