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’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.

2016 Conference Program

IASPM-Canada and IASPM-US
2016 CONFERENCE
Wanna Be Startin’ Something: Popular Music and Agency
CONGRESS 2016
UNIVERSITY OF CALGARY
Calgary, Alberta, Canada
May 27-30, 2016

For the final PDF version, click here. Pour la version PDF, cliquez ici.

For all the abstracts and bios,click here. Pour les résumés et les biographies, click here.

Friday, May 27
3:00–4:30 IASPM-US Executive Committee and Board of Directors Meeting

Saturday, May 28
8:00-8:30 a.m. Registration

8:30-10:30 a.m.

Musicking in Place (Murray Fraser Hall Rm. 160)
Katherine Meizel, moderator

Rebekah Farrugia, Oakland University
Kellie Hay, Oakland University
Solutionaries in Action: The cultural production of three daring, Detroit Emcees

Erin Bauer, Laramie County Community College
San Antonio’s Piñata Protest as Cultural Renegade: The (Self-Described) “Mojado-Punk” Convergence of Punk Rock and Texas-Mexican Accordion Music

Natalie Oshukany, CUNY Graduate Center
“Brighton Beach Has Long Been Odessan:” Musical and Cultural
Negotiation Among “Third Wave” Soviet Jewish Immigrants in New York City

Eugenia Siegel Conte, Wesleyan University
Sounding Subcultural Hawai’i: Song and Soundscape in Alexander Payne’s The Descendants

Music and Labor (Professional Faculties Rm. 114)
Chris McDonald, moderator

Marco Accattatis, Rutgers University
Work Hard, Play Hard: Normalizing Neoliberal Ideology in Popular Music

Eric Hung, Rider University
“Thank you, New York, No One Cooks”: Social Justice and Undocumented Food Workers in the Hip Hop Musical Stuck Elevators

Martin Lussier, Université de Québec à Montréal
“Assurer la relève”: movements of workers in Québec’s music industries

Aesthetics and Ideologies (Professional Faculties Rm. 110)

Méi-Ra St-Laurent , Université Laval
Vivek Venkatesh, Concordia University
Québécois black metal: Developing intersections between musicology, social psychology and consumer culture in illuminating aesthetics and ideologies in a niche extreme metal music scene

Victor Szabo, University of Virginia
Ambient Music’s Techno-Aesthetics

Nick Reeder, Matrix Recordings: The Role of Jamband Fans in Creating a Live Sound Aesthetic

10:45-12:15

Production, Consumption, Prosumption (Professional Faculties Rm. 110)
Jeremy Morris, moderator

Grant Hawkins, University of Western Ontario
We Came to Blow Your System: Death Grips, Disobedience, and Changing Industries

Catherine Lefrançois, Université Laval
“Infâme Destin”: La Consommation Ironique de la Chanson Country-Western

Performing Social Justice (Professional Faculties Rm. 114)
Kimberly Mack, moderator

Nicholas Greco, Providence University College
The Rosary and the Microphone: the drive for social justice expressed through the stage in U2’s iNNOCENCE + eXPERIENCE: Live from Paris

Meghan Drury, George Washington University
Inciting a Joyful Rebellion: Hip Hop and Solidarity in the Global South

Legacy: Aging and Popular Music (Murray Fraser Hall Rm. 160)
Andrew Mall, moderator

Murray Forman, Northeastern University
Every Day a Pioneer: Aging Artists and Hip-Hop Legacies

Line Grenier, Université de Montreal
Eric Craven, Atwater Library, Montreal
“You can add?” Exploring digital music-making by seniors.

Jake Johnson, University of California at Los Angeles
The Oklahoma Senior Follies and the Narrative of Decline

12:15-1:15
Lunch and workshop

Workshop (Murray Fraser Hall Rm. 160):
Public Scholarship as Social Justice: Dis/Ability and Accessible Writing
Alexandra Apolloni, University of California, Los Angeles
Felicia Miyakawa, Independent Scholar

1:30-3:30

New Venues and Virtualities (Professional Faculties Rm. 110)
Rebekah Farrugia, moderator

Mike Daley, York University
“Miranda Sings (Badly)”

Jeremy Morris, University of Wisconsin-Madison
Music Re-Tuned: Streaming, Apps and Music’s “New” Controlling Formats

Cody Black, University of Toronto
Escaping to Become Myself: Aural Constitution of Identity and Reality of K-Pop Fans in a Virtual Environment

Kyle Devine, University of Oslo
Out of Sight, Out of Mind: Material Infrastructures, Listening Formations, and the Political Ecology of Music

Sounding Feminisms (Murray Fraser Hall Rm. 160)
Susan Fast, moderator

Gabriela Jiménez, University of Toronto
Versioning the “Gay Friendly, Feminist Global City”: (Trans)feminist and Queer Musical Performances and the Gentrification of Mexico City’s Historic Center

Emily Gale, University of California, Merced
Female Agency in Mitch Miller’s Sing Along with Mitch

Kait LaPorte, University of Washington
“Welcome to the Weird Part of the Internet”: Disrupting Mainstream Music’s Bodily Ideals in Leslie Hall’s “Tight Pants (Body Rolls)”

Paula Propst, University of California, Riverside
Sonic Feminism in Local Space: Intentionality, Localized Feminist Education , and Youth Culture in Popular Music

Engendering Music in the 1960s/1970s (Professional Faculties Rm. 114)
Eric Hung, moderator

Elizabeth Lindau, Earlham College
“I am…the Chelsea Girl”: Nico’s Decadence

Louis Niebur, University of Nevada, Reno
“Camp Records, Gay Jukeboxes, and the Creation of a Musical Subculture in US Gay Bars in the 1960s.”

Jarek Ervin, University of Virginia
“Are You a Boy or Are You a Girl?” New York Queer Punk in the
1970s

3:45-5:15

Performing Bodies (Murray Fraser Hall Rm. 160)
Moderator, TBA

Maria Murphy, University of Pennsylvania
Viral Language, Viral Bodies: Sounding Politics in Laurie Anderson’s Language is a Virus (from Outer Space)

Tiffany Naiman, University of California, Los Angeles
He’s Lost Control: Late Style, Epilepsy, and Ian Curtis

Serge Lacasse, Université Laval
Singing Dis/ability: A Phonostylistic Analysis of Sia’s (Troubled) Persona in “Breath Me” (2004), “Chandelier” (2014) and “Alive” (2015)

Translocal Pedagogies: Thinking, Living and Teaching Hip Hop (Professional Faculties Rm. 114)

Mark Campbell, Ryerson University
Doing the Knowledge: Archiving hiphop Beyond the Local

Salman Rana, McGill University
Normativity and Legal Narrative in Rhyme Creation: A Legal Pluralist Analysis of Truth and “Law” in Rap Lyrics

Shaheen Ariefdien, Independent Scholar
untitled

Music on the Dance Floor (Professional Faculties Rm. 110)
Mark Butler, moderator

Robin Attas, Elon University
The Power in Our Feet: Dancing as a Form of Popular Music Analysis

Craig Jennex, McMaster University
“You Make Me Feel (Mighty Real):” Cruising the Historical
Dance Floor

David Madden, Carleton University
Locating Montreal’s Vulgar Dance Scene

8:00 p.m. (doors open at 7:30 p.m.) Conversation and Performance: Rae Spoon (MacEwan Hall 104A)

Gender Retirement’s Sociomusical Agency: Musician Rae Spoon

Shana Goldin-Perschbacher, Craig Jennex, Rae Spoon

NOW Toronto recently named Calgary native Rae Spoon “one of the most important voices in Canadian music.” Active since the late 1990’s, Spoon has released eight solo LPs (two nominated for the Polaris Prize), three collaborative albums and one EP, co-written two multimedia shows with celebrated Canadian transgender author Ivan E. Coyote, published two autobiographical books (one awarded the Honour of Distinction from the Dayne Ogilvie Prize for LGBT writers), composed film music, and is the subject of director Chelsea McMullan’s documentary My Prairie Home (National Film Board of Canada, 2013). Spoon, who was raised Pentecostal and came out as queer and then as transgender before retiring from gender (and adopting “they” as a pronoun), has forged a career in country and later in indie music. As Spoon demonstrates in My Prairie Home and in their book Gender Failure (2014), their gender and musical genre changes have been simultaneous and mutually defining, both limiting and empowering their aesthetic, social justice, and career opportunities and revealing of the gender, sexuality, class, and race politics of these genres and their audiences. This session will be a conversation and a performance — an interview with Spoon by two scholars who have published on Spoon’s music, with opportunities for audience Q&A, and a performance by Spoon.
Doors open at 7:30 pm – Cash bar and finger food
Conversation begins at 8:00 pm, followed by performance.

May 29

8:30-10:30 a.m.

Remembering the 1960s (Murray Fraser Hall Rm. 160)
Jake Johnson, moderator

Steve Waksman, Smith College
“Come and See the Show: Writing the Life of the Concert Promoter”

Brian F. Wright, Fairmont State University
Ending the James Jamerson / Carol Kaye Controversy

Andrew Flory, Carleton College
“She Needs Me”: Marvin Gaye, Crooning, and Vocal Agency at Motown

Kathryn Cox, University of Michigan
Nostalgia as Rebellion in the Kinks’ Arthur (Or the Decline and Fall of the British Empire)

Dimensions of Jazz (Professional Faculties Rm. 110)

Alan Stanbridge, University of Toronto
Swingin’ in the Ol’ Corral: Jazz meets Country Music

Barry Long, Bucknell University
“The Black Blower of the Now:” Coltrane, King, and Crossing Rhetorical Borders

Benjamin Doleac, University of California, Los Angeles
“Ain’t No City Like the One I’m From”: Second Lining and the Politics of Rhythm in Post-Katrina New Orleans

Pedagogies of Popular Music (Professional Faculties Rm. 114)
Alexa Woloshyn, moderator

Brian Fauteux, University of Alberta
“Good Music” and CKUA’s Cultural Network: Tracing an Educational Mandate in Music Programming

Liz Przybylski, University of California, Riverside
Proud to Speak, Proud to Rap: Hip Hop Music and Language Learning Contexts

Jessica Schwartz, University of California, Los Angeles
Punk Pedagogies, Activistic Education, and Community Outreach in Los Angeles

Daniel Stadnicki, University of Alberta
Towards a ‘Global Folk’ Drumming Pedagogy? Lessons from Scandinavia

10:45-12:15

“Pitched Battles: Media, Music and War” (Professional Faculties Rm. 114)
Felicia Miyakawa, moderator

James Deaville, Carleton University
Tracking the Enemy: Music/Sound, Hollywood, and ISIS Propaganda

Lisa Gilman, University of Oregon
“Like a Superhero in Musician Form”: The Soldier Hard Phenomenon

Kip Pegley, Queen’s University
Soundscape of a Tank

Producing Pop (Professional Faculties Rm. 110)
Steve Waksman, moderator

Andrew deWaard, University of California, Los Angeles
Bain Capital Records: Private Equity and Venture Capital in the Music Industry

Kariann Goldschmitt, Wellesley College
The Red-Bulling of the Music Industry: Co-Branding, Sponsorship, and Shifts in Musical Agency in Brazil

Ken McLeod, University of Toronto
“Renegades”: Automotive Branding and Influence in Recent Popular Music

12:15-1:30 Lunch and workshops

Jason Oakes, Répertoire International de Littérature Musicale
RILM presentation (Murray Fraser Hall Rm. 160)

1:30-3:30

Sound Opens Up: Gender, Race, and Sonic Agency in Hip Hop (Professional Faculties Rm. 114)
Kellie Hay, moderator

Robin James, University of North Carolina, Charlotte
Leaning into the Red: Black Feminist Responses to Post-Feminist Pop

Liana Silva, Independent Scholar
Sounding Out! A Blog About Sound Studies (liana.marie.silva@gmail.com): Jean Grae’s Sonic Claims Onto the City

Popular Musics in South and Southeast Asia (Professional Faculties Rm. 110)
Susan Fast, Moderator

Elliott Powell, University of Minnesota
“The Sounds of Afro-South Asian (Anti-) Imperialism: Reimagining the Politics of South Asian Music in Post-9/11 Rap and R&B”

Heather Maclachlan, University of Dayton
Interactions Between Burmese Popular Music Stars and the Censors

Rebekah Moore, University of Indonesia
“Jadilah Legenda” (Become a Legend): The Professionalization of a Local Music Scene

Jeremy Wallach, Bowling Green State University;
Esther Clinton, Bowling Green State University
Talking Metal: The Social Phenomenology of Hanging Out

Hip Hop and Social Justice (Murray Fraser Hall Rm. 160)
Jessica Schwartz, moderator

Maxwell Williams, Cornell University
From Black Power to HiiiPoWeR: “hipness” and the sound of the Black Freedom Movement

Kimberly Mack, University of Toledo
“99 Problems and Tidal is One: Jay-Z, the Class Wars, and Authentic Activism”

Dhiren Panniker, University of California, Riverside
“To Pimp a Butterfly”: Double Consciousness and the New Black Nationalism

Adrian Dunn, Roosevelt University
Sounding Contemporary Justice: Black Boy’s Embodied Marginalized and Marginalizing Voices as Agents for Change

3:45-5:45

Indigenous and Aboriginal Voices (Murray Fraser Hall Rm. 160)
Liz Przybylski, moderator

Thomas Hilder, University of Bergen
Queer Voices, Indigenous Articulations, Sámi Musical Performance

Raj Singh, York University
Between Tradition and Innovation: Throat-boxing to Embody and Empower Social Change

Alexa Woloshyn, University of Toronto
“Welcome to the tundra”: Lessons in Aboriginal Digital Resistance through Tagaq’s Twitter Activism

Genre and Borders (Professional Faculties Rm. 110)
Alexandra Apolloni, moderator

Sean Bellaviti, Ryerson University
Caught Between Folk and Popular Music: Panamanian Música Típica, and the Power and Paradoxes of “Middle” Categories

Amy Coddington, University of Virginia
Hip-hop, Got Turned into Hit Pop’: How Crossover Radio Stations Influenced the Growth of Rap in the Late 1980s

Toshiyuki Ohwada, Keio University
Anthropology and the Avant-Garde: Anthology of American Folk Music Reconsidered

Popular Music and Religion (Professional Faculties Rm. 114)
Nicholas Greco, moderator

Tom Wagner, University of Edinburgh
“Clear Body, Clear Mind”: Scientology, Swing Music, and Social Justice in Britain and Abroad

David VanderHamm, University of North Carolina at Chapel Hill
Agency in Excess: Tony Melendez and the Intersecting Performance of Virtuosity, Disability, and Religiosity

6:00 Business Meetings for IASPM US (Murray Fraser Hall Rm. 160) and Canada (Professional Faculties Rm. 110) Branches

7:30 Keynote Address (Murray Fraser Hall Rm. 160):
David Brackett, McGill University

“Thar’s Gold in Them Hillbillies”: Old-Time Music in the 1920s and Its Relations

Discussions about genre in popular music tend to vacillate between two poles. At one extreme, genres are defined by the notion of consistent style traits. At the other extreme, in the quotidian discourse of musicians and fans, one often finds an insistence on the unique quality of individual texts, a stance that would seem to militate against the usefulness of genre as a conceptual tool. Yet both of these extremes encounter contradictions, the first in the inconsistency of formal features of the texts grouped within a single genre, and the second in the necessity of relying on genre labels in order to communicate about music. In response to this apparent conceptual impasse, I will argue for analyzing genre according to the following four properties: 1) that a genre becomes legible due to its relation to other genres at a particular moment in time, rather than because of internally consistent formal features; 2) that genre relations exist simultaneously on multiple levels corresponding to their social function and use; 3) that genre is iterative in that it works on the basis of its citation of conventions, or put differently, on the basis of repetition and difference, with each invocation of a generic model resulting in a modification of that model; and 4) the ability of genres to evoke connotations of group identities, an ability that is particularly pronounced in popular music genres.

The category of “old-time music” in the 1920s will be used as a case study to illustrate these four properties of genre. Confined as it is to the three years during which the old-time category emerged and stabilized, this study allows us to observe the music industry’s attempts to find an appropriate label, sound, and conception of the audience that occurred during the inchoate period of the genre’s formation. The ensuing analysis, drawing on primary historical documents and sound recordings, will reveal the interdependence of the musical/sonic properties of genre, its institutional status, and its discursive production.

Monday, May 30

8:30-10:30

 

Sounds Like Texas: Anti-Oppressive Resistance in Southern Music Communities (Professional Faculties Rm. 114)
Kim Mack, moderator

J. Brian Griffith, Texas Folklife
Existence Is Resistance: Politics of Authenticity in Austin’s Middle Eastern Fusion Scene

Brian Jay Eley, Independent Scholar
Mixed Genre Majority: Insight Into The Houston DIY Scene And Fostering Growth Of Intersectional Diversity in Artists and Crowds

Joel Zigman, Independent Scholar
Save a Horse Ride a Cowboi: Building (trans)Masculinity Through Top 40 Country Music

Sensing/Listening/Seeing (Murray Fraser Hall Rm. 160)
Brad Osborn, moderator

Monica Chieffo, University of California, Los Angeles
The Neurotypicality of the Tonic Triad in Indie Rock

Anthony Cushing, University of Western Ontario
The Gouldian Reach-Around: The Univited Guests Plumb “the Prospects of Recording”

10:45-12:45

Listening to EDM (Murray Fraser Hall Rm. 160)
Justin Burton, moderator

Edward Wright, University of Toronto
Netflix and Chill: Close Listening and Binge Watching in Electronic Dance Music

Andre Mount, State University of New York, Potsdam
“Dude! It’s so much more complex!”: Modernist Aesthetics and the Electronic Dance Music Pedagogue/Producer/Consumer/Critic

Miriam Piilonen, Northwestern University
Listening for “Fun” in Electronic Dance Music

Stars Negotiating Identities (Professional Faculties Rm. 110)
Brian Fauteux, moderator

Chris McDonald, Cape Breton University
Broadcasting from Down East: John Allan Cameron as Media Personality

Mandy Smith, Case Western Reserve University
“He’s the One that Makes Ya Feel Alright”: Tommy Lee, the Phallus, and Rock Drumming

Stephane Girard, Université de Hearst
Pour une approche discursiviste de la chanson populaire : l’exemple de Miley Cyrus

Fire Up: Music and Social Justice in Postcolonial Canada (Professional Faculties Rm. 114)
Katherine Meizel, moderator

Eric Fillion, Concordia University
Toward a Revolutionary Praxis: Free Jazz in Post-Quiet Revolution Quebec

Francesca D’Amico, York University
“The Mic Is My Piece”: Toronto Rap Music, Racialization and Industry Regulation in the Canadian Music Scene

Paul Aikenhead, York University
Shadows of Lonely Trees: Glass Tiger’s “Diamond Sun,” Relevant Rock, and White Supremacy in the Canadian Settler Project during the Late Twentieth Century

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

http://dj.dancecult.net/

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.

// SUGGESTED THEMES //
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

 

// SUBMISSIONS //

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.

Language:
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.

// DATES AND DEADLINES //
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 farrugia@oakland.edu by 1 July 2016.

If your abstract is accepted, the deadline for submission of a full article draft to Rebekah Farrugia (farrugia@oakland.edu) 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
magdalena.olszanowski@concordia.ca.

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. http://raisecain.net

Women in EDM CFP