CFP – Women and Electronic Dance Music Culture

Dancecult: Journal of Electronic Dance Music Culture

CFP: Women and Electronic Dance Music Culture

Special edition of Dancecult: Journal of Electronic Dance Music Culture

Guest Editors: Rebekah Farrugia and Magdalena Olszanowski

This special edition of Dancecult seeks to address the diverse roles of women-identified persons within electronic dance music culture (EDMC). While a great deal has been written about the practices of EDM subcultures and DJ culture in general, the experiences of women has received little attention perpetuating and reinforcing male dominance.

Women’s involvement in EDMC has largely been written out of the genre’s history; however, scholarly research has begun to intervene in popular and academic discourses that or decades positioned women as outside the sphere of EDMC with the exception of their presence as dance floor participants. Where once few women-identified role models and women-centered spaces served as inspiration for women to become agents in EDMC, the support network for women has been expanding. Since the 2000s especially, there has been tremendous growth in the number of women-centered EDM collectives and support networks worldwide. Still, as women are forging inroads, their successes are tempered by a discourse that continues to insist on ‘a lack” of women’s involvement. Over the past decade, research has begun to address both the significant and innovative contributions of women to the genre and industry as well as the ongoing misogyny that limits women’s participation, opportunity, and recognition in EDMC. Currently, women make crucial contributions to EDM in their roles as DJs, producers, agents, promoters, designers, VJs, and so on.

This special issue of Dancecult will include current research that examines, interrogates, and highlights the tensions and experiences of women, transgender and gender nonconforming contributors to EDMC. This issue is grounded in existing EDM literature as well as contemporary debates in the field of culture and gender studies as well as technology studies as inflected by intersections of gender, power, privilege, and bodies in globally diverse locales and cultures. We are particularly interested in intersectional work that addresses race, class, ability, age, and/or sexuality in addition to one or more of the themes below.

Potential themes for articles include (but are not limited to):

  • problematizing the contemporary popular discourse (or lack thereof) on women-identified persons
  • women’s emotional labour and backstage support
  • trans and gender nonconforming participants in EDM
  • diverse practices/interrogating and interpreting modes of participation
  • intersections of gender and technology
  • gender scripts in EDM
  • the industry of EDM production
  • formation and dynamics of collectives, especially marginalized collectives
  • historical analyses of issue themes
  • emerging initiatives in EDM



Feature Articles:
Feature Articles will be peer-reviewed and are 6000–9000 words in length (including endnotes, captions and bibliography). For policies, click here.

“From the Floor” Articles:
This special edition will also feature a special version of the From the Floor format: “In Our Own Words”. Submissions for this shorter format (750–2500 words) should relate one (illuminating / thought-provoking / exemplary / problematic / surprising) vignette from one’s own work and practice, followed by brief and exploratory comments. We are particularly looking for mini-ethnographies, auto-ethnographies, and interviews. See guidelines at the Section Policies link above.
Articles must adhere to all style and formatting rules stipulated in the Dancecult Style Guide
(DSG). Download it here.

Multimedia Submissions:
Dancecult encourages authors to complement their written work with audio and visual material. See the DSG for style and formatting requirements.

Although the language of publication in Dancecult is English, the editors strongly encourage
submissions from non-Anglophone scholars and will be happy to provide linguistic/stylistic
support during the writing process.

This special edition will be published in Dancecult on 1 November 2017.

If interested, send a 250-word abstract (along with a 100 word maximum author biography) to by 1 July 2016.

If your abstract is accepted, the deadline for submission of a full article draft to Rebekah Farrugia ( is 1 December 2016. Beyond that, the deadline for online submission to Dancecult (for blind peer-review) is 1 April 2017.
Please send enquiries and expressions of interest to Magdalena Olszanowski

Guest Editors:
Rebekah Farrugia holds a PhD in communication with a specialization in media studies. Her scholarship explores the politics and intersections of gender, community, and place in contemporary music genres such as electronic dance music and hip-hop. Her work has been published in various journals including Feminist Media Studies, Music & Politics and Journal of Popular Music Studies. In 2012, Rebekah published Beyond the Dance Floor: Female DJs, technology and Electronic Dance Music Culture. Her current research project is an ethnographic study about a women-centered, community-based hip-hop movement in post-bankruptcy Detroit. She is an Associate Professor in the Department of Communication and Journalism at Oakland University.

Magdalena Olszanowski is an artist, instructor, and PhD candidate in Communication Studies at Concordia University, Montreal. She has published and created work on gender, electronic music, and sound and image technologies with a particular focus on women’s work as inflected by censorship. Her work can be found in journals such as Feminist Media Studies, Visual Communication Quarterly and Dancecult. She has participated in the EDM scene in nearly every capacity over the last fifteen years. She is also currently working on microfemininewarfare, a documentary featuring women experimental electronic music composers.

Women in EDM CFP

Programme préliminaire / Preliminary program

Chers participants,
Le programme préliminaire est maintenant disponible. Soyez avisés que le programme est toujours sujet à changements. Nous ajouterons les informations supplémentaires (emplacement et autres) aussitôt que possible.

Dear participants,
The preliminary program is now available. Please be advised that there may still be some changes to the program. We will add more information (locations and so on), as it becomes available.

IASPM Program Draft

Call for Submissions — Ncounters: Ideas and Music

University of Alberta: March 4-5, 2016.

The Graduate Music Student’s Association of the University of Alberta is pleased to announce a call for papers for our annual Ncounters conference. The conference will take place on Friday, March 4 and Saturday, March 5, 2016.

The aim of this conference is to showcase innovative graduate research, providing a forum for students to present their work and engage with their colleagues in an interdisciplinary, scholarly environment. Ncounters is an inclusive, multi-format conference. We encourage submissions from any area of music research, including ethnomusicology, music theory, musicology, popular music, composition, education, and performance. We also welcome interdisciplinary submissions from students across the fine arts, humanities, and social sciences.

Papers may address one of the following suggested topics, or any topic in the study of music:

  • Performing ‘Community’
  • Musical Dialogues and Cross Cultural Exchanges
  • Rethinking Creative Agency
  • Music Beyond Borders and Territories
  • Exploring (Musical) Sound and Affect

Paper presentations should be no longer than 20 minutes with a ten-minute question period following each presentation.

Please submit and attach an abstract of no longer than 300 words in a PDF format to by January 15, 2016. Do not include any information that could identify you or your institution in the abstract; instead, please provide this information in the body of the email. All abstracts will be evaluated anonymously and should be suitable for publication in the conference program. The chosen presenters will be notified on or before February 1, 2016. Please include all technical and A/V requirements for your presentations.

We also welcome Compositions and Lecture-Recitals. In these presentations, the speaker is allotted 30 minutes, followed by a ten-minute question period. For compositions, please send submission samples in either an MP3 or MP4 format, or a URL link. If attaching a score, please format it as a PDF file. We are accepting:

  • Composed concert works (please note that the composer must arrange for performers, otherwise a recording may be presented)
  • Electroacoustic compositions
  • Improvised music performances
  • Installations (please note that space is limited)

Please check out our website for updates, scheduling, and further details:

CFP: IASPM@Journal 5/1 (2016) – New Directions in Music Fan Studies

Special Issue Editors:
Dr. Koos Zwaan (Inholland University of Applied Sciences, the Netherlands)
Dr. Mark Duffett (University of Chester, UK; author of Understanding Fandom)

Call for articles, to be published in 2016, addressing changes in popular music fandom and the new approaches to methodologies that the study of this subject requires.

Authors are encouraged to submit a 300-word abstract including references, showing engagement with existing literature in both popular music studies and fan studies, by 30 November to:

The submission deadline for articles is 27 February 2016. Please register as an Author and submit online, ensuring you are a current member of IASPM.

The full call for papers and submission details can be accessed and downloaded via this link:

Please contact:
– Regarding the special issue, Dr Koos Zwaan:
– Regarding IASPM@Journal and its submission process, Prof Hillegonda C Rietveld: