IASPM Conference Keynote Speaker Confirmed

IASPM 2017 PosterPlease take note that the deadline for submitting an abstract for consideration for the 2017 annual IASPM-Canada conference in Toronto is November 30th.

The conference programming committee has just confirmed Kwende Kefentse as a keynote speaker:

unspecifiedBorn and raised in the Greater Toronto Area, Kwende Kefentse is currently living and working in Ottawa, Canada’s capital. Fascinated by cities, his various professional ventures reflect different explorations and investigations into how cities function, with a particular focus on culture, space and music.

Kwende helps to steward the council approved Renewed Action Plan for Arts, Heritage and Culture (2013 – 2018) as a member of a small but mighty award-winning Cultural Development and Initiatives (CDI) team. He is currently leading a music industry development initiative in partnership with local music business leaders that has so far resulted in the Connecting Ottawa Music profile of the local industry, the emergence of the now-annual MEGAPHONO festival, and the development of the Ottawa Music Industry Coalition.

Outside of his role at City Hall, Kwende is a DJ, producer and performer called Memetic, and recently released his debut instrumental LP RIDEAU2RICHMOND — a ‎beats-based conceptual soundtrack to an Ottawa bus route — to critical acclaim on his own label, Memeplex. He is also the creative director of TIMEKODE, Ottawa’s largest, longest monthly tradition of music and dancing.

Call for Proposals: IASPM-Canada 2017 Annual Conference // Appel à contributions: colloque annuel 2017 IASPM-Canada

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“Une place dans le monde”: Musique et appartenance / Canada 150

Colloque annuel de l’IASPM-Canada

University of Toronto, Toronto, Canada

25-27 mai 2017

Date limite pour soumettre une proposition: 30 novembre 2016

Dans un club queer, une manifestation de Black Lives Matter ou de Idle No More, au concert d'”adieu” des Tragically Hip au mois d’aout dernier, dans le contexte de la Confédération canadienne ou ailleurs, la musique est un puissant moyen par lequel les participants et participantes peuvent manifester un sentiment d’appartenance.  Bien entendu, comme le démontrent le Brexit, la crise des réfugiés et réfugiées syriens, les célébrations entourant le 150e anniversaire du Canada (identifié par la marque “Canada 150”) et l’activisme au nom des femmes autochtones assassinées ou disparues, toute manifestation d’appartenance entraine avec elle un ensemble de luttes concernant qui est inclus et exclus, quelles voix et quelles expériences importent. La musique fait partie intégrante de ces processus d’inclusion et d’exclusion.

2017 marque le 150e anniversaire de la confédération au Canada, le thème “Musique et appartenance” résonne donc de manière particulière.  Bien que nous ne souhaitions pas limiter la portée du colloque aux questions liées à cet anniversaire, il nous parait particulièrement opportun pour troubler et pour interroger les thèmes de l’identité nationale et de l’appartenance. La constitution même du Canada est fondée sur d’importants débats à propos de l’appartenance au sein desquels la musique a souvent été la forme esthétique centrale (par exemple, la cantate 1868 de Jean-Baptiste Labelle, La Confédération, qui célébrait l’union et les airs traditionnels (folksongs) tel que The Anti-Confederation Song qui articulaient certaines des angoisses que soulevait la formation d’une nation).  Plus récemment, la musique au Canada s’est révélée un puissant moyen par lequel des participants et participantes ont pu manifester un sentiment d’appartenance, que ce soit à un groupe d’affinités, à un mouvement politique ou à une nation.

Notre thème encourage les participants et participantes à explorer les questions d’appartenance musicale dans une grande variété de contextes.  Comment la musique donne-t-elle forme à l’appartenance nationale, particulièrement au Canada, une nation de peuplement colonial avec des politiques raciales et linguistiques complexes, ainsi qu’une industrie musicale façonnée par des forces multinationales?  Comment la musique donne-t-elle forme à des communautés et des contrepublics sur les planchers de danse, dans les salles de concerts et sur le parcours des défilés?  Comment les archives et les méthodes informent-elles le sens que nous avons des musiques qui importent? Comment les performances et les politiques musicales tracent-elles des frontières autour de l’humain et entre les gens?

Notre questionnement de la musique et de l’appartenance résonne avec ce que cela signifie d’effectuer des études sur la musique au Canada dans le contexte du colloque conjoint de la section canadienne de l’Association internationale pour les études en musique populaire (IASPM-Canada), de la Canadian University Music Society (MusCan) et de la Canadian Association of Music Librairians, Arhives and Documentation Centers (CAML), qui se tiendra du 25 au 27 mai à la University of Toronto.  Chaque organisation développera son propre programme mais elles seront réunies pour certains panels et plénières afin de poser des questions sur le thème central de l’appartenance. Nous collaborons aussi avec la section nord-américaine de PoP Moves (“Performances of the Popular“), un groupe de recherche international qui s’intéresse à la danse populaire, et encourageons donc les communications qui explorent les rapports entre la musique, la danse et l’appartenance dans la culture populaire.

Nous encourageons les questionnements concernant les méthodologies et les méthodes musicales dans leurs liens avec le thème de l’appartenance, ainsi que les approches mettant à profit des pratiques de recherche ethnographiques, archivistiques, textuelles et d’autres type d’analyse et d’investigation critiques.   De plus, considérant le Black Lives Matter Toronto et le Toronto Pride comme évènements récents encourageant les débats sur l’appartenance et l’activisme, nous invitons les propositions de communication qui relient le travail académique aux espaces publics et à l’engagement avec différentes communautés.

Puisqu’il s’agit de la conférence annuelle de IASPM-Canada, nous encourageons aussi les propositions de communication sur tout sujet lié à la musique populaire et espérons être en mesure d’inclure la plus vaste gamme possible d’études présentes dans le champ.

Parmi les sujets pouvant faire l’objet de communications et de panels:

  • Les sons de l’appartenance
  • Les contextes législatifs: droits d’auteur, Contenu Canadien (CanCon), propriété collective et les tribunaux
  • Enregistrement musical, production et histoire culturelle
  • Musique populaire et danse: corps sur le plancher de danse
  • Fandom et communautés musicales
  • Politiques de genre, ethnicité et nationalité (incluant “Le Grand Nord”)
  • Musique “live”! Musique et danse dans les salles de spectacles, les festivals et les scènes locales et transnationales
  • Musique et “silence”: l’absence de musique ou de types de musique ou les différentes exclusions de voix marginalisées
  • Matérialité, valeur et appartenance: musées, archives et collections

La longueur des résumés de communications, d’ateliers, de performances et d’autres types de présentations ne doit pas dépasser 300 mots. Les propositions de panels  doivent inclure un titre et un résumé du panel (300 mots max.) ainsi que les titres et résumés des communications qu’il regroupera. Les résumés de toutes les présentations d’un même panel doivent être soumis ensemble. Les résumés seront jugés individuellement, il est possible qu’un panel soit accepté mais qu’une des communications individuelles soit refusée.

Chaque résumé doit aussi comporter une courte biographie de l’auteur ou de l’auteure (100 mots max.), incluant son affiliation institutionnelle et son adresse courriel.  Chaque résumé doit aussi inclure 5 mots clés.

Les résumés peuvent être soumis en français ou en anglais. Toutes les propositions doivent être soumises  sous la forme d’un unique document Word et porter le nom de famille de l’auteur ou de l’auteure comme nom de fichier.  Ne pas soumettre de proposition sous la forme d’un fichier PDF.

Les propositions feront l’objet d’une évaluation à l’aveugle.  Le comité de programmation du colloque est composé de :

  • Mary Fogarty (présidente)
  • Christina Baade
  • Kate Galloway
  • Eric Hung
  • Maria Murphy
  • Mei-Ra St-Laurent

Les communications individuelles seront d’une durée maximale de 20 minutes et seront suivies d’une période de questions de 10 minutes. Les autres présentations seront d’une durée maximale de 60 minutes. Tous les participants et participantes doivent être membres de IASPM-Canada.  Les informations sur l’adhésion sont disponibles sur le site web suivant: http://iasom-ca/membership

Pour toute question concernant le colloque, n’hésitez pas à contacter la présidente du comité de programmation, Mary Fogarty (maryf(at)yorku.ca) ou la responsable du comité local d’organisation, Robin Elliott (robin(dot))elliott(at)utoronto.ca)

La date limite pour soumettre une proposition : 30 novembre 2016

Faire parvenir vos propositions à: iaspmcanada2017(at)gmail.com

 

“A Place in This World”: Music and Belonging / Canada 150

IASPM-Canada Annual Conference

University of Toronto, Toronto, Canada

May 25-27, 2017

Deadline for abstracts: November 30, 2016

In a queer dance club, a Black Lives Matter or Idle No More protest, at the Tragically Hip’s “farewell” concert this past August, in the context of Canadian confederation or elsewhere, music is a powerful means through which participants can enact a sense of belonging. Of course, as demonstrated by Brexit, the Syrian refugee crisis, celebrations of Canada’s 150th birthday (branded as “Canada 150”), and activism on behalf of murdered and missing indigenous women, any enactment of belonging also carries with it a series of struggles over who is included and excluded, over whose voice and experiences matter. Music is integral to these processes of inclusion and exclusion.

2017 marks the 150th year of confederation in Canada and thus the theme “Music and Belonging” is particularly resonant.  While we do not wish to limit the scope of the conference to issues related to this anniversary, it does seem timely to trouble and interrogate themes of national identity and belonging. The very constitution of Canada is predicated on important debates of belonging where music was often the central aesthetic form (for example Jean-Baptiste Labelle’s 1868 Cantate: La Confédération celebrated the union, while folksongs like “The Anti-Confederation Song,” from 1869, articulated some of the anxieties around forming a nation). More recently, music in Canada has provided a powerful means through which participants can enact a sense of belonging, whether to an affinity group, a political movement, or a nation.

Our theme encourages participants to explore questions of musical belonging in a wide range of contexts. How does music shape national belonging, particularly in Canada, a settler colonial nation with complex racial and language politics, as well as a music industry shaped by multinational forces? How does music shape communities and counterpublics on dance floors, concert venues, and parade routes? How do archives and methods shape our sense of what music matters? How does musical performance and policy draw boundaries around the human and between people?

Our questioning of music and belonging resonates with what it means to carry out music scholarship in Canada in the context of a joint meeting between the International Association for the Study of Popular Music – Canada Chapter (IASPM), the Canadian Society for Traditional Music (CSTM), the Canadian University Music Society (MusCan) and the Canadian Association of Music Librarians, Archives and Documentation Centers (CAML), May 25-27 at the University of Toronto. Each organization will develop its own program, but we will come together for some panels and plenaries to ask questions around the central theme of belonging. We are also collaborating with the North American chapter of PoP Moves (“Performances of the Popular”), an international research group that focuses on popular dance, and so we encourage papers exploring the relationship between music, dance and belonging in popular culture.

We encourage questions of musical methods and methodologies as they relate to the themes of belonging, and research approaches working across diverse practices of ethnography, archival studies, textual analysis, and other types of analysis and critical investigation. Also, with Black Lives Matter Toronto and Toronto Pride as recent events encouraging debates over belonging and activism, we encourage papers that relate academic work to public spaces and engagement with diverse communities.

As this is our annual conference for IASPM-Canada, we also encourage proposals of any popular music topic, and we hope to include the widest array of scholarship in the field as possible.

Possible paper and panel topics might include:

  • Sounds of belonging
  • Legal contexts: copyright, CanCon, communal ownership, and the courts
  • Music recording, production and cultural history
  • Popular music and dance: bodies on the dance floor
  • Fandom and musical communities
  • Politics of gender, ethnicity, and nationality (including “The Great White North”)
  • Live music! Dance and music in venues, festivals, local and transnational scenes
  • Music and ‘silence’: the absence of music or types of music, or various exclusions of marginalized voices
  • Materiality, value and belonging: museums, archives, collections

Abstracts of individual papers, workshops, performances and other presentations should be no longer than 300 words. Panel submissions should include a title and abstract for the panel (300 word max.) as well as titles and abstracts for the individual papers on the panel. All abstracts for a panel should be submitted together. Abstracts will be adjudicated individually so it is possible for a panel to be accepted but not an individual paper.

Each abstract should also include a short biography of the author (100 words max.) including the institutional affiliation and email address of each author. Each abstract should also include five keywords.

Submissions in French and English are acceptable. All submissions must be submitted as a single Word document with the author’s last name as the document file name. Do not submit your proposal as a PDF File.

Proposals will be blind reviewed. The program committee consists of:

  • Mary Fogarty (Chair)
  • Christina Baade
  • Kate Galloway
  • Eric Hung
  • Maria Murphy
  • Mei-Ra St-Laurent

Papers will be limited to 20 minutes followed by 10 minutes of questions. Other presentations will be limited to 60 minutes. All participants must be members of IASPM-Canada. Membership information is available on the following website: http://iaspm-ca/membership.

For questions about the conference, contact program chair, Mary Fogarty (maryf (at) yorku.ca), or local organizing chair, Robin Elliott (robin (dot) elliott (at) utoronto.ca).

Submission deadline:  November 30th 2016

Send submissions to: iaspmcanada2017 (at) gmail.com

IASPM-CA 2016 Book Prize

Susan Fast’s contribution to the 33 1/3 series on Michael Jackson’s 1991 album, Dangerous

The book prize committee were unanimous in their acclaim for Susan’s new book, and I’d like to summarize our observations about some of the book’s many significant strengths.

In a year in which we have witnessed the passing of two great icons of popular music – David Bowie and Prince – it is interesting to compare the passing of Michael Jackson some years earlier. While Jackson was younger than either of these artists at the time of his death, he was actually a contemporary in many ways: he was born in the same year as Prince and, as a child star, he had a career that spanned as many decades as Bowie’s. Yet, as Susan persuasively argues in her book, Dangerous, there is a sense in which Jackson was never understood as a “mature artist” in the sense that both Prince and Bowie were – he remained, for many critics and fans, the “boy-man” of pop.

Susan_headphones08-1

Susan Fast, enjoying music.

Susan’s starting point is that Dangerous is Michael Jackson’s “coming of age” record, that the album—and its cover artwork and set of accompanying short films, which Susan shows to be inseparable from the songs—demonstrates in a hundred different ways Jackson’s stark and fearless maturity. In developing this theme across the album, its cover, and its accompanying films, Susan draws on a truly broad range of scholarly and popular critical perspectives. And remarkably (we all remarked on this!) she does so through fluid, generous, reflective prose that conveys analytical rigor and ambitious multidisciplinarity in inviting, sometimes personal, sometimes humorous, but always solidly grounded language.

With this book, Susan has given us a model for how we can reach a broader audience with scholarly writing. Attempting this kind of academic outreach can be very difficult, even “dangerous,” but we believe Susan pulls it off. Her willingness to take such a risk seems likely motivated by her admiration for Jackson’s risk taking—and it’s inspiring. Susan’s book, we hope and expect, will open possibilities for younger scholars, who haven’t yet achieved her professional level of recognition and seniority, to write a book in this hybrid genre.

Susan’s book deepened my interest and appreciation not only for Michael Jackson, but for analytical perspectives that are new and exciting to me. I’ll finish my comments with one example from her chapter “Utopia,” where Susan discusses Jackson’s body, what she calls his theology, and their intermixing in his expressions of “kinship.” Jacksons “queer ways of building kinship,” Susan writes, “are extensions of the fluidity of his body.” “Jackson’s vision of the body and kinship was…forward looking, some might even say utopic. He modeled a way of being in the world that was predicated on the idea of what Haraway calls ‘affinity’, not identity, on the creation of coalitions of the like-minded” (104-105). As the Michael Jackson of Susan’s Dangerous shows, the activities and properties of such challenging artists can burst the limits of any disciplinary approach.

Peter Narvaez Student Paper Prize 2016

Peter Narvaez joined IASPM-Canada soon after it was created in 1983. Through his passionate and engaged scholarship, his love of music and culture in all its forms (but especially the blues!), his sense of and struggle for social justice, as well as his generosity and respect towards others, he made a significant and unique contribution to the organization.

The student paper prize in Peter’s name honors Peter’s contributions to the organization and his particular enthusiasm and support for student participation IASPM at all levels. This year’s prize goes to Maria Murphy, whose paper (“Viral Language, Viral Bodies: Sounding Politics in Laurie Anderson’s ‘Language is a Virus (from Outer Space)’”) I had the pleasure of seeing presented in an outstanding panel yesterday. The committee had already agreed that the paper was a pleasure to read; I can attest also that it was a pleasure to hear and see.

In this paper, Maria Murphy unpacks the complicated networks of knowledge production occurring in and around New York City during the early years of the AIDS epidemic. She links disparate communities of knowledge to remind us of the ways language has an illocutionary—and often under-recognized—force. The paper develops an image of competing epistemologies and discourses—what she names “competing communities of knowledge”—that came into relationship in the early 1980s emergence of—and growing awareness of—AIDS. It presents a useful and elegant framework for expanding thought about music, language, and the flows of discourse and power in moments of social rupture or change, moments of emergence and emergency, particularly as experienced in marginalized lives, by politicized identities.

Through her analysis of Laurie Anderson’s “Language is a Virus (from Outer Space)” and “O Superman,” Maria elucidates how Anderson’s performances reveal a great deal about the bodily techniques, apparatuses of verification, and technologies of government that are circulating in, around, and through the AIDS crisis in New York at this time.” She suggests that Laurie Anderson’s performances participated in a different way of producing and circulating knowledge. A thought of my own that was further concretized by Maria’s presentation was that Anderson’s songs, voicings, and performances provided a tool for thinking in this new context whose affordances, at the time, may have been primarily accessible through feeling and intuition rather than through a purposive or rational search for counter-arguments.

This paper is satisfyingly rife with moments of close listening, compelling analysis, and political insight. Maria re-animates Anderson’s performances with a compelling urgency.

Thank you for this work and best wishes from the prize committee.