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Deadline: 15 September 2012

Southern Rep is now accepting submissions For THE RUBY PRIZE, our national new play award for a woman of color playwright and announces a new partnership With Hedgebrook:
a ten-day writer’s retreat for the RUBY PRIZE Winner

THE RUBY PRIZE

An annual new play award of $10,000 to a woman of color playwright named in honor of Ruby Bridges, representing perseverance in the face of formidable obstacles.

This program was conceived as part of ongoing efforts made by Southern Rep to develop new American plays, support a diverse community of artists, and incite a stimulating dialogue within our community.

THE PRIZE

• $10,000 prize
• A week long development workshop with collaboration of full artistic team at the
Southern Rep New Play Bacchanal, held in New Orleans, January 5 – 7, 2012
• A sponsored trip to New York to continue development of the play and introduce the
new work to a larger audience.
(The above travel includes roundtrip air and accommodations.)
• A ten-day writing retreat to Hedgebrook. Located on beautiful Whidbey Island near Seattle,
Hedgebrook offers one of the few residency programs in the world exclusively dedicated to
supporting the creative process of women writers. Through innovative public programs,
Hedgebrook enables women’s work to enrich the global community by diversity: of culture,
nationality, voice, genre, generation, perspective, religious beliefs and political affiliations.
(Does not include travel.)

Two finalists will be selected to have their new works read at the Southern Rep New Play Bacchanal in January 2012. (Includes roundtrip air and accommodations. There is no cash award associated with the selection of finalists.)

GUIDELINES

The contest will be open to US citizens who self-identify as women of color, and may be either emerging or established playwrights.

Southern Rep’s in-house readers will review and evaluate scripts, selecting finalists that will be move into the next round of judging. The final panel consists of national and local theatre artists with Southern Rep’s Artistic Director, Aimée Hayes.

Plays may be of any genre: drama, comedy, musical, etcetera. We will not accept collaborative scripts, translations, one-acts, or any play previously submitted to Southern Rep. In the case of musical submissions, only the playwright will be eligible for the prize.

Plays that have had a professional production, or have been written under a commission, are not eligible for submission. Plays that have received a development workshop, or reading/s or nonprofessional production are eligible. (“Professional production” shall be defined as a production with paid actors and had an official press opening.)

If selected as a Prize Winner or Finalist, playwright agrees that Southern Rep may include the play in an annual Ruby Prize publication. The publication will not require any exclusive rights for printing.

Only one submission per playwright is allowed.

SUBMISSIONS

Each submission shall include a letter of introduction that should contain a brief play synopsis, a
character breakdown, playwright bio, and brief history of the play’s development. The manuscript should have a title page containing the playwright’s name, address and contact information. This information may ONLY appear on the title page.

Submissions must be sent by email, as an attached document, in PDF (preferred) or Word doc format.

Submit all of the required elements in ONE email to TheRuby@SouthernRep.com. Please no Phone or Email inquiries regarding submissions.

If the play is a musical, CDs of original music may be sent to:
attn: The Ruby Prize; Southern Rep;
333 Canal ST, Box 34; New Orleans, LA 70130.
CDs will not be returned.

Due to anticipated number of submissions, we regret that feedback will not be available to submitting playwrights

SCHEDULES AND DEADLINES

September 15, 2011: Submission Deadline

November 1, 2011: Winner Announced

January 5 - 7, 2012: New Play Bacchanal Workshops and Readings

ABOUT HEDGEBROOK

Hedgebrook is a literary non-profit that supports the work of visionary women writers whose stories shape our culture now and for generations to come. Founded in 1988, Hedgebrook hosts a global community of writers, more than 1,200 in two decades, at our Whidbey Island retreat. Hedgebrook’s public programs connect these women’s work with thousands of readers and audience members each year through readings, screenings, events, salons, publications and festivals. The annual Hedgebrook Women Playwrights Festival (HWPF) celebrates the work of women writing for the theatre. Since the festival’s inauguration in 1998, HWPF has supported the work of an impressive array of women playwrights and served an important role in the development of new plays by women.

Contact Information:

For inquiries: no email inquiries

For submissions: TheRuby@SouthernRep.com

Website: http://www.southernrep.com

Deadline: 1 August 2011

The Alfred Fagon Award is the pre-eminent Award for playwrights of African and Caribbean descent. It was established in 1996 in memory of the late Jamaican playwright and actor, Alfred Fagon.

In 2011 the winner will be awarded £5000 in recognition of their outstanding achievement in the art of playwriting.

Already an annual feature in the theatre calendar, this high profile Award will be presented to the recipient at the Cottesloe, National Theatre followed by a staged reading at the end of November 2011.

The Alfred Fagon Award is supported by the Peggy Ramsay Foundation and is awarded annually.

How to enter

Each entrant can only submit one play. Entrants must submit two correctly paginated hard copies of their play, plus a S.A.E., by post to :

The Alfred Fagon Award 2011
c/o Talawa Theatre Company
53-55 East Road
London N1 6AH

Entrants must also send an electronic copy of the play by email to info@alfredfagonaward.co.uk

Each submitted play must be accompanied by a CV, confirming the writer's Caribbean and/or African heritage and residency in the UK along with a brief synopsis and history of the entry.
Please note that hard copies will not be returned.

All entries to be submitted by 1 August 2011, noon GMT.

Eligibility and conditions

The Award is open to any playwright of Caribbean or African descent, resident in the UK, for the best new stage play in English.

The play need not have been produced. However if so, only plays produced since August 2010 will be considered.

Each submitted play must be accompanied by a CV, confirming the writer's Caribbean and/or Africian heritage and residency in the UK along with a brief synopsis of the entry.

Each entrant can submit only one play. A play may also be nominated by a third party with the writer's consent (eg. via an agent)

Television, radio plays and film scripts will not be considered. New as well as established writers are encouraged to enter.

The Award is given to the best new play in the opinion of the Selection Committee from the eligible entries.

All applicants are notified by letter of their entry's safe arrival. No correspondence takes place between the submitting writers and the Selection Committee.

Only shortlisted writers will be contacted, nearer the time of the presentation.

Contact Information:

For inquiries: info@alfredfagonaward.co.uk

For submissions: info@alfredfagonaward.co.uk

Website: http://www.alfredfagonaward.co.uk/

Deadline: 31 July 2012

The International Radio Playwriting Competition is run by the BBC World Service and the British Council, in partnership with Commonwealth Writers and is now in its 23rd year. It is a competition for anyone resident outside Britain, to write a 53-minute radio drama for up to six characters.

There are two categories: one for writers with English as their first language and one for writers with English as their second language.

The two winners will come to London and see their play made into a full radio production, which will then be broadcast on the BBC World Service. They will also each receive a £2,000 prize and there are certificates for runners-up.

The play must be in English, unpublished and must not have been previously produced in any medium. Whether you're experienced, new, or somewhere in between, we want to hear from you.

INTERNATIONAL PLAYWRITING COMPETITION 2012: TERMS AND CONDITIONS

These are the rules and terms and conditions for entering the click BBC World Service International Playwriting competition. Please ensure that you read and understand them as failure to follow will result in your entry not being considered.

RULES

1. Entry is only open to anyone who is over the age of 18 as at 31 July 2012 who is not normally a resident of the UK. This may include anyone living/working in the UK on a temporary basis (up to 12 months) at the time of entering the competition. Professional and previously published writers are eligible to enter, but this is not a requirement of entry.

2. Entrants must not be BBC, British Council or Commonwealth Foundation employees and their close relatives or any person connected to the competition. Proof of age, identity and eligibility may be requested.

3. Entrants should write a radio play of approximately 53 minutes’ length on any subject of their choice. Adaptations of novels are not eligible.

4. Plays entered must not have been professionally produced in any medium (an informal play-reading is acceptable; a play-reading with a professional director and in front of a non-paying audience is acceptable, but a performance involving payment to actors and/or a paying audience is not).

5. Plays entered in the competition must not, at the time they are submitted, have been offered for publication, performance or broadcast in any other form or medium to any other person or company. Nor can they, at the time of entry or during the course of the competition, have been entered for any other competition. The winning playwrights will be deemed to have entered into an undertaking not to accept offers for their entries from other broadcasters or publishers before April 2013.

6. All scripts submitted must be a minimum of 45 pages of A4 paper (or equivalent) and a maximum of 65 pages (note, a rough guide is a minute per page; please read and time your play before you send it). The play should have a maximum of six central characters (there may be up to 3 small "doubling" characters too, who don’t have more than a few lines each). Your script must be accompanied by a short synopsis which outlines the complete story of the play. This must be no more than 400 words.

7. There are two categories for entry. One is for entrants who speak English as a first language and the other is for entrants with English as a second language. The BBC may require proof of eligibility for the selected category before announcing a winner.

8. The play must be written substantially or entirely in English. Unfortunately, we do not have the facility to offer a translation service. Entries that have been translated must acknowledge this fact by giving a credit to the translator or translators. Entries that have been translated will be entered in the English as a first language category.

9. The competition opens on 1 May 2012 and closes on 31 July 2012.

Entries must be received at your British Council office or at the BBC in London by midnight GMT on 31 July 2012. Entries received after this time will not be considered.

10. Entries must be submitted either:

* by post to the following address: International Playwriting Competition 2012, BBC Radio Drama, Room 6015 BBC Broadcasting House, Portland Place, London W1A 1AA, United Kingdom

* to your click local British Council office

* or by email to the following email address: radioplay@bbc.co.uk

11. All entries must be accompanied by a completed copy of the entry form attached to this leaflet or which can be downloaded at www.bbcworldservice.com/radioplay from 1 May 2012.

12. Entrants can enter individually or as part of a group. If entering as a group, all entrants must meet the entry requirements and be eligible for the same category. No member should have also entered individually. Please note, the prize only includes payment for one airfare per category.

13. In the case of an entry by two or more writers, the BBC will need written or email confirmation from each writer involved that they are prepared to take a share of the prize money and are prepared to receive those funds from a nominee who will be one of the writers, as the prize money will be paid to one individual only. The nominee will be selected by the writers and it will be his or her responsibility to distribute these funds to the other writers and the organisers can take no responsibility for that aspect.

14. Only one entry per person is permitted including any group entries. If you submit more than one entry, only the first entry received will be considered. Please do not submit plays you have entered before.

15. All entries must be the original work of the entrant and must not infringe the rights of any other party. The BBC accepts no liability if entrants ignore these rules and entrants agree to fully indemnify the BBC against any claims by any third party arising from any breach of these rules.

16. Entries must not contain defamatory, obscene or any other unsuitable material, such as that which may cause offence to a wide audience of all ages.

17. Entrants retain the copyright in their entries but grant to the BBC a non-exclusive licence to broadcast their entry across all media, as well as use it on any online platforms. Entrants also grant a licence to Commonwealth Writers to publish extracts of their scripts, along with their name(s), on the Commonwealth Writers website.

18. The prize for the winning entry in each category will consist of £2000 sterling and a trip to London (airfare and accommodation for one person) to see the winning play being recorded for broadcast on the BBC World Service and attend a prize-giving event. The prize is as stated and cannot be deferred or transferred. There will be no cash alternatives.

19. As with any new play, the BBC may require further drafts and revisions of the winning plays. Winners must be willing and able to undertake redrafting and revision work in conjunction with the BBC. This work is likely to take place between November 2012 and January 2013 and the winning entrants will need to keep time free, and remain contactable, to achieve this. This work will be completed with the winning entrant using email or the most suitable method available. We reserve the right to revoke a play's prize winning status if this work is not completed.

20. The BBC will reserve the right to make minor cuts, changes and edits to the winners' final draft scripts.

21. Subject to a satisfactory recording being made, the winning plays will be broadcast on BBC World Service in March 2013. Winners will first be required to enter into a contract with the BBC on the standard terms and conditions applicable for broadcast of BBC Radio Drama. No fee will be payable other than the £2000 sterling offered as prize money for one broadcast cycle and the BBC's standard package of rights under that contract. If repeated on the World Service, a sum of £1000 will be payable for the first repeat cycle and thereafter the BBC will have certain broadcasting and other rights all in accordance with the contract.

LINKS

Script format: How to set out your script in a good format for the actors

British Council: The UK's international cultural relations body

The competition application form will be available from 1 May 2012 here

CONTACT INFORMATION:

For inquiries/ submissions: radioplay@bbc.co.uk

Website: http://www.bbc.co.uk/

Deadline: 5 October 2011

To meet the Images Theatre Company’s (ITC) goals of developing new works about the heritage/culture of African-Americans, and giving voice to new playwrights and works by African-American writers and other underserved writers of color, ITC is hosting our inaugural “NEW VOICES” PLAYWRITING COMPETITION & SHOWCASE. Up to 5 plays shall be chosen to receive a staged reading in December 2011 and the top scoring play shall receive a WORKSHOP production during Images’ 2012/2013 Season.

SUBMITTAL GUIDELINES: Please review submission requirements carefully. Applicants will not be contacted to clarify information or to provide missing information.

ITC is NOT accepting musicals or one-acts for this inaugural competition.

All applicants must be over the legal age of 18 years of age.

Submission is restricted to new original works/plays that have not been previously produced or published and are full-length plays.

All entries must be received by October 5, 2011 to be considered. Postmarks of October 5, 2011 shall not count. Winners shall be announced in November 2011 and staged readings are scheduled for December 2011.

All entries must be accompanied with a non-refundable submittal fee in the form of a check or money order for $20.00 made out to Images Theatre Company. Submittal fee for disqualified plays that do not adhere to the competition rules/policies will not be returned. ITC reserves the right to reject and return any entry that does not meet the rules and policies of submittal.

Applicants submitting entries must be the owner and controller of the copyright. Co-authored plays or plays based upon factual material or an adaptation are allowable. However, legal clearance of materials not in the public domain is the full responsibility of the playwright(s). A page stating and certifying this with the author/applicants signature shall accompany each submitted entry. (see certification sample statement below)

Competition is limited to the first 60 applicants/entries received prior to October 5, 2011. Should the limit be reached prior to October 5, 2011, applicants of the additional entries received shall be notified, and their entries and applicant entry fee shall be returned.

Competition is opened to all playwrights (18 years of age and older), however only one entry, per playwright is allowed. Playwright need not be of African-American ethnicity as long as the content of the play focuses on the African-American culture, history and/or experience.

The topic/subject matter of the play must reflect the experiences, culture, and/or history of African-Americans. The content may be related to family, relationships, politics, traditional values, historical characters or periods or any myriad of topics that address the African-American experience. Plays may also explore the African-American experience in relation to other ethnic groups in the world.

Each entry must be submitted in hard copy. By submitting, each applicant agrees that their work may up-loaded into a PDF document to be shared with readers/raters located out of the Sacramento area.

Entries/plays must be no longer than 125 pages.

Scripts must be formatted in standard playwriting format (for a sample of this format, see Samuel French site/link http://www.samuelfrench.com/store/SFFormattingGuide.pdf). The Samuel French link provides a guide for formatting. Please adhere to cover instructions listed below. Font used must be at a minimum 12 pitch.

Please include 2 cover pages. The top cover page should include all of your pertinent information (name, mailing address, city, state, zip code, phone number, and email address).

The 2nd cover page must only have the title of the play on it. Also, remove all identifying information from the remainder of your script (including headers and footers with your name on it) to ensure that readers/raters cannot identify the applicant that wrote the entry. Scripts will be assigned an identifying number only, to allow a fair process of reading and rating. Plays with identifying information past the initial cover page may be disqualified.

Each applicant must provide up to a 1 page synopsis of the play to be placed after the 2nd cover page.

All plays must have a cast of 8 actors or less. It is allowable for plays to use more than 8 characters if script is written for actor(s) to play multiple parts. Plays requiring more than 8 actors will be disqualified. Please clearly identify on your character page, if actors are assigned more than one role in the play.

No revisions will be accepted once a script has been submitted and no written or oral critique of plays submitted will be given upon completion of the competion.

Paper scripts must be securely bound within a notefook, cover or folder and celarly identified as detailed above. Scripts bound with staples or fasteners are not allowable. All entries must be either typewritten or word processed by computer. Entries not meeting the criteria will be disqualified.

Each paper script shall be accompanied with a stamped, self-addressed envelope, with sufficient postage that states on the outside of the envelope Name, Mailing Address, City, State, Zip and the Title of the Play should be written under your name and address at the top left hand corner. Plays that do not have a self-addressed envelope will be disposed of and not returned to the applicant.

All entries will be handled with extreme care, but ITC cannot assume responsibility for lost or damaged scripts. It is suggested that playwrights retain the original and copies of their scripts.

ITC cannot afford to pay for the transportation or lodging of the winners of the playwriting competition. It will be up to each writer to provide their own transportation/lodging fees to attend the readings, showcase and/or workshop production. However, it is not necessary for the writer to be present for the reading or production to take place.

Two copies of all scripts must be submitted in hard copy and mailed tothe following address:

Images Theatre Company
5960 South Land Park Drive Box # 138
Sacramento, CA 95822

PLAY SUBMITTAL CHECKLIST

COVER PAGE WITH PLAYWRIGHT’S INFORMATION

• Title of Play
• Name of Playwright
• Mailing address, city, state and zip code of Playwright
• Email address of Playwright
• Phone number of Playwright

BRIEF (1 PAGE OR LESS) SYNOPSIS OF SCRIPT

2 COPIES OF THE TYPED SCRIPT - IN STANDARD FORMATTIING STYLE- ENCLOSED IN A BOUND COVER, FOLDER OR COVERED, NOT TO EXCEED 125 PAGES.

$20.00 CHECK OR MONEY ORDER MADE OUT TO IMAGES THEATRE COMPANY

SELF-ADDRESSED, POSTAGE PAID (WITH SUFFICIENT POSTAGE), MAILING ENVELOPE FOR RETURN OF SCRIPT. INCLUDE SCRIPT TITLE UNDER ADDRESS IN LEFT HAND CORNER OF THE MAILING ENVELOPE.

SIGNED STATEMENT CERTIFYING THE FOLLOWING AS WRITTEN BELOW. You may cut and past the certification below to a blank page and sign, date, and submit with your entry. All contributing writers must sign the certification

I, ____(NAME)_____________________ on ___(DATE)__________ certify that I am the rightful owner and controller of the copyright of all materials submitted to the Images Theatre Company Playwriting Competition. As the playwright and author, I accept full responsibility and certify that I have made all legal clearances of any written submitted materials that are not in the public domain.
__________________________________
(Writer's Signature)

Contact Information:

For inquiries:

For submissions: Images Theatre Company, 5960 South Land Park Drive Box # 138, Sacramento, CA 95822

Website: http://imagestheater.org

Date: 22 September 2011

The Play Reading Party 8 has been set aside for the celebration of this year's INTERNATIONAL PEACE DAY. To this end, we have chosen a play and a playwright that best suit this need.

Therefore, Play Reading Party 8 will feature no less a personality than the versatile theatre director, choreographer and academician, Professor Rasaki Ojo Bakare, the Artistic Director, Abuja Carnival.

His play, ROGBODIYAN, a prophetic piece written and first performed in 1992 but which capture in a highly prophetic manner the outcome of the 1993 general elections will be the book of the month, which will set the tone for the usual interaction which follows the staged reading of the play.

Time: 4-6.30pm prompt

Venue: Korean Cultural Centre, 2nd Floor, Rivers House, Ralph Sodeinde Street, Central Business District (Opposite Ministry of Finance), Abuja

RSVP: 0818 200 5597

Contact Information:

For inquiries: call 0818 200 5597

Website: http://www.arojahconcepts.wordpress.com/

Date: 18 August 2011

After a successful celebration of the 77 birthday of Professor Wole Soyinka with last edition of the Play Reading Party, our next Guest Playwright is Nassarawa State-based legal Practitioner and award winning playwright, Isaac Attah Ogezi.

The play in focus will be his newly published play CASKET OF HER DREAMS which tells the story of Zulaira, a girl in her teens who was forcefully withdrawn from school and married off to an Alhaji old ...enough to be her father. In resistance, she killed her husband on the night of her marriage while trying to prevent her from having sex with her and becomes a fugivitive of the law.

What happens to Zulaira? What becomes of her education? Will she face the full wrath of the law? This and many more, including the dramaturgy of this play and its social relevance is what we shall be discussing at this interactive session as we have done in the last seven months.

This session is expected to be chaired by Dr. Anthonia Ekpa with Barrister Chuzi Egede, the Executive Secretary NAPTIP as Special Guest of Honour, among other dignitaries, stakeholders, writers and theatre practitioners.

The book is available at all major bookstores in Abuja or at the Korean Cultural Centre for your purchase and reading pleasure, in readiness for this great discourse.

The session is scheduled to hold as follows:

Date: Thursday 18th August 2011

Time: 4-6pm

Venue: The Korean Cultural Centre, 83, Ralph Shodeinde Street, 2nd Floor Rivers State House, opposite Ministry of Finance, Central Business District, Abuja.

Contact Information:

For inquiries: call 0818 200 5597

Website: http://www.arojahconcepts.wordpress.com/

Deadline: 31 August 2011

The Association of Nigerian Authors invites interested Nigerian writers, home and abroad to send in their works for the ANA @ 30 commemorative anthologies.

The anthologies which will cover the three genre of literature - Prose, Poetry and Play will be presented during the International Convention and 30th Anniversary of the association in October 2011, in Abuja.

Guidelines for Poetry Anthology:

- Writers are expected to send in 5 poems each
- Poems must be original and never previously published in any form (including on the internet)
- Poets are free to use any poetic form of their choice
- Submissions must be in English language
- The Subject box of the email should read: ANA @ 30 POETRY SUBMISSION

Editors: Ahmed Maiwada & Kabura Zakama

Guidelines for Short Story Anthology:

- Writers are expected to send in maximum of two short stories
- Stories could be on any subject matter of the writer’s choice
- No part of the story must not have been published before
- Entries must be a maximum of 2500 words
- The Subject box of the email should read: ANA @ 30 SHORT STORY SUBMISSION.

Editors: Diego Okenyodo & Lizzy Ben-Iheanacho, (Phd)

Guidelines for Play Anthology:

- Each writer to submit one play each
- All plays must be original (no adaptation) and on any subject matter of the playwright’s choice
- Playwrights are free to explore any form of drama of their choice
- Play must be a maximum of three acts or not more than 45 minutes in performance time
- The Subject box of the email should read: ANA @ 30 PLAY SUBMISSION.

Editors: Denja Abdullahi & Jerry Adesewo

General Rules:

- All entries should be sent to ana30anthology@ymail.com
- Deadline for submission is midnight of Wednesday 31st August 2011.
- All entries must be accompanied with the biodata of the writer

For enquiries, please feel free to contact the Convention secretariat on 08182005597 or email anaabuja@yahoo.com

Contact Information:

For inquiries: anaabuja@yahoo.com

For submissions: ana30anthology@ymail.com

Deadline: 10 April 2012

Since 1989 the Royal Court Theatre has collaborated with emerging playwrights from all parts of the world. International Playwriting Residencies offer playwrights from around the world an opportunity to develop a new play with the Royal Court Theatre. At the same time these Residencies provide international playwrights with a forum to meet and work with leading British writers, directors and performers.

The Royal Court Theatre is one of Europe’s leading theatres, which since 1956 has presented a programme of new and innovative drama that has become known throughout the world. Since its foundation, it has presented premieres by almost every leading contemporary British playwright, from John Osborne’s Look Back in Anger to Caryl Churchill’s Top Girls to Jez Butterworth’s Jerusalem. Some of the other writers who have premiered their work at the Royal Court include Samuel Beckett, Edward Bond, Martin Crimp, David Hare, Sarah Kane, Harold Pinter, Mark Ravenhill, Simon Stephens, Wole Soyinka, and debbie tucker green. The Royal Court is the only British new writing theatre with a commitment to working with playwrights across the world to develop new plays. Many new and exciting theatre projects have evolved in different parts of the world as a result of the programme including seasons of new international work at the Royal Court. Most of this work is supported by the Genesis Foundation and the British Council.

The Royal Court has two theatres: the Jerwood Theatre Downstairs (a 400-seat proscenium arch theatre) and the Jerwood Theatre Upstairs, which has been the Royal Court’s studio for exploration and experiment since 1968, providing a home for the early work by many major British writers, directors and performers. The Royal Court typically produces 15 to 20 new plays each year, most of which are premières of plays commissioned, developed or discovered by the theatre.

Programme

International Playwriting Residencies are attachments lasting up to four weeks during which playwrights will be asked to develop a new play in collaboration with members of the Royal Court Theatre artistic team. Playwrights will be teamed with their own British theatre director and translator who will work throughout the Residency to help realise the play. Writing space and computer facilities will be provided by the Royal Court Theatre. There will also be the opportunity to work with a specially chosen team of actors in a workshop environment during the Residency. The Royal Court Theatre will arrange complimentary tickets to all shows at the theatre for the duration of the Residency, as well as productions at other venues in London.

Dates

International Playwriting Residencies will take place throughout the year, at a time mutually agreed between selected candidates and the Royal Court Theatre.

Language

Playwrights will be expected to write in their mother tongue and this work will be translated by the Royal Court. However, playwrights will need to have a good working knowledge of English as all meetings and workshops will be conducted in English.

Travel and Accommodation

International travel, entry visas and accommodation will be provided by the Royal Court Theatre. Accommodation is self-catering, within walking distance or a short bus ride from the theatre.

Funding

The Royal Court Theatre may seek funding for successful candidates in order to pay for their participation. Playwrights may be asked to help in researching and applying for grants available in their home countries. Please note that acceptance on International Playwriting Residencies is NOT dependent on funding.

Applications

Please provide us with the following:

- a completed application form

- a recent example of your work (this should be an original, full-length stage play, in the original language, and not an adaptation)

- two letters of recommendation from people who know your theatre work

Applications are welcomed from previous participants on Royal Court Theatre projects and residencies. If you have applied for, or participated in, any Royal Court Theatre programmes in the past, please do not send the same example of work.

Applications will be accepted until 6pm (BST) on Tuesday, 10 April 2012. All applications should be printed single-sided and unbound. We will acknowledge your application within two working days of receiving it.

Please send your completed application to:

Elyse Dodgson, Royal Court Theatre,
Sloane Square, London, SW1W 8AS, UK
Tel: +44 20 7565 5050
Email: residencies@royalcourttheatre.com

Download application form >>

CONTACT INFORMATION:

For inquiries: international@royalcourttheatre.com

For submissions: Elyse Dodgson, Royal Court Theatre, Sloane Square, London, SW1W 8AS, UK

Website: http://www.royalcourttheatre.com

Deadline: 1 November 2012

The Kentucky Women Writers Conference will award a national playwriting prize to bring more scripts by women to the stage, especially those featuring majority-female casts. The winner will receive a production by Balagula Theatre in Lexington, Kentucky (www.balagula.com), plus a cash prize of $500. The winning play will be workshopped prior to its world premier for a paying audience in winter 2014. ONE play per playwright will be considered.

ELIGIBLE PLAYWRIGHTS

The competition is open to all women playwrights. There are no restrictions on age, residence or experience. Playwrights previously unpublished are strongly encouraged to submit their work. Co-authored scripts are eligible if at least 50 percent of co-authors are female.

ELIGIBLE PLAYS

One-act or full-length scripts in English, with a running time between 45 and 90 minutes, that have not been published or commercially produced as of the entry deadline (November 1, 2012) and will not be published or produced before the release of the KWWC production (winter 2012). However, scripts that have been staged in a workshop production or script-in-hand staged readings are eligible.

DEADLINE AND TIMELINE

• Entries must be electronically submitted by November 1, 2012.
• Winner will be posted on our Web site by March 15, 2013.
• Winning script will be workshopped in October - December 2013
• Production will occur in winter 2014
• $500 cash prize to be paid on opening night of production

KWWC is seeking new plays that can be produced as world premieres. We place no limitations on subject matter. However, KWWC espouses a feminism that creates economic equality, a violence-free society, and racial and ethnic justice, and we encourage art that envices a consciousness about the cultural inheritance of women's identity. Scripts may be based on factual events, purely fictional, or adaptations. KWWC encourages women writers not trained as playwrights to adapt their own fiction, nonfiction, or poetry for the stage. KWWC is not seeking one-man or one-woman scripts, musicals, or children's plays. Limitations:

• Reading time must be in the range of 45-90 minutes.
• Casts must be in the range of 2-6 actors, preferably with a majority female cast
• Set, lighting, sound, costume, and prop requirements must be kept to a minimum. The producing theater has a modular stage (nine 8-foot by 4-foot platforms) with a stage height of 9 feet. Performance space is limited to 12-feet deep. The stage has no curtain and no off-stage wings. Adequate lighting and sound capabilities are available. Questions about performance space should be directed to the Balagula Theatre Company: theatre@balagula.com

All entries will be screened by KWWC staff for completeness and adherence to contest guidelines. Judging will consist of two rounds. In round 1, a diverse panel of theater professionals and educators will choose 5 finalists. In round 2, Kia Corthron will choose 1 winner. Judging will be guided by the following criteria, in descending order of importance:

• Literary merit and theatrical potential
• Number of compelling roles for female actors (cast is limited to 6)

For queries: kentuckywomenwriters@gmail.com

For submissions: via the playwriting prize entry form

Website: http://www.uky.edu/WWK/

The African Court on Human and Peoples’ Rights (the Court) was established by virtue of Article 1 of the Protocol to the African Charter on Human and Peoples' Rights on the Establishment of an African Court on Human and Peoples' Rights, (the Protocol) to complement the protective mandate of the African Commission on Human and Peoples’ Rights (the Commission), with a view to enhancing the protection of human rights on the continent.

The establishment, it was believed, would fill the gap identified in the operations of the Commission: that it can only make non binding recommendations, and therefore enhance the protection of human rights. The main purpose for the establishment of the Court therefore was to ensure the effective protection of human rights on the continent.

For the Court to achieve the purpose for which it was established, it must involve the different human rights actors, in particular; individuals, NGOs and States Parties to the African Charter on Human and Peoples’ Rights (the Charter) and the Protocol. These actors must understand not only the existence of the Court, but also its importance, how they can utilize it to seek remedy for human rights violations and such other information as may be useful.

Since the adoption of the Protocol in June 1998 (more than twelve years ago), only twenty six (26) of the fifty three (53) Member States of the African Union have ratified it, and only five (5) States Parties to the Protocol have made the Declaration under Article 34(6) thereto, allowing individuals and NGOs direct access to the Court. To date, the Court has rendered a final judgment in only one case – Michelot Yogogombaye v the Republic of Senegal, Application No. 001/2008, against a State Party that has not made the Declaration, and has received five cases
which are pending before it.

It is not certain why all fifty three Member States of the African Union have not ratified the Protocol and made the Declaration. However, it appears that one of the reasons is lack of information.

Experience from other regional human rights bodies, including the African Commission and the Committee of Experts on the Rights of the Child, shows that very few people know about the existence of these institutions, let alone, how they can access them. The situation may not be different with respect to the Court. It is probably the case that the majority of the people the Court was established to serve do not know about its existence, let alone, how they can access it.

The effective protection of human rights on the continent therefore requires the involvement of all the key stakeholders, including in particular, the general population, NGOs, NHRIs and Member States themselves. One way to involve these stakeholders is to engage them in dialogue, through meetings and other awareness and sensitization activities to address them about the Court, in particular, on its establishment, mandate, relevance to the protection of human rights and to national and regional development as a whole, as well as on the role each stakeholder can play or should play to ensure the effective protection of human rights in general and the effectiveness of the Court in particular.

This need for awareness raising and sensitization has been recognized and discussed on several occasions by the Court itself. It is against this background that this essay competition has been organized.

Aims and Objectives

The main objective of the essay competition is conscientize law students who may become future lawyers, human rights practitioners, academics and perhaps politicians about the role of the Court in the protection of human rights in Africa.

The specific objectives include:

- Educating Law Students about the Court
- Raising awareness of law students about their role in the human rights discourse
- Inviting law students to participate in the discussions on human rights in Africa and the role of the Court
- Encouraging students to explore new ideas on human rights and on the Court
- Sensitizing would-be lawyers and human rights practitioners on how to access and utilize the Court and the procedures before the Court

Brief description of activity

The essay competition involves inviting law schools and faculties across Africa to encourage and allow their undergraduate students to submit essays in five categories in accordance with the specific objectives of the competition. The Court will, together with this concept note, send invitation letters to Faculties and Law Schools inviting them to allow their students to participate in submitting essays on the five topics that will be communicated at the same time.

Topics and Size of the Essay

The five essay topics are attached to this concept note. Submissions thereon shall, inclusive of notes and bibliography, be between thirty (30) to forty (40) pages of typewritten script, on font size Arial 12.

Examiners/Markers

The Court will have sole discretion in the selection and appointment of examiners/markers for the essays.

Prizes

The top three essays in each category will receive prices at the discretion of the Court. The participating institutions which students attain the top three will also be awarded prizes at the discretion of the Court. The will organize a prize giving ceremony for the winning essays and institutions in accordance with the programme.

Copyright

The Court reserves the right to compile the essays into a compendium for publication and/or public dissemination for no profit and without notice to the authors. The Court may allow the authors to publish their papers in pertinent human rights journals.

Information material

All the basic documents of the Court will be given to each institution that agrees to allow its students to participate. These include the Charter, the Protocol, the Rules of Procedure, a background document on the Court.

Participants

The competition is only open to undergraduate students from participating Law Schools and Faculties, across the five regions of Africa, and faculties will be expected to vouch safe this requirement by supplying the full details of participating students as provided for in the invitation letter. Each institution will be required to allow one submission in a category of its or its student(s) choice. Female candidates are encouraged to participate.

Language

The essays will be submitted in any of the following languages: English, French, Arabic and Portuguese. The Court will be responsible for translation of the top three essays in each category into all the four languages.

Programme

The Programme for the competition is transmitted to Law Schools and Faculties with this concept note.

Further Information

Further information on the Court’s sensitization programme could be obtained from the Court’s website at www.african-court.org . For more information, please contact:

Ms. Jester Helena Charewa
Senior Legal Officer
African Court on Human and Peoples’ Rights
Email: jester.charewa@african-court.org or jestercharewa@yahoo.com.
Tel: +255 766 266 392 or +255788790728

Contact Information:

For inquiries: jester.charewa@african-court.org or jestercharewa@yahoo.com

Website: http://www.african-court.org

Deadline: 1 August 2012

Dolls are ubiquitous cultural forms that serve as central objects through which girlhoods everywhere are mediated, constructed, performed, negotiated, and contested. Deconstructing Dolls: The Many Meanings of Girls’ Toys and Play is the first scholarly collection that aims to shed collective light on the meanings of dolls in the lives of girls in the US and around the world. Dolls figure centrally, contextually, and comparatively in this international and interdisciplinary anthology of new doll studies research that ranges from the historical to the contemporary and the material to the virtual.

CALL FOR PAPERS:

The editor seeks essays that expand scholarly inquiry about dolls and doll players across topical, theoretical, evidentiary, methodological, material, disciplinary, national, historiographic, generational, and/or other boundaries, borders, and categories (e.g., race, age, gender, class, caste, ethnicity, sexuality, etc.). Of particular interest are essays that focus on dolls and/or doll players outside the U.S.

SUBMISSION & NOTIFICATIONS:

Authors should send a 250-word proposal, brief bibliography, CV, and contact information to: Miriam Forman-Brunell at Forman-BrunellM@umkc.edu by August 1, 2012. Authors will be notified by August 15, 2012. Essays—between 7,000 – 9,000 words (including references)—will be due February 1, 2013.

BOOK EDITOR: Miriam Forman-Brunell, Ph.D., University of Missouri-Kansas City

PUBLISHER: Peter Lang Press (“Mediated Youth” series, edited by Sharon Mazzarella)

CONTACT INFORMATION:

For queries/ submissions: Forman-BrunellM@umkc.edu

Website: http://www.peterlang.com/

Deadline: 28 June 2012

The Drama for Life Africa Research Conference constitutes one of the foremost platforms for Applied drama/theatre research and practice on the African continent. The DFL conference has grown in international stature since 2008 to create an inter-continental and international dialogue about the significant role applied drama and theatre can play in social regeneration. The conference will provide opportunities for Applied Drama, Drama in Education, Drama Therapy, Psychology, and Social Work scholars, researchers, practitioners, activists, Government and NGO trainers and community workers to engage in compelling and critical dialogue regarding their work.

The focus of the conference is to engage with the growing trends of global intolerance, conflict and violence with a view of forging innovative artistic interventions as a form of social activism. The conference will reflect on, and interrogate, the relationship between applied drama and the potential of the intersection of these fields of study in facing the challenge of trauma in post-conflict communities and social contexts. It will explore applied drama/theatre-based pedagogies as pedagogies that build critical reflective practice toward social change and social cohesion.

Papers and workshops on the following topics are invited:

• In what ways has applied drama responded to conflict contexts?
• How has applied drama reflected violence and trauma emanating from conflict?
• How can applied drama be used as an effective pedagogy to address the inherent contributing factors toward conflict?
• In what ways can applied drama be used as an effective conflict management strategy?
• What role can indigenous cultural performances and rituals play in post-conflict contexts?
• How can applied drama contribute toward notions of peace building and social transformation in post-conflict contexts?
• In what ways can applied drama contribute toward the development of socially responsible artists?

All interested parties are invited to submit a proposal. Application forms will be uploaded shortly. The deadline for proposals is 28 June 2012.

(We will update this listing when the application forms have been uploaded on the source website and when the submissions details are already available.)

CONTACT INFORMATION:

Website: http://www.dramaforlife.co.za

Deadline: 30 March 2012

Call for applications
Journalist visit to the 19th African Union Summit
Lilongwe, Malawi, June 2012

The 19th African Union Summit will take place from 23rd-­30th June 2012 in Lilongwe, Malawi with the theme of ‘Boosting Intra-­‐Africa Trade’ and ‘2012 year of Shared Values’. Fahamu-­‐ Networks for Social Justice (www.fahamu.org) through its Emerging Powers in Africa Initiative is pleased to announce a call for applications for its journalist visit to the Summit. Five successful applicants will be chosen to participate in a 4 day visit during the Summit. Media professionals in print, broadcast, radio and online fora from Africa, India, China and Brazil are encouraged to apply before the deadline of 30 March 2012 Introduction While the strategic and rhetorical importance of the African Union has been recognized in Africa and by its foreign partners, the media has had a potentially important role to play in reporting on developments at the African Union and the impact and role of the organisation. Indeed, civil society and African citizens have relied on media reports to be informed of developments within the organisation, while also playing a large role in developing perceptions around the work of the organisation, implications for individual African countries, and the activities and voices of those individual countries in debating challenges at the continental level. In addition, the AU has come to play a potentially important role in bilateral relations between the African continent and emerging actors such as India and China-­‐ in particular through the India-­‐Africa Forum Summit and Forum on China-­‐Africa Coooperation (FOCAC).

Fahamu’s Emerging Powers in Africa Initiative is therefore pleased to announce a call for applications for its journalist visit to the African Union Summit. Five successful applicants will be chosen to participate in the visit that aims to:

-­‐to stimulate interest and increase knowledge on substantive issues of the African Union, its work, structure and role in African politics and foreign policies, amongst journalists and in their subsequent media reporting

-­‐increase reporting amongst foreign media of the role of the African Union in the development of political ties between Africa and their home countries

-­‐to develop increased understanding amongst journalists of the work of Civil Society Organisations (CSOs) in engaging with the AU, as well as their perspectives and response to the outcomes of the Summit Call for Applications Media professionals in print, broadcast, radio and online fora from Africa, India, China and Brazil are encouraged to apply.

APPLICANTS SHOULD:

-­‐Be fluent in English (articles can be written in native languages)

-­‐Have a valid passport and comply with their country's visa criteria for travel to Malawi

The following costs will be covered:

-­‐ Return ticket, economy class to Malawi,

-­‐ Accommodation in Malawi for the duration of the official visit,

-­‐ Visa costs,

-­‐ Meals and transport for duration of the official visit.

REQUIREMENTS

All applications are to be submitted electronically and must include:

-­‐ A current resume including professional work history

-­‐ A letter of recommendation from relevant media organisation. If journalist applicants are not employed directly through a media organisation, please provide a letter of support from the organisation to which you are affiliated, including your relationship to the organisation

-­‐ Provide 2 written samples of articles recently published by the applicant

-­‐Please ensure that all documents are compressed and/or zipped in compressed files to ensure all applications can be uploaded.

-­‐Applications must be submitted in English Applications close on 30 March 2012

EXPECTATIONS

A contract will be signed by participants stipulating the mutual expectations. Journalists will be expected to conduct interviews and develop articles for publication during and after the Summit on the themes of ‘Boosting Intra-Africa Trade’ and ‘Shared Values’.

Please direct all queries and applications to: Ms Hayley Herman, Programme Officer, Emerging Powers in Africa Initiative, Email: hayley@fahamu.org

CONTACT INFORMATION:

For inquiries: hayley@fahamu.org

For submissions: Ms Hayley Herman, Programme Officer, Emerging Powers in Africa Initiative, Email: hayley@fahamu.org

Website: http://fahamu.org

Deadline: 31 March 2012

On your marks, get set, write!

An independently published e-book anthology of children’s poetry dedicated to the wide world of sports is in the works.

ADULTS who write children’s poetry, including those who are emerging poets, are invited to submit their work.

We’re looking for original, unpublished poems, written in English, aimed at 5- to 12-year-olds that deal with various aspects of athletics:

• Olympics and other major international sports events (i.e., FIFA World Cup)
• winter/summer, individual/team sports
• winning and losing
• amateur/professional athletes
• sports fans and those behind the scenes (coaches, refs, etc.)
• equipment/uniforms and places where sports are played
• sports history and other miscellanea (halls of fame, records, trivia, etc.)

Poets whose work is selected for the collection will receive a small honorarium.

We will contact you shortly after the deadline if we plan to include your poem in the anthology.

A portion of the anthology’s proceeds will be donated to Right to Play, an organization working with volunteers and partners to use sport and play to enhance child development in areas of disadvantage.

Please email poems to Carol-Ann Hoyte at kidlitfan1972@yahoo.ca.

Contact Information:

For inquiries: kidlitfan1972@yahoo.ca

For submissions: kidlitfan1972@yahoo.ca

Date: 13 July 2011 (4:30-7:30pm)

On Wednesday 13th July 2011, Nigeria and Africa's only Nobel Prize Winner for Literature, dramatist, poet, novelist and social crusader, Professor Oluwole Soyinka will be 77.

In view of these, we have dedicated the July edition of Arojah Royal Theatre's monthly PLAY READING PARTY for the celebration of Kongi's 77th birthday.

The celebration, organised in collaboration with the National Association of Nigerian Theatre Arts Practitioners (NANTAP), Abuja Chapter will feature readings from Soyinka's plays and poems, theme talks, and a 'My Favourite Wole Soyinka Book.

A brief talk on Wole Soyinka: 'The Man, His Writings and the Society' will be delivered by a seasoned theatre practitioner.

Come, lets celebrate a Living Legend! For enquiries, participation or support for this event, call: 0803 453 0786

Location: Korean Cultural Centre, 2nd Floor, Rivers House, Ralph Sodeinde Street, Central Business District (Opposite Ministry of Finance), Abuja, Nigeria

Contact Information:

For inquiries: call 0803 453 0786

Website: http://arojahconcepts.wordpress.com/

Dates: see schedule below

The Research institute of Swahili Studies of Eastern Africa (RISSEA) was borne out a felt need and desire to coordinate Swahili scholarship. Currently there is no Institution in Kenya and the Region that has assumed such a mandate even though great strides have been made by public universities and other institutions in the development of Kiswahili.

With the spread and development of Kiswahili as the lingua franca of the region, the institute will be the reference point for governments, schools and institutions of higher learning. In kenya for example there are moves to entrench Kiswahili to be the second official language in addition to English in the new constitutional dispensation (bilingualism).

INTENSIVE SWAHILI STUDIES

An intensive 2-10 week Swahili studies school for international and regional students. Short courses on related themes including regular workshops on Swahili studies and language. In- house training workshops tailored to the needs of individual organizations and individuals interested in Swahili studies.

MODULE OFFERED

1. Swahili Literature and Performance

Contemporary Swahili novel and play: In-depth analysis of the two genre of Literature that is play and novel in terms of-The plot, characters, themes and language used.

• Short story in Kiswahili literature.
• Swahili poetry.
• Classical Swahili poetry and contemporary Swahili poetry.
• Types of Swahili poetry.
• How to write Swahili poetry
• Language use in Swahili poetry.
• Swahili epic
• Oral Literature
• Swahili songs, dances and music

• The study of the origins and history of the Swahili
• Swahili economy and international relations
• Spread and development of Kiswahili in East Africa and the Diaspora.
• Dialects of Kiswahili.
• Swahili and her neighbors

• Economic activities of the Swahili eg. Fishing, farming, weaving, dhow making, stone house building, wood carving etc.
• The Swahili way of life, (birth, marriage and death )
• Art, dressing, adornments, and other forms of creativity and personal beauty.
• Religion Beliefs and forms of worship.
• Swahili songs and dances.

Teaching will be conducted on Swahili grammar and phonetics depending on one’s level of proficiency in Swahili. An entry examination will be conducted to determine the student’s level of proficiency in Swahili.

APART FROM THE FOUR MODULES, THE INSTITUTE WILL ALSO OFFER WHERE APPROPRIATE:

• Trips/ excursions will be arranged: while in Lamu a visit to Matondoni village and Takwa ruins, while in Mombasa will visit Fort Jesus Museums, Mnarani, Jumba and Gede ruins.
• Resource persons: will be invited to talk to students/ researchers on different Swahili cultural topics.
• Panel discussions male and female panel discussion will be organized where students /researchers will get the opportunity to ask questions /inquire on any issue that they would like to know or clarified about the Swahili. Hence there will be interactions between the students/ researchers and selected members of the Swahili community that constitutes the panel.

• 28 May to Friday 15 June, 4 weeks - $350 (language module), $1,000 (4 modules)
• 18 June to Friday July, 4 weeks - $350 (language module), $1,000 (4 modules)
• 9 July to Friday 3 August, 4 weeks - $350 (language module), $1,000 (4 modules)
• 6 August to Friday 31 August, 4 weeks - $350 (language module), $1,000 (4 modules)
• 3 Sept to Friday 28 Sept, 4 weeks - $350 (language module), $1,000 (4 modules)
• 1 October to Friday 26 October, 4 weeks - $350 (language module), $1,000 (4 modules)
• 29 October to Friday 23 Nov, 4 weeks - $350 (language module), $1,000 (4 modules)
• 26th Nov to Friday 14 Dec, 3 weeks - $265 (language module), $750 (4 modules)

Via: nairobinow

CONTACT INFORMATION:

For inquiries: contact Munira Mohammed at 0722611533 or munira@museums.or.ke

Website: http://rissea.org

Deadline: 31 August 2011

British Council Uganda in partnership with Uganda Women Writers Association (FEMRITE) is organising creative arts workshops that will run from 15 - 17 September at the Ugandan Museum.

These workshops will be facilitated by Judith Adong, Beatrice Lamwaka and Angela Emurwon and Beverley Nambozo who have all recently won accolades for their work.

The purpose of the workshop is to assist upcoming writers develop effective writing skills. Furthermore, this is also an opportunity to review, evaluate, and improve material that you have produced.

The genres that will be the focus of these workshops include: Playwriting, short stories, screen writing and poetry

Who can apply?

• Upcoming writers, playwrights, poets with no prior experience
• Anyone above 18

• A place at facilitated workshops where you will work with subject experts
• The opportunity to share your work with peers
• Interaction with a UK VIP who will make a brief stop to interact with participants

Short stories – 12 places available

• Submit short stories of about 2,000 words; double-spaced.
• Up to three short stories will be accepted

• Submit a one page synopsis of a play

• Submit three poems

• Submit your work with an accompanying statement of interest and benefit to you (no more than 200 words) as follows:
• Short stories blamwaka@gmail.com
• Plays / film scripts - adongjudith@yahoo.co.uk
• Poetry – blamwaka@gmail.com
• The mentors will select and announce the final winners by 07 September 2011
• Should you be selected, you will need to be available to attend the workshops from 15 -17 September 2011

For submissions: blamwaka@gmail.com (short stories, adongjudith@yahoo.co.uk (play/ film scripts), blamwaka@gmail.com (poetry)

Website: http://www.femriteug.org/

Deadline: 30 June 2012

(Note: The contest is open to students, junior managers, and entrepreneurs from around the world who want to share their views on the changing structure and mindset of the workforce and the impact it will have on institutions and management.)

The Drucker Challenge Essay contest, organized by Peter Drucker Society Europe and now in its 3rd year, is about to raise awareness among young people of the works and ideas of Peter Drucker and a management philosophy that puts the human being in its centre.

Essays must have between 1.500 to 3.000 words and attempt to deploy your perspectives and experience that will be significant for an interested but primarily non-research oriented audience. Researchers are invited to participate in our «Call for papers», co-organized by Peter Drucker Society Europe and Management Research Review (Emerald Group Publishing).

The title theme of this year's Drucker Challenge is «Reinventing Work, Reinventing Organization» - a hot topic that will also be discussed at the 4th Global Drucker Forum in the context of Capitalism 2.0.

THEME & CONTEXT

In 1947 General Motors asked its employees to take part in an essay contest with the title theme "Why I Like My Job" An astonishing 174,854 workers at GM answered the call and submitted their essays. Peter Drucker, who just a few years earlier had systematically studied the inner workings at General Motors and had thereby "invented" the discipline of management, was one of the five judges who evaluated the essays and eventually picked the 40 winners.

Our jobs, i.e. the way we conduct our work and our overall concept of work have changed significantly, even dramatically since 1947. Peter Drucker anticipated and observed these changes - like the rise of the knowledge worker, the emergence of the entrepreneurial society, and the increasing need to "manage oneself" - and described them in detail in books like "Landmarks of Tomorrow" (1959), "The Age of Discontinuity" (1969), "Innovation and Entrepreneurship" (1985), "Management Challenges for the 21st Century" (1999), and "Managing in the Next Society" (2002).

Once asked about his prescience, Peter Drucker famously replied: It is in this spirit that we ask you: What do YOU see?

• How will the nature of work and the workforce look like a few years or decades from now?
• Will we still have the traditional corporations with their hierarchies providing the workplace for millions?
• How will SME’s be configured?
• Will all workers ultimately become knowledge workers?
• In which environment will knowledge workers conduct business? Still at a desk at the office, or rather from home? Will they work for one or for several companies and organizations - in a mixture of jobs and parallel careers?
• What will drive and motivate knowledge workers of tomorrow? A good pay? Or perhaps passion and purpose?
• To what extent will the traditional "employee society" evolve into an "entrepreneurial society"?
• Which will be the impact of these structural changes on companies, corporations and organizations and how can they best adapt?
• What role will social entrepreneurs and the non-profit sector play in the future? What regulatory power will governments and trade unions ideally have? And how will the education sector and, last but not least, business schools change - and indeed have to change - to address the challenges of tomorrow?

GUIDELINES

IMPORTANT DATES

• June 30, 2012: Deadline for essay submission
• Sept. 10, 2012: Authors of the winning essays will be notified about the Jury decision
• Sept. 15, 2012: Winners List published
• Nov. 15-16, 2012: 4th Global Drucker Forum

• File Type: Word for Windows: pdf
• Words: 1.500 - 3.000
• Font: “Times New Roman” or “Arial”, size 12, single line spacing
• Language: English
• Submission System: Please use the Electronic Submission Page

• Students
• Managers & Entrepreneurs

Co-authorship is permitted.

Please note the Drucker Challenge essay contest is geared towards a primarily non-research oriented audience (for research-based papers may we refer you to our "Academic Call for Papers". We suggest you write from your own background, experience and perspective, weaving together facts and figures with anecdotal evidence, and personal with general observations - similar to the way Peter Drucker himself used to write.

If you want, you can also envision and describe a day-in-the-life in the not too distant future to highlight the changes in our perceptions and practice of work that are already at work and beginning to shape the world that's to come.

JURY

• Lynda Gratton will serve as Head of Jury in this year's Drucker Challenge. She is Professor of Management Practice at London Business School, founder of the Hot Spots Movement, and was ranked 12th on the Thinkers50 2011 list of the world’s top 50 business thinkers. Her new book "THE SHIFT. The future of work is already here" " is for those who are keen to take charge of the future of their work. Watch the video with Lynda in the Financial Times;
• Deepa Prahalad Business strategist and consultant; author of “PREDICTABLE MAGIC: Unleash the Power of Design Strategy to Transform Your Business”
• John Peters CEO, GSE Research Ltd; former Chief Executive at Emerald Group Publishing
• Richard Brem Peter Drucker Society Europe, Project Manager Peter Drucker Challenge, coordinates the overall award program and facilitates the jury process.

There will be 3 rounds of judging. The jury process will be facilitated by Richard Brem, Drucker Challenge Project Manager.

First Round

During the First Round, a panel of curators will evaluate and attribute a score to each entrant’s Essay made up of scores based upon the below-listed criteria during the period beginning on July 1, 2012 and ending on August 2, 2012

Judging criteria:

A. Style, originality, passion for the theme
B. Formal structure of the essay
C. Logical coherence
D. To what extent does the essay deal with Druckerian themes?
E. How well does it address the theme of the 2012 contest?

The thirty (30) Essay submissions that receive the highest overall scores will qualify for the Second Round.

Second round

The thirty Essay submissions will be evaluated and attributed a score in early September by a panel of curators based upon the above-listed criteria, each of equal weight. The ten (10) Essay submissions that receive the highest overall scores will qualify for the Final round.

Final round

The ten (10) entries that receive the highest overall scores will be selected as the “Finalists.” Further, the Finalist that receives the highest overall score in each category will be selected as the First Prize Winner. In early September, the ten Finalists will be selected and notified by email. If a Finalist does not respond to the notification attempt within 4 days, then an alternate Finalist will be selected from among all eligible entries received based on the judging criteria described herein. Further, First Prize Winners and runners-up warrant that they are able to attend the public announcement on November 15, 2012. If one of them is unable to attend an alternate Finalist may be selected from among all eligible entries received based on the judging criteria described herein.

You can see a list of winners by mid-September, 2012, visiting www.druckerchallenge.org

PRIZES

Prizes are awarded to the two overall winners and the two runners-up in the two categories as well as up to 26 more winning papers. Depending on the quality and number of submissions, additional awards may be bestowed.

The overall winners in the students and managers/entrepreneurs category will be awarded:

• Money prize of € 1.000;
• Publications of essays on druckerchallenge.org and partner media;
• Free participation in the 4th Global Peter Drucker Forum on Nov. 15 - 16, 2012, including: participation in the Speakers reception on Nov. 14; all sessions and workshops on Nov 15 – 16; Gala Dinner on Nov 15 with awards ceremony; conference materials; lunch and coffee at the conference venue; up to three nights accommodation at the conference hotel; travel costs; an active role in a panel/workshop; Free membership to PDSA/PDSE in 2013

• Publications of essays on druckerchallenge.org and partner media;
• Free participation in the 4th Global Peter Drucker Forum on Nov. 15 - 16, 2012, including: participation in the Speakers reception on Nov. 14; all sessions and workshops on Nov 15 – 16; Gala Dinner on Nov 15 with awards ceremony; conference materials; lunch and coffee at the conference venue; 50% travel cost reimbursement; an active role in a panel/workshop; Free membership to PDSA/PDSE in 2013

• Publications of essays on druckerchallenge.org
• Free participation in the 4th Global Peter Drucker Forum on Nov. 15- 16, 2012, including: participation in the Speakers reception on Nov. 14; all sessions and workshops on Nov 15 – 16; Gala Dinner on Nov 15 with awards ceremony; conference materials; lunch and coffee at the conference venue; Free membership to PDSA/PDSE in 2013

• Free participation in the 4th Global Peter Drucker Forum on Nov.15 - 16, 2012, including: all sessions and workshops on Nov 15 – 16; Gala Dinner on Nov 15 with awards ceremony; conference materials; lunch and coffee at the conference venue

For inquiries: contact@druckersociety.eu

For submissions: enter the contest via the electronic submissions page

Website: http://www.druckerchallenge.org

Deadline: 1 July 2012

Call for Papers for a special issue for the Journal of Muslims in Europe: “Europe with or without Muslims – narratives of Europe”

Guest editors:

• Göran Larsson, University of Gothenburg
• Riem Spielhaus, University of Copenhagen

Under the headline “Europe with or without Muslims – narratives of Europe” we aim to bring together a number of perspectives from multiple disciplinary fields such as history, religious studies, cultural anthropology, political science and sociology in an analysis of diverging accounts and notions of Europe over time and places throughout the continent, open as well to external perspectives. The initial question thereby is, what role Islam and Muslims have played and still play in the imagining of what Europe means.

This way we aim to direct our view at the nexus between constructions of Europe and developments within contemporary European Islam providing space both for a critical review of academic approaches and the development of new impulses for future research.

Besides empirical papers we strongly encourage theoretical papers that challenge current research on Islam and Muslims in Europe and reflect on the own position of the researchers and his or her contributions to the construction of Europe and the role and function of Islam and Muslims.

We invite papers that address one of the topics of two sessions described below. Deadline for sending your abstracts: July the 1st, 2012. Accepted participants will be notified by July 20, 2012. If your paper is accepted, you must submit the final paper (max 10,000 words inclusive of footnotes) by 20 October 2012.

Applications to submit a short paper should include: 1. Proposer’s name and affiliation, 2. a title for the paper, 3. a ca. 500 word abstract.

All abstracts and paper should be written in English.

Time frame:

• Deadline for abstracts (ca. 500 words) 1.July 2012
• Deadline for sending final papers 20.October 2012
• Publication 15.March 2013

1. Localizing debates connecting Europe and Islam:

In what way are debates about Europe and its identity mentioning the European past with reference to Muslim’s presence in Europe on the local, regional, national or European Union level? How do these different levels (local, regional, national, transnational) intersect?

2. Imagining Europe without Muslims:

What are the main patterns of the dominant constructions of Europe’s heritage like notions of a Judaeo-Christian heritage? Where and by whom are these narratives told? To what extent are they embedded in European integration or projects of community or nation-building?

3. Narratives of Europe inclusive of Muslims:

In what cases is the Muslim history of Europe used as counter narrative to question the construction of Europe as a Christian continent? What groups of people insist on an imagination of Europe with Muslims? How are these narratives used to strengthen a feeling of belonging and responsibility of current Muslims?

4. Contextualizing Islam debates in European history of thought:

Is it possible to make any comparison between current debates about Islam and Muslims and previous debates about ties between religions and national identities e.g. different Christian denominations in early modern Europe?

5. Imagining Europe from outside:

How is the relationship between Europe and its Muslim inhabitants viewed beyond the Mediterranean? Do accounts of European history and presentations of the contemporary Europe from within and without bear considerable differences?

CONTACT INFORMATION:

For submissions: paper proposals should be send electronically in Microsoft Word formats to Göran Larsson, University of Gothenburg: goran.larsson@religion.gu.se and Riem Spielhaus, University of Copenhagen: rsp@teol.ku.dk.

Website: http://www.brill.nl/publications/journals/journal-muslims-europe

This panel seeks papers concerning the stage life of African-American characters in 20th century drama. How has the portrayal of the black body changed in the last hundred years? What signifance does the historical traditions of blacks in theater play in current performance? How has the adaptation of literature to the stage aided or hindered the portrayal of African-Americans in modern productions?

Please send 300-500 word abstracts to Jenna Clark Embrey - jennaclarkembrey@gmail.com

Contact Information:

For inquiries: Jenna Clark Embrey - jennaclarkembrey@gmail.com

For submissions: Jenna Clark Embrey - jennaclarkembrey@gmail.com

Website: http://www.nemla.org/