Call for papers, 2020


The Móin-Móin Journal (ISSN 18091385 / e-ISSN 2595-0347) is a study journal about Puppet Theatre that represents one of the actions for the Professional Qualification on the Theatre of Santa Catarina Extension Program, from the University of the State of Santa Catarina – UDESC. Publishing, since 2005, monothematic editions dedicated to spreading unpublished articles from academic researches about the distinct languages of Puppet Theatre, as well as reflections e creative process from renowned artists.
Following below are the information for the call to publishing in 2018, and also about the continuous flow of the receiving of texts and general information to submission.

V. 1 N. 22, release in july 2020: 
Censorship and transgression in Puppet Theater
Submissions open until MARCH 31th 2020

Puppet Theatre (including other means methods of animation such as puppets, shadows, masks and objects) has historically shown its political dimension through social criticism, reports of injustices and satires on abusive power; it has non-conformity in its verve, manifesting itself transgressively. The very existence of an animated figure proclaims itself subversive under the inanimate condition of the matter that establishes it. At the same time this artistic expression can serve broadcasting ideas and manipulating opinions, it can also presents as being opposition and resistance against the dominating power and ideology.
In view of its power to communicate and instigate free thinking, how has society behaved towards the Puppet Theatre? How has history accepted or silenced it?
The intolerance against the alternatives that this theatrical form proposes to the established reality has precedents that can noticed not only in the prohibition of traditional theater groups and burning of shadow theater figures during the cultural revolution in China (1966-1976)[1], the interdictions on traditional arts in 1990 by the Islamic Party of Malasia during communist revolution, or the destruction of wayang statues in Purwakarta in 2016[2]. Among other examples, it can also be spotted in the elimination of cultural politics and spaces for its development. Censorship has many strategies: an official decree, a gradual ideological construction that transforms specific themes, characters and artistic expressions in taboo, nor even, by considering its own art as "minor”, causing prejudices shown in the face of the artistic expression.
Locating this theme, how much can we say about Latin America, and in general, about the post-colonial outlying territories, called “developing” or “emerging markets” regions? Which are the boarders in which the puppet transits? How are they marginalized? In which way does the satire and contesting laughter threaten the status quo? How does this art act in the social fabric and what effects can it cause?
Why can it be dangerous for authorities and what kind of repressions (censorship, taboo, discrimination) does it suffer? Lack of recognition and trouble on presenting in official and public spaces may happen due to the prejudice? In how many ways (and in which ones) has control and silencing molded the Puppet Theater's shape (dramaturgy, techniques and themes)?
We invite authors, in this edition, not only to set these and other questions about repression and censorship, but also consider about cultural resistance associated with Puppet Theater practice. Historical or empirical investigations, theoretical essays, unpublished translations, reports of experiences, analysis of creative processes and interviews can be presented.

[1] ROLLINS, Annie Katsura. Quand la politique agit dans l’ombre: des pratiques traditionnelles aux logiques commerciales modernes, le cas du théâtre d’ombres chinois. In: FLEURY, Raphaèle; SERMON, Julie. Marionnettes et pouvoir: censure, propagandes, résistences. Montpellier: Deuxième Époque, 2019, p.175.
[2] FOLEY, Kathy. Les Wali (Saint Musulmans) réduits au silence: Les marionettes wayang en Indonésie et en Malasie. In: FLEURY, Raphaèle; SERMON, Julie. Marionnettes et pouvoir: censure, propagandes, résistences. Montpellier: Deuxième Époque, 2019, p.165

V. 2, No. 23, release in december 2020:
The performance of women in Puppet Theater
Submissions open until JUNE 30th 2020

By accepting the hypotheses which indicates the beginning of Puppet Theater in Ancient rites, we find in archeological archives of this time period, an infinity of figures representing women’s bodies. In a post-Roman-domination-eastern world, it is supposed that the French word "marionnette" (puppet) comes from petit Marie (little Mary)[1]. Hieratic or profane representations in diversified forms, techniques and materials, sculptural figures, articulated or not – even if they don't enable us to read the women in their time' given use – these figures suggest many roles assigned to women in their corresponding societies and times.
Although feminine characters permeate the universe of Popular Puppet Theater, why does the work of those who animate has still mainly been done by men in many countries (c.f. Karaghiozis, Wayang, Mamulengo)? By consequence, where and how can we find women inserted in the Puppet Theater field? How have they been subverting this order?
While in family upbringing and culture, education, construction, dramaturgy, or in directing and producing, women have been present in different levels of visibility in all processes related to Puppet Theater. Who are these women? In what way have they impacted teaching, presenting, and promote Puppetry art evolution and cohesion?
Who are the women working in Puppet Theater today? Which women have Puppet Theater been representing, and how? Which are the challenges assumed by female puppeteers? What situations cross the diverse bodies of women in puppetry scene in times of presence technologies and the fighting for rights over the body itself?
Undoubtedly, by talking about women we come across a great amount of subjects and themes. However, this call is a proposition to gather papers focused in women’s experiences and processes and participation as cause and subject in Puppet Theater’s production. What resistance and challenges do women fight for in this professional field? Which spaces are maintained or conquered?
 With respect to women’s fight worldwide, requesting for gender justice, safety, health and equity, how has Puppet Theater handled or negotiated with these matters? Which articulations, representations and poetics emerge from productions made by and for women?
Several other concerns overflow apart from the presented ones, and allow a variety of unfolding possible ways in which researches on the work of uncountable professionals in Puppet Theater are concerned in articulating gender issues.
We hope these provocations instigate reflection upon different perspectives regarding this theme. Historical or empirical investigations, theoretical essays, unpublished translations, reports of experiences, analysis of creative processes and interviews can be submitted.

[1] In: CHESNAIS. Jacques Histoire génerale des marionettes. Paris: Bordas, 1947, p.39.
Continuous flow of texts
To send texts that do not fit the themes previously mentioned it’s possible to do so at any time, since the platform accepts the submission of texts in continuous flow. The texts that do not refer to one of the themes may be published in another issue of the journal, following the relevancy to the theme.
General Information
The authors can submit articles, reports, essays, reviews, interviews and translations.
The journal has the policy of anonymous evaluation by pairs to any submitted text.
Guidelines for submission of papers

To publish in the Móin-Móin Journal the interested must first register him/herself as an author on the link below:
Then, the person must submit the article on the SEER platform on the link of MÓIN-MÓIN – REVISTA DE ESTUDOS SOBRE TEATRO DE FORMAS ANIMADAS:
Submissions must agree to the journal patterns and must be posted directly on the submission system to continue the process of general evaluation of the article.
We emphasized that the Journal do not charge fees to submitting, or publishing and it uses the blind system of revisions by pairs. The text can be send in Portuguese, Spanish, English or French and, in case of texts in French and English, they will be published in their original languages and a translation to Portuguese.
For more information, visit the site:
Articles must be sent according to the author’s guidelines, on the link below:


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