Professor Heike Roms

Publications

Books

Silent Explosion: Ivor Davies and Destruction in Art (Ffrwydrad Tawel: Ifor Davies a Dinistr Creadigol), London, Occasional Papers, 2015.

with McKenzie J, Wee CJWL, Contesting Performance: Global Sites of Research [paperback edition; with new foreword by Maaike Bleeker], Basingstoke, Palgrave MacMillan, 2012.

with Daniels S, Pearson M, Fieldworks (Special Issue of Performance Research vol 15 no 4), London, Taylor and Francis, 2010.

with McKenzie J, Wee CJWL, Contesting Performance: Global Sites of Research, Basingstoke, Palgrave MacMillan, 2010.

with Gritzner K, Primavesi P, On Dramaturgy (Special Issue of Performance Research vol 14 no 3), London, Taylor and Francis (Routledge), 2009.

What's Welsh for Performance? - An Oral History of Performance Art in Wales 1968-2008, Cardiff, Trace: Samizdat Press, 2008.

with Gough R, On Archives and Archiving (Special Issue of Performance Research vol 7 no 4), Taylor and Francis (Routledge), 2002.

with Gough R, On Tourism (Special Issue of Performance Research vol 2 no 2), Taylor and Francis (Routledge), 1997.

Articles

Fluid Futures (roundtable discussion, compiled by Heike Roms), GPS – Global Performance Studies, vol. 1 no. 1 (1-1), http://gps.psi-web.org/issue-1-1/fluid-futures/, 2017

with Husemann P, Glossary: Infrastructure and Narration, Performance Research, vol. 20 no. 4 (20-4), 2015, 127-133

with Edwards R, Towards a Prehistory of Live Art in the UK, Contemporary Theatre Review, vol. 22 no. 1 (22-1) (Special Issue: Live Art in the UK), 2012, 17-31

Das Ereignis als Evidenz, die Evidenz als Ereignis: Zur Geschichtsschreibung der Performance Art [German version of: Eventful Evidence], MAP – media | archive | performance e-journal, vol. 2, http://www.qucosa.de/recherche/frontdoor/?tx_slubopus4frontend[id]=6917, 2010

Eventful Evidence [reprint], MAP – media | archive | performance e-journal, vol. 2, http://www.qucosa.de/recherche/frontdoor/?tx_slubopus4frontend[id]=6917, 2010

with Daniels S, Pearson M, Editorial: Fieldworks, Performance Research, vol. 15 no. 4 (15-4), 2010, 1-5

with Gritzner K, Primavesi P, Editorial: On Dramaturgy, Performance Research, vol. 14 no. 3 (14-3), Taylor & Francis (Routledge), 2009, 1-2

What's Welsh for Performance? Constructing an Archive of Performance Art in Wales, Cyfrwng, vol. 5, 2008, 54-72

Dodokovni dokazi / Dogodkovno dokazovanje: Zgodoviniti performans [Slovene version of: Eventful Evidence: Historicizing Performance Art; translator: Barbara Hriba], Maska, vol. 117–118 (Special Issue: History – Experience – Archive), 2008, 69-77

Eventful Evidence: Historicizing Performance Art, Maska, vol. 117–118 (Special Issue: History – Experience – Archive), 2008, 69-77

Performance and Protest, New Welsh Review, vol. 76, 2007, 16-26

Remembering Performance: Heike Roms in conversation with Ivor Davies, Platfform, vol. 3, Wales Arts International, 2007, 13-17

with Morgan RH, Lewis L, Greenhalgh J, Pearson M, Ros N, Robins S, Jeff P, Gough R, Beth yw Astudiaethau Perfformio? [What is Performance Studies?; translator: Lisa Lewis], Cyfrwng Media Wales Journal, vol. 2, 2005, 86-100

What's the Welsh for Performance?: 30 years of Action Art in Wales, Inter Magazine, vol. 88, 2004, 22-25

Toward a Politics of the Nearly-Now: Presence and Co-presence in Performance, Frakcija, vol. 28-29, 2004, 69-77

Compte-rendu de Rhwnt [échange en performance, Pays de Galles - Québec 2003-2004], Inter Magazine, vol. 88, 2004, 15-27

Performing Polis: Theatre, Nationness and Civic Identity in Post-Devolution Wales, Studies in Theatre and Performance, vol. 24 no. 3 (24-3), 2004, 177-192

with Gough R, Editorial: On Archives and Archiving, Performance Research, vol. 7 no. 4 (7-4), 2002, 1-2

Movable Landscapes / Bewegliche Landschaften [published in English and German], Ballettanz, vol. 7, Friedrich-Berlin-Verlag, 2000, 34-37

with Gough R, Editorial: On Tourism, Performance Research, vol. 2 no. 2 (2-2), 1997, vi-viii

Time and Time Again: 'Arbeit macht frei vom Toitland Europa': Akko Theatre Centre (Israel), Performance Research, vol. 1 no. 1 (1-1), 1996, 59-62

Chapters

Eventful Evidence. Historicising Performance Art, in Büscher B, Cramer FA (eds) Fluid Access: Archiving Performance-Based Arts, Hildesheim, Zürich, New York: Georg Olms Verlag, 2017, 93-101

Zur Performativitat der Oral History von Performance Kunst [engl: On the performativity of an oral history of performance art], in Gebhardt Fink S, Mathis M, von Büren M (eds) Aufzeichnen und Erinnern. Performance Chronik Basel (1987–2006), Zürich: Diaphanes, 2016, 31-41

Mind the Gaps: Evidencing Performance and Performing Evidence in Performance Art History, in Cochrane C, Robinson J (eds) Theatre History and Historiography: Ethics, Evidence and Truth, Basingstoke: Palgrave MacMillan, 2016, 163-181

Remembering Adam on St Agnes' Eve, in Roms H (eds) Silent Explosion: Ivor Davies and Destruction in Art (Ffrwydrad Tawel: Ifor Davies a Dinistr Creadigol), London: Occasional Papers, 2015, 112-121

with Pearson M, Performing Cardiff: Six Approaches to a City and its Performance Past, in Whybrow N (eds) Performing Cities, Houndsmills, New York: Palgrave Macmillan, 2014, 120-138

Kunstlerisch-wissenschaftliche Forschung in den Ruinen der Universitat? Performance als wissenschaftliche Veroffentlichungsform, in Peters S (eds) Das Forschen aller. Artistic Research als Wissensproduktion zwischen Kunst, Wissenschaft und Gesellschaft, Bielefeld: transcript Verlag, 2013, 205-225

Archiving legacies: Who cares for performance remains?, in Borggreen G, Gade R (eds) Performing Archives/ Archives of Performance, Copenhagen: Museum Tusculanum Press/University of Copenhagen, 2013, 35-52

'Fluxus in Great Britain'; 'Festival of Misfits (London 1962)'; 'Fluxconcert by and for Fluxus' (Aberystwyth 1968), in Stegman P (eds) The Lunatics are on the loose: European Fluxus Festivals 1962-1977 [exhibition catalogue], Berlin: Down With Art!, 2012, 10-439

with Edwards R, Oral History as Site-Specific Practice: Locating the History of Performance Art in Wales, in Trower S (eds) Place, Writing, and Voice in Oral History, Basingstoke and New York: Palgrave Macmillan, 2011, 171-191

Remembering Performance - Performing Memory: An Oral History of Performance Art in Wales, in Capter l'essence du spectacle - Capturing the Essence of Performance (Proceedings of the Congrès de Glasgow SIBMAS Glasgow Congress 2008), Brussels: Peter Lang, 2010, 209-220

The Lure of the Local, the Seduction of the Global: Locating Intermediality in Eddie Ladd's Scarface*, in Sihra M, Koski P (eds) The Local Meets The Global in Performance, Newcastle upon Tyne: Cambridge Scholars Publishing, 2010, 65-80

The Practice Turn: Performance and the British Academy, in McKenzie J, Roms H, Wee CWWL (eds) Contesting Performance: Global Sites of Research, Basingstoke: Palgrave MacMillan, 2010, 51-70

with McKenzie J, Wee CJWL, Introduction: Contesting Performance in an Age of Globalization, in Contesting Performance: Global Sites of Research, Basingstoke: Palgrave MacMillan, 2009, 1-22

What Substance is Substance? André Stitt's Material Performances, in Stitt A (eds) André Stitt - Substance: Residues, Drawings & Partial Objects 1976-2008, Exeter: Spacex, 2008, 12-19

Staging an Urban Nation: Place and Identity in Contemporary Welsh Theatre, in Holdsworth N, Luckhurst M (eds) A Concise Companion to Contemporary British and Irish Drama, Oxford: Blackwells, 2008, 107-124

Performance Archives Performance, in Stitt A (eds) Flashes from the Archives of Oblivion: Stuart Brisley, Ian Hinchliffe, Alastair MacLennan, Tatsumi Orimoto [exhibition catalogue], Cardiff: Chapter Arts Centre, 2007

Marshfield mummers: The old time paper boys, in Contemporary Theatres in Europe: A Critical Companion, , 2006, 136-148

Encountering Memory: Acco Theatre Center's Arbeit macht frei MiToitland Europa, in Kelleher J, Ridout N (eds) Contemporary Theatres in Europe: A Critical Companion, London: Routledge, 2006, 47-60

Eye and Ear, Foot and Mouth: Mapping Performance in three journeys and one withdrawal, in Christie J, Gough R, Watt D (eds) A Performance Cosmology: Testimony from the Future, Evidence of the Past, London: Routledge, 2006, 10-14

Footnotes: Four walks in the company of Simon Whitehead, in Whitehead S (eds) Walking to Work, Abercych: Gwaith Cerdded Shoeless Publications, 2006, 4-5

From map to Trace: Situating performance in Wales, in Stitt A (eds) Trace: Installation Art Space 00-05, Bridgend: Seren Books, 2006, 14-36

Edward Thomas: A Profile, in Walford Davies H (eds) Four Playwrights of Wales, Llandysul: Gomer, 1998, 186-191

Caught in the Act - On the Theatricality of Identity and Politics in the Dramatic Works of Edward Thomas, in Walford Davies H (eds) Four Playwrights of Wales, Llandysul: Gomer, 1998, 131-144

Reviews

Histories and Practices of Live Art, edited by Deirdre Heddon and Jennie Klein. Basingstoke and New York: Palgrave Macmillan, 2012, 248 pp, ISBN 9780230229747 (paperback), Contemporary Theatre Review, vol. 24 no. 3 (24-3), 2014, 396-397

Communication Breakdowns: Theatre, Performance, Rock Music and Some Other Welsh Assemblies, Ruth Shade. Cardiff: University of Wales Press, 2005, 192 pp, ISBN 978-0708317617 (paperback), Cyfrwng Media Wales Journal, vol. 1, 2004, 109-110

Internet publications

The "Performed Essay" as a mode of assessment, in: Practice which works: a snapshot of assessment practice in Wales, The Higher Education Academy, 2007

Others

Interview with John Cale: Dyddiau Du/ Dark Days - Wales at the Venice Biennale, Wales at Venice Biennale/ Arts Council of Wales, with the support of the Welsh Assembly Government, 2009