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Creativity & Captivity: Call for Publications
| Publication Date: | 2013-02-01 (Archive) |
| Date Submitted: |
2012-12-13 |
| Announcement ID: |
199520 |
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Proposal for Special Journal Issue on Creativity and Captivity. We understand Captivity in its broadest sense as any type of freedom deprivation, be it in prisons, refugee camps, asylum centres, institutions for the mentally ill, or more figurative places of confinement. Equally broad is our definition of Creativity, which encompasses all means and products of creative expression, including the creative output of inmates during their imprisonment (e.g. prison diaries, convicts’ art work), accounts of imprisonment (e.g. autobiographical novels, literary explorations of imprisonment, television documentaries), and creative techniques and processes implemented with a therapeutic aim (e.g. stage performance, creative writing courses, art exhibitions). But the focus of this publication is the ampersand, the “and” that links the two concepts, i.e. the process of their mutual dependence on each other:
• Creativity in captivity as a means of survival, a way to preserve a sense of self and/or one’s humanity;
• Creativity in captivity as a means to subvert the legal system from within, as a strategy of empowerment;
• Creativity implemented in captivity as a tool of remediation, rehabilitation, and re-education,
• Governmental influence on state controlled implementations of art programmes in captivity;
• Creativity in captivity and its destabilisation of conventional binarism such as perpetrators/victims, crime/political resistance, justice/injustice, violence/reconciliation, inside/outside, isolation/social life, sanity/insanity, counter-culture/hegemonic matrix, masculinity/femininity;
Contributors may wish to consider questions such as: Firstly, who is displaying creativity in or on captivity? Secondly, what is the object of creativity in captivity? What creative expressions or productions are generated in captivity? Thirdly, how is creativity expressed in captivity? What are the means and instruments at the disposal of those in captivity? Further questions arise concerning the situation of the recipient of the creative act: to whom is the creative act addressed, who is its intended or actual audience? What is the precise impact of the captive subject’s creativity? In what ways do these expressions of creativity in captivity affect the creative subject, and how do these creative productions affect those who receive them? What is the relationship between the two, between the creator of art in captivity and the recipient of art in captivity (including those who reject art because it is created by ‘criminals’)? We invite contributors to explicitly address theoretical and methodological questions that are raised at the intersection of creativity and captivity. We are particularly interested in contributions that broaden or deepen more conventional readings or approaches with interdisciplinary ethical, political, sociological, legal and historical questions.
Proposals are due 1 February 2013. Contributors will be notified by 1 March 2013 if their proposals have been accepted. Full articles of 6000 to 8000 words will be due no later than 1 May 2013. Papers in English must be sent to Eva Schandevyl, co-editor of the volume, together with Inge Arteel and Elisabeth Bekers.
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Prof. Dr. Eva Schandevyl
Vrije Universiteit Brussel
Pleinlaan 2 - 1050 Brussels
(0032)26292558
Email: eva.schandevyl@vub.ac.be
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