Professor Heike Roms

Publications

Books

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

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

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.

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

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 al. E, 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

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

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

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

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