Since its inception in 1990, the Performance Journal has fostered the evolution of written and graphic languages that contemplate current issues of dance and performance. Created by and for artists via a magazine format, the Performance Journal provides a unique forum for critical rigor and a multi-disciplinary readership. Writings are specifically linked to events, artists, trends, and ideas associated with the current and upcoming performance season in New York, across the country, and abroad. The Performance Journal focuses on artists' of-the-moment concerns, with past topics including gender, environments, identity, technology, activism, dance writing and, most recently, explorations of the ways in which contemporary dance negotiates with the larger cultural landscape.

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Published one–two times annually, the PJ is distributed free in NYC at many local organizations and institutions related to dance and performance art. For delivery to your home or organization, become a subscriber today.

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Issues 3, 32, 40, 41, 43, 44, 46, 47, & 48 are currently available for bulk order.

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A full in-print set includes issues # 3, 5, 14, 15, 19, 20, 22, 26, 32-34, 38, 40-44, 46-50, and 52/53. The set costs $60 for individuals and $200 for institutions. Shipping & Handling in the US and Canada costs $15, while Shipping & Handling internationally costs $50.

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PDF Excerpts Available for Download:

From MRPJ #45: On Performing Donelle Woolford
From MRPJ #44: Past Present Future

Issue #52/53

Movement Research announces Issue 52/53 of its print publication, the Movement Research Performance Journal. For this issue, Sovereign Movements: Native Dance and Performance, guest editor, choreographer Rosy Simas invited writer, Ahimsa Timoteo Bodhrán, to work with her. Together they assembled contributors from Native and Indigenous communities to reflect upon their practices, the historical conditions out of which they operate as well as movement, performance, and choreography as a socio-political project. Just as it is important for physical institutions to acknowledge that they sit upon occupied land of Native and Indigenous people, so too must institutions of history, practice, and epistemology acknowledge their occupation of knowledge and memory.

Throughout this issue, dance and movement is posited as a powerful strategy against settler-colonial mindsets and as an effective tool against erasure of Native and Indigenous cultural traditions. These pages discuss the importance of Native sovereignty and analyze various histories of resistance to settler-colonialism. Artists in the issue propose alternative artistic models to probe the roles of art and artists in society towards a more expansive constellation that fundamentally critiques the Western reward system in culture as well as the often celebrated cult of authorship.

The cover and back cover of this issue invoke the history and intentionality of the Two Row Wampum Treaty from 1613 made between the Haudenosaunee and Dutch settlers. Two Row Wampum (back cover) is a living treaty—a way for people to live together in peace and respect and to ensure that people meet to discuss issues that emerge. Merritt Johnson’s Border Wampum (front cover) is a physical and symbolic tool for action against colonial borders. The pattern of jagged white lines in a dark purple ground references the jagged cutting apart of land and Indigenous life by colonial borders opposed to different ways of life flowing smoothly side by side.

Read Issue #52/53 Article Summaries >>

Read the Press Release >>


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