Volume 5

• Selina Busby, The Royal Central School of Speech and Drama, UK
• Amy Cordileone, New York University, USA
• Ashley Hamilton, University of Denver, USA
• Norifumi Hida, Toho Gakuen College of Drama and Music, Japan
• Byoung-joo Kim, Seoul National University of Education, South Korea
• David Montgomery, New York University, USA
• Ross Prior, University of Wolverhampton, UK
• Daphnie Sicre, Borough of Manhattan Community College, USA
• Prudence Wales, National Institute of Education, Singapore
• James Webb, New York University, USA

ISSN: 1552-5236

ARTSPRAXIS provides a platform for contributors to interrogate why the arts matter and how the arts can be persuasively argued for in a range of domains. The pressing issues which face the arts in society will be deconstructed. Contributors are encouraged to write in a friendly and accessible manner appropriate to a wide readership. Nonetheless, contributions should be informed and scholarly, and must demonstrate the author’s knowledge of the material being discussed. Clear compelling arguments are preferred, arguments which are logically and comprehensively supported by the appropriate literature. Authors are encouraged to articulate how their research design best fits the question (s) being examined. Research design includes the full range of quantitative-qualitative methods, including arts-based inquiry; case study, narrative and ethnography; historical and autobiographical; experimental and quasi-experimental analysis; survey and correlation research. Articles which push the boundaries of research design and those which encourage innovative methods of presenting findings are encouraged.

ARTSPRAXIS Volume 5, Issue 2 reflects on and responds to the issues raised during The NYU Forum on Performance as Activism (2018). This forum was part of an ongoing series NYU is hosting on significant issues that impact on the broad field of educational and applied theatre. Previous forums have been dedicated to ethnodrama (2017), educational theatre (2016), site-specific theatre (2015), teaching artistry (2014 and 2005), developing new work for the theatre (2013), theatre for young audiences (2012), theatre for public health (2011), citizenship and applied theatre (2010), theatre pedagogy (2009), Shakespeare (2008), drama across the curriculum and beyond (2007), ethnotheatre and theatre for social justice (2006), and assessment in arts education (2003).

The NYU Forum on Performance as Activism invited the global community to propose workshops, papers, posters, narratives, and performances to investigate how notions of performance as activism intersect, inform, and collide. Theatre and performance artists, scholars, and teachers were invited to come together to share ideas, vocabularies, strategies, and techniques, centered on the varying definitions and practices of performance as activism.

Key questions the Forum addressed included:

• How is activism defined and/or redefined in 2018?
• How can performance be used to spark dialogue and engage classrooms and communities in critical exchange?
• How can performance be used powerfully and effectively to promote social change?
• How do artists and educators present performance material that is inspirational and aesthetically driven while also having an enduring cultural influence?

Contributions were not limited to participants in the Forum. We encouraged article submissions from interdisciplinary artists and scholars across the many fields engaged in performance as activism. Our goals were to motivate a dialogue among a wide variety of practitioners and researchers that would encourage the transformative power of performance as activism.

Editorial correspondence should be addressed to Jonathan P. Jones, New York University, Program in Educational Theatre, Pless Hall, 82 Washington Square East, Rm 223, New York, NY 10003, USA.

Call for Papers

Papers were no longer than 4,000 words, accompanied by a 200 word abstract and 100 word biographies for the author(s), and conformed to APA style manual.

Reviewing Procedures

Each article was sent to two peer reviewers. They provided advice on the following:

• Whether the article should be published with no revisions/with revisions.
• The contribution the article makes to the arts community.
• Specific recommendations to the author about improving the article.
• Other publishing outlets if the article is considered unacceptable.

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