Since its inception in 1990, the Movement Research Performance Journal has fostered the evolution of written and graphic languages that contemplate current issues of dance and performance. Created by and for artists, the journal provides a unique forum for critical, rigorous, and creative exploration of the politics of performance, and seeks to address a multi-disciplinary readership. The journal focuses on artists' of-the-moment concerns, with past issues exploring topics related to gender and sexuality, environments and eco-activism, critical approaches to race and ethnicity, technology and multimedia, Indigenous performance and settler colonial legacies, private property and neoliberal individualism, as well as tactics of liberation and revolt.

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Published one–two times annually, the Performance is distributed for free at arts venues and organizations throughout New York City. Our distribution route extends throughout Queens, Brooklyn, and Manhattan.

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Download

Due to the effects of COVID-19 on our ability to distribute MRPJ at venues and arts spaces around NYC, for the first time in the thirty-year history of Movement Research Performance Journal, Movement Research is offering downloadable PDFs of two issues of MRPJ:

Click HERE to sign up to receive digital versions of MRPJ52/53: Sovereign Movements: Native Dance and Performance (published November 2019) and MRPJ54: Spatial Practice (published July 2020).



Issue #55

Movement Research announces Issue 55 of its publication, the Movement Research Performance Journal. The first issue produced by new co-Editors-in-Chief mayfield brooks and Joshua Lubin-Levy, this issue continues the MRPJ’s legacy of experimenting with approaches that engage contemporary choreography and performance through the medium of print, including poem, prose, image, interview and a wide range of other formats.

But how do you make a journal dedicated to, but in the absence of, live performance? In asking this question, we’re not concerned to preserve a fetishistic idea of liveness and in-person gatherings—rather, we’re haunted by a strong ambivalence towards the many ways arts institutions swiftly adapted to the new online environment, adhering to that old adage “the show must go on.’’ In the wake of global Black Lives Matter uprisings in response to George Floyd’s murder and the gross disparities exposed by the Covid-19 pandemic the show cannot go on. In producing this journal, the editorial team spent many meetings wondering how we had ever performed under those conditions and institutions in the first place? How do we resist the push to reopen? How is it possible to acknowledge parts of our lives that are in disrepair? Can the forced delay also function as a strategy of resistance? Is it possible to refuse explanatory narratives, narrative structures, chronologies, and to embrace decomposition, decay, and the repair made possible in coming undone? “no before no after” was conceived with these, and many other, questions in mind.


Issue #55 is the first in a two-part project titled “no before no after” conceived by the journal’s new co-Editors-in-Chief mayfield brooks and Joshua Lubin-Levy.


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