CFP: Dance Chronicle Special Issue

Kinetic, Mobile, and Modern: Dance and the Visual Arts

Dance ChronicleEver since Degas’s dancers twisted and reached their bodies through codified regimens of movement practice and everyday studio rituals, the intimate relation between dance and the visual arts has entered into discussions of modernism. The mysteries of motion in dance have challenged visual artists to create new forms: Toulouse-Lautrec’s Moulin Rouge performers seem to bend space with their very movements; and Matisse’s cut-outs of dancers and other subjects seem to transcend their materiality by literally detaching themselves from the page. Dancers, in turn, have pushed the boundaries of their art form to respond to theories and currents in the visual arts. Yvonne Rainer’s post-modernist manifesto, “The Mind Is a Muscle,” propounds that dancers ought to apply the minimalist tendencies of contemporary sculpture to dance to chart new territory, and she did just that in her choreography The Mind Is a Muscle, Trio A.

With this in mind, we invite research manuscript submissions for a special issue of Dance Chronicle on the theme of “Kinetic, Mobile, and Modern: Dance and the Visual Arts,” to be edited by Joellen A. Meglin and Lynn Matluck Brooks. We want to explore the ways in which dance and the visual arts have intersected, converged, dialogued, and propelled one another forward, whether through felicitous collaboration or the unique visuo-spatial talent of an individual. Below we list just some of the examples of topics that spring to mind.

  • How have various art movements, such as Cubism, Expressionism, Vorticism, Biomorphism,etc., influenced or been influenced by dance?
  • How has the changing sense of what exactly constitutes the stage or performance space contributed to the changing architecture of movement?
  • How have dancers partaken of objects, materials, or environments, and/or objects, materials, or environments partaken of dancers in evolving designs that emerge as the performance progresses or time lapses (e.g., Kei Takei, Shen Wei, Eiko & Koma)?
  • In what ways have certain 20th-century forms, such as mobile, kinetic sculpture, and audio-kinetic art, been driven by or related to dance (e.g., George Rhoads’s Forty-Second-Street Ballroom)?
  • How have African-American and Latino forms of social dancing and street dancing inspired visual artists and vice versa?
  • How have collaborations across media inspired artists/performers to reinvent the art/performance forms they practice?
  • How have certain artists (e.g., Oskar Schlemmer) fused dance and design to challenge our notions of what constitutes the body?

Submission Instructions

All manuscripts will receive double-blind peer review. Submissions will be accepted at any time before December 31, 2016. Manuscripts should be submitted electronically at

All inquiries can be sent to Joellen Meglin at

Editorial information

  • Editor: Joellen A. Meglin, Temple University
  • Editor: Lynn Matluck Brooks, Franklin & Marshall College

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