Money issue2015

DEADLINE: 13 September 2015


“Money is not, properly speaking, one of the subjects of commerce; but only the instrument which men have agreed upon to facilitate the exchange of one commodity for another.”
– David Hume, “Of Money”


People nowadays know the price of everything and the value of nothing.” – Oscar Wilde


In a money-driven world, the performing arts are equally subjected to market rules – specifically those of commodification and consumerism – as any other field of practice. With very few exceptions, public funding has failed everywhere in the world in protecting art for art’s sake (affirming its intrinsic value), either by insufficiently believing in the State’s role to do so or by simply favouring a liberal laisser-faire vision of the arts in society.

And yet, with no tangible object to trade except the experiential moment of the now, should the embodied performative event be a commodity traded like any other? And should it be so, what and who funds performing arts today? What forces enter into its commodity form? What monetary value is placed on performance? How does money – public, corporate or philanthropic – affect, prescribe or determine the content of the performative arts, the forms of thinking they embody, their modes of production, the artist’s status in a society, the economies of values and the value of value itself?

We see artists and arts organisations re-defining and re-framing themselves as entrepreneurs and marketeers while others, mostly choreographers and performers, re-think and re-shape alternative modes of experiencing embodied art by resisting the mechanisms of capitalism. Have performance arts become the lab of a new form of capitalism? Where does performance sit on the sliding scale of compliance and resistance?

We invite contributions which aim to address the relation between money and the performative arts, whether through focusing on the political economy of performing arts in general and dance in particular; on the question of value, the value of money, or the reality of independence/autonomy. We welcome writing which drills down to the specificity of the kinaesthetic situation or traces the economic structures and flows of economic value in the field of performance.

These questions can be approached from the point of view of the commodity form, of efficiencies of scale, of market forces and crowds, funding models, modes of sponsorship and philanthropic enterprise, the value of artists’ labour, alternative economic models of making art or of collective well-being.


We are looking for articles which are innovative, challenging and experimental responses to above editorial theme.

Your contributions should be:
– 1000 word limit (max.), with biographic references or annotations included if appropriate (and not part of word count)
– 100 word biography of contributors
– a single A4 page CV

We also accept visual responses (drawings, photos).
If submitting a visual response, images should be at print quality (300dpi, preferably jpeg or tiff formats), including credits for the image.

You will be informed of the response to your proposal via email by 20 September 2015.
Your contributions will be considered by the board of editors, and in exceptional situations, may require editing or may be subject to changes. These will be sent to the contributor for final review.

Successful contributors will NOT be remunerated.
All submissions and editorial enquiries should be emailed to:


Credit image: Dan Perjovschi