Editorial<\/strong><\/p>\nSARAH CREWS AND P. SOLOMON LENNOX<\/p>\n
<\/p>\n
5\u00a0Bumps, Breakages, Bandages: The blood of professional <\/strong>wrestling as transdisciplinary optic<\/strong><\/p>\nCLAIRE WARDEN<\/p>\n
<\/p>\n
11\u00a0Congealing the Abject: Blood in performance as feminine- feminist\u00a0<\/strong>meaning-making<\/strong><\/p>\nLAURA HARTNELL<\/p>\n
<\/p>\n
20\u00a0XX<\/strong><\/p>\nDIANA GEORGIOU<\/p>\n
<\/p>\n
22\u00a0Et Anima Est Sanguis et Sanguis Est Anima: \u2018First let’s make <\/strong>poems, with blood\u2019: VestAndPage blood writing\u00a0<\/strong>[artist pages]<\/p>\nANDREA PAGNES AND VERENA STENKE<\/p>\n
<\/p>\n
27\u00a0On the Question of the Artistic Transmission of Political <\/strong>Death (II): Zehra Do\u011fan\u2019s practice with blood<\/strong><\/p>\nZEYNEP SARIKARTAL<\/p>\n
<\/p>\n
36\u00a0Blood Re-born: The post-mortem temporality of vulnerable <\/strong>authors of mercy<\/strong><\/p>\nSYLVIA SOLAKIDI<\/p>\n
<\/p>\n
45\u00a0Bleeding Foreheads: Divine and healing bodies in the rituals <\/strong>and performances of Keralam<\/strong><\/p>\nAKHILA VIMAL C.<\/p>\n
<\/p>\n
55\u00a0\u2018Whoever eats my flesh and drinks my blood\u2019: Real presence <\/strong>and personhood in Midnight Mass and Lips of Thomas<\/strong><\/p>\nCORMAC POWER<\/p>\n
<\/p>\n
62\u00a0Keeping up Appearances: The bloody beauty work of Kim <\/strong>Kardashian\u2019s vampire facial<\/strong><\/p>\nJENNIFER DAWN WHITNEY<\/p>\n
<\/p>\n
70\u00a0Menstrual Blood, Drinks and Scrubs in Performance Art <\/strong>Research<\/strong>\u00a0[artist pages]<\/p>\nISABEL BURR RATY<\/p>\n
<\/p>\n
74 Mother, Daughter and the Shame of Menarche<\/strong><\/p>\nKATLEHO MATSATSI GABRIELLA RAMAFALO<\/p>\n
<\/p>\n
77\u00a0A Period Piece that Endures: Twenty-eight reflections on <\/strong>Sloughing<\/strong><\/p>\nALEXIS BARD JOHNSON AND RAEGAN TRUAX<\/p>\n
<\/p>\n
88\u00a0\u2018Don\u2019t Ask for my Blood, Poland!\u2019: Pro-choice protests and <\/strong>the visuality of women\u2019s blood<\/strong><\/p>\nAGNIESZKA SOSNOWSKA<\/p>\n
<\/p>\n
96\u00a0Live Art: Blood, the land and the role of the artist\u2019s body<\/strong><\/p>\nCARALI McCALL<\/p>\n
<\/p>\n
106\u00a0\u2018Who Cleans the Blood of the City?\u2019: Teresa Margolles\u2019s \u00bfDe <\/strong>qu\u00e9 otra cosa podr\u00edamos hablar? and the domestic labour of <\/strong>the crime scene<\/strong><\/p>\nBRYONY WHITE<\/p>\n
<\/p>\n
114\u00a0Signs of Life \u2013 Hearts, Blood and our Breath: An artistic <\/strong>dialogue on embodiment and boundaries<\/strong><\/p>\nTOBIAS KLEIN AND JANE PROPHET<\/p>\n
<\/p>\n
……………………………………………………………………………………<\/p>\n
REVIEWS<\/p>\n
124\u00a0Knotting Postdigital Performance<\/strong><\/p>\nARIANNA B. GASS<\/p>\n
<\/p>\n
125\u00a0Between Japan and the Global: Marking Okada Toshiki’s <\/strong>innovations<\/strong><\/p>\nJESSICA NAKAMURA<\/p>\n
<\/p>\n
127\u00a0Racial Kinaesthesia and Coalition in Movement<\/strong><\/p>\nBRODERICK D. V. CHOW<\/p>\n
<\/p>\n
……………………………………………………………………………………<\/p>\n
129 Notes on Contributors<\/p>\n\n\n