Founded in 2005, Liminalities: A Journal of Performance Studies is an open-access, peer-reviewed multimedia publication that addresses three needs in performance studies scholarship and practice: 1) expanding opportunities to share peer-reviewed work, 2) creating a space for the publication of multimedia texts and projects that are difficult or impossible to publish in traditional print venues, and 3) international accessibility.

Liminalities publishes scholarship, aesthetic texts, and media projects that explore, advance, challenge, and celebrate the study of performance as a social, political, philosophical, and aesthetic practice; as a methodology; and as a mode of critique. We welcome the submission of projects addressing performance, the performative, and performativity; performance scripts and aesthetic texts for performance; reviews and criticism of performance work; works about pedagogy and performance; and book reviews. We will consider any form of performance work, and encourage both traditional work and that which challenges the boundaries of performance. We welcome a wide range of performance perspectives, practices, methodologies, contexts, and sites. In addition to texts and images, we publish work in html, mp3, Quicktime, and Flash formats. We currently publish three or four issues per year.

instructions for authors
(revised 15 January 2016)

Submissions to Liminalities undergo blind, peer review. The specificity and challenges of review will depend in large part on the medium of the submission:

0. Note to Editor: All submissions must be accompanied by a note to the editor that includes the title of the work, the author's name(s), a biographical statement, and any relevant history or context of the project. The work should not not be under consideration, or in print, elsewhere.

1. Manuscripts. Please make consistent use of a style guide, as well as spelling conventions, throughout the essay. We prefer MLA or Chicago style guides with footnotes, but accept most other styles as well. Manuscripts can be submitted via email in MS Word or plain text formats. Primary and secondary content in the form of images, sound, video, or other digital content is welcome and encouraged. When including images or other media, please send all files seprately. Do not embed media materials in your document; rather, indicate prefered location of images in your text by filename and (when applicable) caption.

2. Audio projects should be compressed in mp3, m4a, or aac formats, and can be submitted by email, through a file transfer service, or by download link (if stored on a server). Audio projects can stand on their own, though we also welcome the inclusion of artist statements, framing essays, and/or images. Though we hold the widest view of fair use of copyrighted materials, please note that it is the reponsibility of the author to secure and indicate any necessary permissions when using copyright protected materials.

3. Video projects can be submitted over a file transfer site, Vimeo download, YouTube link, or other download link (if stored on a server). Whenever possible, we will upload video projects to the Liminanlities Vimeo account: Video projects can stand on their own, but we welcome the inclusion of artist statements, framing essays, and/or images. Though we hold the widest view of fair use of copyrighted materials, please note that it is the reponsibility of the author to secure any necessary permissions for using such materials in media projects.

4. Web-based (HTML, Flash, ASP, PHP, etc) projects should be placed on a secure server for initial review. The nature of such projects will vary greatly, and the specifics of reviewing and publishing such projects will be determined on a case-by-case basis (which may include migrating content to the Liminalities server). Such projects need not be constrained by the formats, margins, and styles of the Liminalities website and design. Video projects can stand on their own, but we welcome the inclusion of artist statements, framing essays, and/or images. Though we hold the widest view of fair use of copyrighted materials, please note that it is the reponsibility of the author to secure any necessary permissions for using such materials in media projects.

5. Recurring Series: Inquires and materials regarding our recurring series (The City, Digital Horizons, and Pedagogy & Performance) should be directed to series editors. If unsure about where to submit, contact the Editor-in-Chief with a description of your project. Series contributions will appear in all issues (whenever accepted work is available).

6. Book Reviews: We will publish reviews of any books relevant to performance studies, broadly construed. Authors wishing to review books should send an inquiry to one of the editors. Publishers should contact cjmcrae@usf.edu or send materials to Chris McRae, Book ReviewEditor, Liminalities, Department of Communication, University of South Florida, 4202 East Fowler Avenue, CIS 1040, Tampa, FL 33620-7800.

Note on the review process: As indicated above, blind peer review will be employed whenever possible. Reviewing works in audio and video formats, however, often makes the anonymity of submitting authors impossible. In cases where anonymity is not possible, peer review will still be employed in a way that maintains the anonymity of the reviewers. Liminalities recognizes the heightened ethical implications of such an assymetrical situation. Reviewers may forego anonymity, regardless of a project's submission format, whenver he or she wishes.

Authors and artists retain full copyright ownership of their work (see copyright statement below). Email inquiries and submissions to michael.levan@gmail.com.

Copyright statement: Liminalities supports the Creative Commons project of alternative copyright, which allows authors to keep copyright while inviting certain uses of their work. Authors and artists maintain ownership of their work and allow Liminalities to publish it in various digital formats. We ask authors to acknowledge Liminalities in the event of any future publication of the same work. Unless stated otherwise on an individual work, everything on Liminalities is licensed by the designation below:

Creative Commons License
This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

(click on name to send email)

Michael LeVan, editor-in-chief/founding editor (Vancouver, WA)
Daniel Makagon, the city editor (DePaul University)
Chris McRae, performance & pedagogy editor (University of South Florida)
Craig Gingrich Philbrook, digital horizons co-editor (Southern Illinois University, Carbondale)
Jake Simmons, digital horizons co-editor (Missouri State University)
Chris McRae, book review editor (University of South Florida)
Marcyrose Chvasta, founding editor (California State University, Stanislaus)

editorial board

Bryant Keith Alexander, Loyola Marymount University
Bernardo Alexander Attias, California State University, Northridge
Jay Baglia, DePaul University
Elizabeth Bell, University of South Florida
Keith Berry, University of South Florida
Jessica Berson, Harvard University
Jnan Ananda Blau, Cal Poly, San Luis Obispo
Rozalinda Borcila, independent artist/scholar, Chicago
Michael Bowman, Louisiana State University
Melissa Bradshaw, Loyola University of Chicago
Garnet Butchart, Duquesne University
Bernadette Calafell, Denver University
M. Heather Carver, University of Missouri
Leda Cooks, University of Massachusetts, Amherst
Gordon Coonfield, Villanova University
Frederick Corey, Arizona State University
Janine DeBaise, SUNY-ESF
Deanna Fassett, San Jose State Univerity
Mindy Fenske, University of South Carolina
Joan Francesc Fondevila i Gascón, Universitat Oberta de Catalunya/Universitat AutÚnoma de Barcelona
Radhika Gajjala, Bowling Green State University
Terry Galloway, independent artist, Tallahassee, FL
Stephen Olbrys Gencarella, University of Massachusetts, Amherst
Lance Gharavi, Arizona State University
Craig Gingrich-Philbrook, Southern Illinois University, Carbondale
Amanda Grove, independent artist, Philadelphia, PA
Joshua Gunn, University of Texas, Austin
Scott Gust, Westminster College
Jason Hedrick, Southern Illinois University
Stacy Holman Jones, California State University, Northridge
Jaime Hovey, independent scholar, Chicago, IL
Kathy Hytten, UNC-Greensboro
Sarah Kanouse, University of Iowa
Amy Kilgard, San Francisco State University
Lesa Lockford, Bowling Green State University
Christie Logan, California State University, Northridge
Karen Lovaas, San Francisco State University
D. Soyini Madison, Northwestern University
Carmen McClish, Saint Anselm College
Denise Menchaca, The Catalina Center
Tim Miller, independent artist, Los Angeles, CA
W. Benjamin Myers, USC Upstate
Keith Nainby, California State University, Stanislaus
Donna Marie Nudd, Florida State University
Ronald J. Pelias, Southern Illinois University
Elyse Pineau, Southern Illinois University
Della Pollock, University of North Carolina, Chapel Hill
Keith C. Pounds, independent scholar, Chicago, IL
Benjamin D. Powell, CUNY-BMCC
Kirsten Pullen, Texas A&M University
Theresa Senft, University of the Virgin Islands
Benjamin Shepard, CUNY—City Tech
Tracy Stephenson Shaffer, Louisiana State University
Jennifer Simpson, University of Waterloo
Patricia Suchy, Louisiana State University
David Terry, Louisiana State University
Shaun Treat, University of North Texas
Kristen Treinen, Minnesota State University, Mankato
Justin Trudeau, University of North Texas
Jennifer L. Tuder, St. Cloud State University
Margaret Werry, University of Minnesota
Brianne Waychoff, CUNY-BMCC
Elizabeth Whitney, CUNY-BMCC

submission and "circulation" information

Acceptance rates:
Since inception in mid-2005, the acceptance rate of peer-reviewed submissions is approximately 20%.

Circulation/usage statistics:
For the past several years, Liminalities averages 150,000 site visits; 400,000 page views, and 1,000,000 web hits anually.

Creative Commons License
text licensed as
Attribution-NonCommercial-NoDerivs 2.5.