The JCBP stands firmly rooted in the study, practice, and pedagogy of consent-based performance practices, with one foot planted in theory and scholarship, and the other foot planted in public knowledge generation. 


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The Journal of Consent-Based Performance promotes community-based learning among intimacy professionals, without the gatekeeping often associated with scholarly models and the arts industry. Our publication contributes to the evolving practices of intimacy choreographers, intimacy directors, and intimacy coordinators, by publishing articles focused on theory and practice-based research related to the ways in which we perform and are performed upon by consent, intimacy, and lived power imbalances--onstage, on set, and in lived experience.

JCBP provides immediate open access to all published content in support of the idea that free access to research rooted in theory and in practice supports the exchange of knowledge and development of new ideas. Every article that we publish will be published in collaboration with the Public Knowledge Project under Creative Commons licenses. In order to lower barriers to publication for authors, as well as to lower access barriers for readers, JCBP does not charge any form of author fees or reader subscriptions. JCBP is published through the support of our generous sponsors, including California State University Fullerton, the Pollak Library, and Theatrical Intimacy Education.


Scope of this Journal

The JCBP has been established to maintain a record of the evolution of the emerging fields of intimacy specialization within performance. Our editorial team is willing to consider any writings which focus upon the use of consent-based and trauma-informed practices within any genre of performance, either in theory or in practice. We are especially interested in considering the intersections of performance practice, philosophy, consent, identity, creativity, and the human experience. We are open to considering writing focused on consent and equity in relation to performance. 

We adopt Diana Taylor's broad definition of performance "as a process, praxis, an episteme, a mode of transmission, an accomplishment, and a means of intervening in the world" (2012, p 202), and therefore considers consent-based performance a concept that steps off the stage or set and into our own lives. We ask that authors considering consent in non-theatrical and non-cinematic performance clarify how their articles or contributions to the journal could inform consent-based performance practices within these disciplines.

We promote a definition of consent that extends beyond sexually charged content to include the uplifting of personal agency and the radical act of accepting without retaliation or questioning the personal, professional, physical, and cultural boundaries of others. We acknowledge that consent and intimacy infuse much of our lived experience, and we invite writing that makes this acknowledgement while reflecting on the ways that work for stage and screen can learn from the impacts of consent and intimacy outside of the working environment.