Gesellschaft für Tanzforschung
Wir schaffen Begegnung!
  • "ZAPP!" My-Way-Ensemble

    Ch: Gabriele Gierz, Foto: Alexandra Heneka

  • Bildergalerie von Veranstaltungen des „Psychotherapeutischen Instituts für Tanztherapie“ in Hamburg.

    Fotograf Wolfgang Unger.

  • Anna Huber "tasten"

    Fotografin: Caroline Minjolle

  • "ZAPP!" My-Way-Ensemble

    Ch: Gabriele Gierz, Foto: Alexandra Heneka

  • Tanzforschung

    Fotograf: Andreas Greber

  • Rekonstruktion von Fremdes Bild (1938) Solo von Maja Lex

    getanzt von C. Ponzelar


Simo Kellokumpu, A dancemat (2018) ©Luca Forcucci


CALL FOR CONTRIBUTIONS to the 2019 yearbook of gtf ( Society for Dance Science)

Tanz der Dinge / Things that dance

ed. Johannes Birringer & Josephine Fenger

Submission deadline: 15 February 2019

Reviewing current dance and performing arts research and a host of publications that address kinetic lives, things that matter, objects that dance or connect into other organisms and assemblages, one gains the impression of a vibrant neomaterial/epistemic turn, a “call of things” in dance which in turn calls for critical reflection. Tanz der Dinge/Things than dance will look into the vibrations of lively materials, reconfigurations of human and inhuman forces, social choreographies and choreographjc objects, animatedness and the agencies of assemblages as a means of thinking about performance experiences and movement potentials across a range of interdisciplinary practices and theoretical discourses. 

The current wave of new materialisms has brought attention to things that move or are moved, “vibrant matter,” physical phenomena, machinic or animated agents and assemblages, the labor of apparatuses and intra-actions between human and nonhuman forces. It has raised awareness of passages in the “political ecology of experience” linking new dance philosophies (Erin Manning/Brian Massumi’s Thought in the Act) with choreographic, theatrical, sonic and media installation practices, and recurrent interests in hybrid material performance and puppetry with political theories (Jane Bennett’s Vibrant Matter: A Political Ecology of Things), ethnographic and social science studies, as well as postcolonial and critical race theories (on the materiality of liquid blackness, for example, and historically specific and located sensorial experience and affect). 

Materiality and myth in dance are subject to a shift in meaning which privileges "epistemic things" (Hans-Jörg Rheinberger, Experimentalsysteme und epistemische Dinge, 2006): before the object is charged with meaning, the inner dynamics of matter defines a new focal point for performance aesthetics. Object oriented, immanent philosophies of art and performance are part of this pressing concern with materials, plasticities, the lives and deaths of entities formerly known as passive objects, inanimate things, inert matter. The synthesis of sound, rhythm, movement and materiality returns us to a conception of choreography that recover collective, symbiotic creativity of ritual dances. Along with the traditional morphology of objects to dance and musical instruments  the examination of danced things and choreographic/musical repurposed objects moves on to factors of artificial intelligence and sensor technologies in current dance aesthetics. Contemporary questions about the agency of objects and the forces of materialization have increasingly blurred the borders modernity had erected between the animate and the inanimate. 

The Karlsruhe Symposium (October 5-7, 2018) dedicated to our theme has been successfully completed. The editors now prepare publication of the annual yearbook of the gtf 2019 (vol. 29) to which you are invited to submit full essays for review. This is an open call; We invite contributions who were not able to participate in the symposium and come from the disciplines of dance and theatre studies, performance and cultural studies, anthropology and social sciences, as well as from fine art, sci-art, sonic art, art history, architecture and film/media studies, as well as practitioners from any of these fields. We are inviting longer essays (from 3,000 to 3,500 words), shorter provocations (800 words) and artist pages (number of pages to be agreed with the editors). You can download information regarding formatting/editing guidelines from the gtf website. Please feel free to contact the editors if you have any questions. We accept contributions in German, English, French, Italian and Spanish languages. 




Proposals and first drafts: 15 February 2019 / Final drafts: May 15, 2019

Publication: September 2019

Abstracts and completed essays to: /