By Jon McKenzie, Heike Roms, C. J. W.-L. Wee (eds.)

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In Latin America, the term referred almost exclusively to performance art, especially live art originating in the visual arts. Moreover, suspicions of imperial imposition attached themselves to the unwelcome loan word. If the word is foreign, some argued, the concept must be too. With time, the intensity of the debates about terminology dissipated, and participants began to appreciate the multi-layered term ‘performance’ that links artistic, social, economic, sexual, managerial, and other imperatives.

From our perspective, however, this was a positive advantage in that it facilitated the interdisciplinary approach that we favored. The program had to be supported from within the existing staffing arrangements – hence the proposal that academics would be seconded for a fraction of their teaching load to the IDC. The IDC idea was itself a radical move at the very conservative University of Sydney, where traditional disciplines were enshrined in departments, led by titular professors whose responsibility to profess their discipline was sanctioned by government regulation.

Translating Performance,’ Profession 2002 (2002) 44–50. ———. The Archive and the Repertoire: Performing Cultural Memory in the Americas (Durham, NC: Duke University Press, 2003). : Performance Studies at the University of Sydney Gay McAuley At the final session of the PSi (Performance Studies international) conference in Singapore in 2004, conference co-organizer Ray Langenbach reported that preliminary analysis of the participants indicated that 20 percent were locals living in Singapore, 40 percent came from other Asian countries, 15 percent from Europe, and 25 percent from America.

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