cfp: XX Biennial IASPM Conference (Canberra, Australia, 24-28 June, 2019)

Turns and Revolutions in Popular Music Studies

XX Biennial IASPM Conference
School of Music, The Australian National University
Canberra, Australia, 24–28 June 2019

Call for Presentations

As certain songsters and songstresses have noted, seasons turn, turn, turn, even if you are talking about a revolution. While global warming alters seasonal cycles with the aid of neoliberal and (pseudo)socialist forms of capitalism, and waves of societal turmoil follow each other with varying degrees of authoritarianism in different parts of the world, popular music studies remains committed to critical enquiry of music of the masses, the everyday, a variety of subcultures, the megastars, all with their revolutionary potential. Faced with the increasing worldwide austerity in the humanities and social sciences, caused by short-sighted research funding policies that purportedly aim at revolutionary technological and business innovations, popular music studies also struggles with its future directions. Whither popular music studies and where to turn?

Popular music studies in its institutional form is approaching the end of its youthful years, and IASPM will celebrate its twentieth biennial conference in Canberra. This provides also an opportunity to turn to the past and reconsider what may be learned from the twists and shouts of the previous decades. How have recent affective, neomaterialist, performative, post-humanist, spatial, transnational and visual turns, among others, affected popular music studies, and what might the emergent or future disciplinary turns be? Or to what extent do the turns and revolutions within popular music studies signal an excessive neoliberal belief in constant innovation that implies a lack of thorough investigation of the field’s intellectual history? How are the politics of higher education changing the field’s history of critical research and challenging its civic agenda?

To address these issues, as well as any other questions and topics related to the past, present and future turns and revolutions of popular music studies, the International Association for the Study of Popular Music invites proposals for the twentieth biennial conference, to be held at the School of Music at the Australian National University in Canberra 24–28 June 2019. The general theme of the conference is divided into six interrelated streams:

a) Temporal turns and revolutions. In recent years there has been a pronounced interest in popular music as cultural heritage. Alongside issues of heritagisation, this stream accommodates topics relating to nostalgia, history, historiography and futurology alike, and any other aspect involving temporal relations within popular music studies.

b) Spatial turns and revolutions. As popular music studies is a global field of enquiry, debates emerge concerning the key geographical loci of its knowledge production. This stream welcomes discussion on the centrality of Western conceptualisations of popular music and their challenges, including the variety of centre–periphery relations, “locals” versus “newcomers”, migration and displacement. Furthermore, how are issues of space and place dealt with in the field, including such liminal circumstances as festivals?

c) Technological turns and revolutions. Media studies approaches constitute a dominant strand of popular music studies, and in addition to issues of media, mediation, mediatisation, et cetera, this stream invites topics that address all dimensions of popular music and technology, whether conceived as practical technical solutions or more abstract logic behind the use of various tools and techniques. A particularly relevant theme in this stream is the presence of technological elements in all stages of the music industry, from production to consumption, and how they blur the lines between live, recorded and streamed music experiences. Additionally, how is technology inspiring aesthetic choices, also in terms of post-digital backlash?

d) Political turns and revolutions. Popular music studies, however defined, is intimately associated with questions of power relations and hence with politics. In an age of global migration, extremist populism, global warming and #metoo, the politics of popular music are implicated in issues of racism, ecological activism and gender and sexual discrimination in particular. Presentations focussing on identity, intersectionality, and more generally, inclusivity are especially welcome, as well as those that address the socio-historical shifts in protest music, however conceived.

e) Theoretical turns and revolutions. How has the inherent interdisciplinary nature of the field evolved during the last decades? How have “popular” and “music” been – and continue to be – understood in the field, and how is their “study” or “analysis” conceived? Furthermore, how are the theoretical and methodological choices that popular music scholars make today likely to affect the field’s “health and wellbeing” in the future? Of particular relevance here are topics that deal with conceptual curves and conflicts within popular music studies, whether stemming from feminism, Marxism, postcolonialism, semiotics, music analysis, or any strand of music theory in its broadest sense.

f) Affective turns and revolutions. Issues of feeling, emotion and pleasure have been central in the study of popular music, in part because of the importance granted to forms of stardom and fandom. Alongside such questions, this stream tackles additional aspects of affective attunements and alliances within popular music and its scholarly investigation.

Academic Committee

Pablo Alabarces, Emilia Barna, Sam de Boise, Giacomo Bottà, Diego García Peinazo, Elsa Grassy, Florian Heesch, Sarah Hill, Fabian Holt, Nadine Hubbs, Laura Jordán González, Akitsugu Kawamoto, Pil Ho Kim, Serge Lacasse, Kristin McGee, Isabella Pek, Rosa Reitsamer (co-chair), Geoff Stahl (co-chair).

Local Organising Committee

Samantha Bennett (chair), Catherine Hoad, Di Hughes, Stephen Loy, Bonnie McConnell, Pat O’Grady, Georgia Pike, Julie Rickwood, Geoff Stahl, Catherine Strong, Aleisha Ward, Samuel Whiting, Kirsten Zemke.

Abstracts

There will be four options: panels (of 3 or 4 presenters), individual papers, film/video presentations, or poster sessions. Panels and individual papers may also be delivered as practice-based presentations, featuring performance-based, composition-based, recording-based or multimedia-based research. In case of practice-based presentations, please make sure to include a description of room and/or technical requirements. In addition, online presentations may be considered for inclusion in the programme, yet priority is given to on-site participation.

Panels

Proposals of organized panels are strongly recommended (two-hour long sessions with four papers, or three papers and a discussant). Each session should leave at least 30 minutes for discussion or for comments by a discussant immediately following the presentations. The panel organizer should submit the panel abstract and all individual abstracts (200 words each) in one document, with a full list of participant names and email addresses. Where an independently submitted abstract appears to fit a panel, the Academic Committee may suggest the addition of a panellist.

Papers

We invite abstracts of no longer than 200 words, including five keywords for programming purposes and an optional list of references (max 10). Individual paper presentations are 20 minutes long to be followed by 10 minutes of discussion.

Film/video session

Recently completed films introduced by their author and discussed by conference participants may be proposed. Submit a 200-word abstract including titles, subjects, and formats, and indicate the duration of the proposed films/videos and introduction/discussion.

Poster session

A space where presenters can exhibit posters will be provided. A 200-word abstract by the poster’s author, including five keywords for programming purposes, must be submitted.

Submission

Please email your abstract no later than 31 July 2018, as a doc/odt/rtf attachment to iaspm2019@anu.edu.au. Please name the file with your surname (eg. Ciccone.docx). The following format should be used:

• Name, affiliation and contact email address
• Type of presentation (select one from: panel, individual paper, film/video, poster)
• Stream (select preferably one but not more than two from: Temporal/Spatial/Technological/Political/Theoretical/Affective Turns and Revolutions)
• Title of presentation
• Abstract (200 words maximum; in the case of panels, include a general abstract followed by individual abstracts, in total 1000 words maximum)
• Five keywords
• Bio (80 words maximum; in case of panels, bios of all participants)

Abstracts will be accepted in English, IASPM’s official language. Papers in all other languages are allowed, if accompanied by a visual presentation in English. Letters of acceptance will be sent by 30 September 2018.

Each participant must be a member of IASPM: http://www.iaspm.net/how-to-join. Each participant may present only one paper at the Conference, but may also preside over a panel or serve as a discussant.

The conference organisers look forward to receiving your submissions!

With kindest regards

IASPM Executive Committee:
Julio Mendivil, Chair
Jacopo Conti
Marta García Quiñones
Antti-Ville Kärjä
Kimi Kärki
Sílvia Martínez
Ann Werner

Advertisements

Call for Proposals: IASPM-SEA Conference 2019

Call for Proposals: IASPM-SEA Conference 2019

‘Popular x Traditional’

11-13 January 2019, RUANG Think City, Kuala Lumpur

Deadline for abstracts: 31 August 2018

The IASPM-SEA Conference (IASPM-SEA 2019), hosted by RUANG Think City, will take place on Friday 11th to Sunday 13th January 2019 at Kuala Lumpur, Malaysia. This international conference will feature research and performances about the interaction, convergence and contestation of popular music with traditional music in Southeast Asia. We also welcome proposals of / from / on any region that relate to the conference theme or subthemes.

Aside from aesthetic approaches that merge local traditions with global popular music styles, the conference also seeks to question the notion of the popular in relation to the traditional. It is often overlooked that currently considered traditional musics were once popular art forms, either practiced communally (in sites of worship, villages, homes, ritual festivities) or consumed commercially (in records, films, cassettes, concert halls). However, postcolonial states in the region continually seek to construct and perpetuate a primordial expression of national identity, sourced in invented traditions that have resulted in homogenous boundaries of musical culture. In truth, the popular is in constant dialogue with the traditional, as musical practices and styles adapt and change in a process mediated by human actors in ever-changing historical, political, social and cultural contexts.

Thus, the theme of ‘Popular x Traditional’ invites participants to think beyond such the oppositional divide between the two terms in music practice and scholarship, drawing attention to the fluid interchanges and continual adaptations of music-making in the context of distinct national, ethnic and cultural identities expressed in an increasingly commodified and digitally-mediated world.

Keynote speakers

– To be announced

Conference Themes

– Popular x Traditional

– Local x Global

– Art x Commercial

– Performance x Production

– Analog x Digital

– Independent x Mainstream

– Religious x Secular

Proposal categories
– Papers (20 minutes maximum, with 10 minutes for discussion)
– Paper sessions (three or four papers, each of 20 minutes maximum, with 10 minutes per paper for discussion)
– Roundtable discussions (up to 6 participants, each giving a short position paper, followed by a general discussion, total running time of 90 or 120 minutes)
– Recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings (maximum duration 90 minutes)

Proposal guidelines
– For individual papers: up to 250 words
– For paper sessions: 250-word (maximum) summary and up to 200 words for each session participant
– For roundtable discussions: 250-word (maximum) and up to 150 words for each panel participant
– For recitals, lecture-recitals and lectures illustrated by sound diffusions or audio-visual screenings: 250 word (maximum) summary, plus participant CVs and recordings / scores / other details of works to be included in the event (contact the organizing committee to discuss)

Further information for applicants
– Proposals must be sent by email as a MS Word or PDF attachment to iaspm.sea@gmail.com.
– Proposals need not be anonymised.
– All enquiries should be sent to Ken-Ny via iaspm.sea@gmail.com.

Programme committee:

Adil Johan (UKM, Malaysia)

Citra Aryandari (ISI Yogyakarta, Indonesia)

Raja Iskandar Halid (UMK, Malaysia)

Liew Kai Khiun (Nanyang Technological University, Singapore)

Viriya Sawangchot (Inter-Asia School, Thailand)

Sarah Hill (Cardiff University, UK)

Proposal submission deadline:

31 August 2018.

Applicants will be notified by 30 September 2018.

The 6th IAPMS Conference in Beijing, China, 2018

34366632_10215957976285008_415662094478737408_o

*** Jun 2, 2018: Program Booklet (ver 1.4) 

*** May 24, 2018: Panel Schedule announced

*** May 24, 2018: Location and Transportation

*** Dec 5, 2018: The deadline for the submission is extended to December 29.

 

The 6th Inter-Asia Popular Music Studies Conference 2018 in Beijing, China

Date:

June 9-10, 2018

 

Venue:

Communication University of China

No.1 Ding Fuzhuang East Street, Chaoyang District, Beijing, China 100024

www.cuc.edu.cn

 

Organized by:

Inter-Asia Popular Music Studies Group (IAPMS Group)

Music and Recording Art College, Faculty of Art, Communication University of China

 

Keynote speaker:

Keith Negus (Goldsmiths, University of London, UK)

 

Theme:

Asia in the Mix: Places, Temporalities and Inter-Asian Entanglements of Popular Music

 

Statement:

Ranging from J-pop to Indonesian punk, from Chinese folk to Japanese Enka, from Bollywood songs to Thai heavy metal, music takes multiple forms and identities, allowing for complex negotiations of both time and place. These forms quickly travel, mostly regionally, and in some rare cases also globally. The circulation of sounds changes over time, for example, where in the 1990s Cantopop played an important role regionally, this role has now been taken over by both Mandapop and K-Pop. The sound of Bollywood, on the other hand, continues to fascinate the global imagination. Further down in South-east Asia, Indonesian and Malaysian boy bands merge their Islamic beliefs with the global sound of pop.

Amidst this cacophony of voices, sounds and images, we wonder: what are the sounds of that construct called “Asia”? How do sounds travel regionally, and globally, and why? How comes that certain sounds travel better than others? How does the music industry respond to the changes caused by globalization and digitization? What transnational fancultures do emerge? The entanglements we witness refer not only to place but also to time, for example, folk music often expresses an urban alienation and romanticizes a forgotten past, while other sounds from the past are brought back to life, or reassembled in a quite different form, or come from a different place. The nostalgia of Japanese Enka speaks to the longings of urban youth in Taiwan. And take for example the Chinese band RETROS and their reinterpretation of the 80s sound of Bauhaus from the UK, or a reinterpretation of the Shanghai sound of Zhou Xuan from the 1930s and 1940s in electronic music. At the same time, in India, old Bollywood classics are reworked into club house dance songs. These various music cultures and their social significance cannot be possible without the workings of the music industry, whether on a local, regional or international scale.

 

This conference aims to bring scholars together that work on the different popular musics of Asia, linking these to negotiations of both place and time, and paying special attention to the entanglements of sound with these two categories.

 

Schedule:

Please submit an abstract (200-300 words) and short bio (max. 100 words) by 15 29 December 2017 to iapmsconference@gmail.com. For panels, please submit a general panel description of 200-300 words, four abstracts (200-300 words each) and biographies (max. 100 words each). Please use the Proposal Form (right click to download) when submitting your proposal, and use your surname as file name (ex. Chua.doc, Douglas.doc).

 

Notice of acceptance will be given by 1 February 2018

 

Registration fee

 

Waged members: 75 USD

Unwaged/ Students: 50 USD

 

Language:

English

 

Journal Support:

Global Media and China

 

Local committee:

Zhang Qian (Communication University of China)

Zhao Zhi’an (Communication University of China)

 

Organizing committee:

Yiu Fai Chow (Hong Kong Baptist University, China)

Anthony Fung (Chinese University, Hong Kong/ China)

Kaori Fushiki (Taisho University, Japan)

Jeroen Groenewegen (Independent scholar, China/ the Netherlands)

Tung Hung Ho (Fu-jen Catholic University, Taiwan)

Jeroen de Kloet (University of Amsterdam, the Netherlands/ Beijing Film Academy, China)

Liu Fei (Chinese National Academy of Arts, China)

Yoshitaka Mori (Tokyo University of the Arts, Japan)

Hyunjoon Shin (Sungkonghoe University, Korea)

Jung-yup Lee (University of Massachusetts Amherst, USA)

Wang Qian (Yibin University, China)

Zhang Qian (Communication University of China, China)

[Book Review] Made in Korea: Studies in Popular Music – Motti Regev

http://www.tandfonline.com/eprint/D4DksXuHKZkJ8PHRdfX9/full

Book Review

Made in Korea: Studies in Popular Music

Pages 1-2 | Published online: 10 Jul 2017

A fine addition to the highly recommended series Global Popular Music (edited by Franco Fabbri and Goffredo Plastino), this volume on popular music in Korea (short for South Korea) is as comprehensive as such a book can be. Its sixteen thematic chapters are divided into four sections, devoted to histories, genres, artists, and socio-cultural issues. These are preceded by a short introduction, outlining some basic information about Korean history, aspects of language, and transcription. The book is rounded up by a chapter on the circulation of Korean pop in Asia, and (a permanent feature in the series) a conversation with a prominent musician. In this case it is the late Shin Hae-chul (1968–2014), a major figure in Korean pop-rock music of the 1990s.

Admittedly, I am not an expert on Korean music or culture. For my own work on the globalization of pop-rock music (see Regev) I have consulted several available texts in English (notably Epstein; Howard; Shin; Kim and Shin) that provided intriguing introductions to the complexity and richness of the field of pop-rock in this country. This new book goes several steps further in offering a multifaceted view of major themes and issues in Korean popular music. Three key topics seem to be at the core of any interest in Korean pop-rock. These are the stylistic and socio-cultural evolution of pop-rock music in Korea, and especially its relation to local indigenous traditions; the social and political context of pop-rock music production and consumption, amid the prominent American presence in the country or the authoritarian regimes that were in power until the 1990s; and the phenomenon of K-Pop that swept young people in East Asia and other parts of the world at the turn of the twenty-first century.

Indeed, audiences in other parts of the world became aware of Korean popular music mostly in the wake of K-pop. This major phenomenon is covered here in two chapters. One (by Sun Jung) illuminates the deliberate production of the “wave” as an export project by the cultural industries of Korea, and especially their conscious use of social media. The other (by Dong-Yeun Lee) examines the meaning and role of idols in the context of K-Pop. Combining pop tunes and glamorous images of youth, these cultural products with short life spans are interpreted here as typical of the neo-liberal market.

K-pop and idol culture are, however, but one relatively recent phase in the history of Korean pop-rock. As the thread that runs through this book makes clear, it is a history characterized by a quest for a balance between Western, mostly Anglo-American influences, and traditional or indigenous sounds. Strictly local genres attempt to preserve a musical language of supposedly pure “Korean-ness.” These obviously include folk music and People’s Song (both discussed here in a chapter by Aekyung Park), but also Trot and Ballad, explained and described in a chapter by Yu-Jeong Chang.

Several chapters in the book add up to present a broad picture of the stylistic evolution of pop-rock in Korea, including explorations of typical Korean sounds and the intricate ways in which this has been entangled with changing attitudes of the regime towards popular music. A chapter by Jung-Yup Lee in the History section follows the change in media broadcasting of music from being a state and politically controlled institution to a highly commercialized and diverse mechanism in the 1990s and 2000s. Soojin Kim, in her chapter in the Issues section, completes this aspect by surveying the ambivalence towards popular music in the cultural policies of the regimes through the years.

Chapters in the Artists section fill this institutional context with examinations of three towering figures in the history of Korean pop-rock. Dohee Kwon focuses on Shin Joong Hyun, one of the most influential and prominent rock musicians in the country, and especially on one of his most famous works, “Miin” (1974); Okon Hwang outlines the career of composer and singer Kim Min-ki, whose song “Ach’imisŭl” became an anthem for the anti-dictatorship movement of the 1970s; and Eun-Young Jung discusses the impact of Seo Taiji, whose career was pivotal in introducing hip hop, dance, metal and hard rock to the mainstream of Korean popular music. Additionally, an interesting chapter by Haekyung Um in the Issues section examines changes in the vocal style of Korean singers along history and across styles, and points to the cultural shifts reflected in them.

A review of the stylistic scope and genealogy of Korean pop-rock is provided by Pil Ho Kim in the Genres section. His chapter traces the path of Korean rock from the early Group Sound phenomenon of the 1960s and early 1970s to the most recent indie and alternative bands of the 2000s. His observation about the relation of twenty-first-century indie rockers, who “managed to bring back the old formula of global-local balance with a new twist,” to the history of Korean popular music seems to capture the cultural essence of the story unfolded in this book. He writes, “For example, 3rd Line Butterfly resurrects Kim Hae-song, the jazz genius during the 1930-1940s, by sampling his music in “Kimp”o ssangna’al’ (Double Horn of Kimp’o, 2004). Chang Ki-ha Wa Ŏlgul Tŭl (Chang Kiha and the Faces) . . . makes clever references to Group Sound rock and modern folk of the 1970s.” Kim concludes that “Korean popular music has been around long enough to establish a tradition of its own and to help create new local sound that may well be added to the global repertoire of rock music” (all quotations 80).

Regretfully, language and other cultural aspects hinder fans in other countries from getting acquainted with and enjoying the full range of pop-rock music from Korea. At the scholarly level, however, this book provides an expansive overview, written by an expert team of researchers. This book is certainly not just for scholars of Korean or Asian culture. I think that researchers in popular music, cultural studies, media, and cultural sociology who are interested in the details and intricacies of cultural globalization can find a wealth of information and insights hidden in these pages.

Motti Regev
The Open University of Israel

© 2017 Motti Regev
https://doi.org/10.1080/03007766.2017.1348594

Works Cited

  • Epstein, Stephen J. “Anarchy in the UK, Solidarity in the ROK: Punk Rock Comes to Korea.” Acta Koreana 3 (2000): 134. Print.
  • Howard, Keith, ed. Korean Pop Music: Riding the WaveFolkestoneGlobal Oriental2006. Print.
  • Kim, Pil Ho, and Hyunjoon Shin. “The Birth of ‘Rok’: Cultural Imperialism, Nationalism, and the Glocalization of Rock Music in South Korea, 1964–1975.” Positions 18 (2010): 199230. Print.

     

  • Regev, MottiPop-Rock Music: Aesthetic Cosmopolitanism in Late ModernityCambridgePolity2013. Print.
  • Shin, Hyunjoon. “The Success of Hopelessness: The Evolution of Korean Indie Music.” Perfect Beat 12 (2011): 147165. Print.

Vamping the Stage: Female Voices of Asian Modernities – Edited by Andrew N. Weintraub and Bart Barendregt

Vamping the Stage: Female Voices of Asian Modernities

Discussion published by Andrew Weintraub on Wednesday, July 26, 2017
I would like to announce the publication of Vamping the Stage: Female Voices of Asian Modernities, the first book-length study of women, modernity, and popular music in Asia (University of Hawai’i Press, 2017). Consisting of a lengthy introduction and 14 case studies, this edited volume demonstrates how female performers supported, challenged, and transgressed gendered norms in the entertainment industries of China, Japan, India, Indonesia, Iran, Korea, Malaysia, and the Philippines. Placing women’s voices in social and historical contexts, the authors explore salient discourses, representations, meanings, and politics of “voice” in Asian popular music.  Female performers were not merely symbols of times that were rapidly changing. Nor were they simply the personification of global historical changes. Female entertainers, positioned at the margins of intersecting fields of activities, created something hitherto unknown: they were artistic pioneers of new music, new cinema, new forms of dance and theater, and new behavior, lifestyles, and morals. They were active agents in the creation of local performance cultures, of a newly emerging mass culture, and the rise of a region-wide and globally oriented entertainment industry.
Edited by Andrew N. Weintraub and Bart Barendregt
Table of Contents

CHAPTER 1

Re-Vamping Asia: Women, Music, and Modernity in Comparative Perspective

Andrew N. Weintraub and Bart Barendregt

PART I

Triumph and Tragedies of the Colonized Voice: Colonial Modernity, Commodification,
and Circulation of Women’s Voices

CHAPTER 2

Acoustic Ladies: Mediating Audiovisual Modernity in Early German and Chinese Talkies

Yiman Wang

CHAPTER 3

On Becoming Nora: Transforming the Voice and Place of the Sing-Song Girl through Zhou Xuan

Yifen Beus

CHAPTER 4

Malay Women Singers of Colonial Malaya: Voicing Alternative Gender Identity and Modernity

Tan Sooi Beng

CHAPTER 5

The “Comfort Women” and the Voices of East Asian Modernity

Joshua D. Pilzer

PART II

Modern Stars and Modern Lives: Nation, Memory, and the Politics of Gender

CHAPTER 6

Diva Misora Hibari as Spectacle of Postwar Japan’s Modernity

Christine R. Yano

CHAPTER 7

Titiek Puspa: Gendered Modernity in 1960s and 1970s Indonesian Popular Music

Andrew N. Weintraub

CHAPTER 8

The Remarkable Career of L. R. Eswari

Amanda Weidman

PART III

Silenced Voices and Forbidden Modernities: Censorship, Morality, and National Identity

CHAPTER 9

Gendered and Censored Modernity: Two Female Singers and Their Music in South Korea

Soojin Kim

CHAPTER 10

Princess Siti and the Particularities of Post-Islamist Pop

Bart Barendregt

CHAPTER 11

Googoosh’s Voice: An Iranian Icon in Silence and Song

Farzaneh Hemmasi

PART IV

Body Politics and Discourses of Femininity: Image, Sexuality, and the Body

CHAPTER 12

Enacting Modernity through Voice, Body, and Gender: Filipina Singers from the Close of the Philippine-American War to the Onset of Martial Law (1913–1972)

Ricardo D. Trimillos

CHAPTER 13

Beyond Black and Gray: Portraits and Scenes of Javanese Singer Waldjinah in Indonesian Popular Print Media

Russell P. Skelchy

CHAPTER 14

Mainstreaming Dance Music and Articulating Femininity: South Korean Dance Divas in the 1980s

Hee-sun Kim

CHAPTER 15

The Ideal Idol: Making Music with Hatsune Miku, the “First Sound of the Future” 320

Jennifer Milioto Matsue

For further information:

http://www.uhpress.hawaii.edu/p-9840-9780824869861.aspx

ISBN: 978-0-8248-6986-1

372 pp.

[Interview] Noriko Manabe – Anger & Resistance

An interview with Manabe Noriko in what probably is the most challenging German music and popular culture magazine, Spex. The current issues’ topic is “anger and resistance” and the interview with Noriko is part of the cover story.

The English version: http://www.spex.de/2017/08/09/anger-resistance-no-11-noriko-manabe-japan-anger-is-an-important-motivator/

A short version in German: Spex: Magazin für Popkultur, No. 375 (July/August 2017), “Schwerpunkt: Wut & Widerstand: Anger Is an Energy.”

The images are from https://twitter.com/nmanabe/status/885484987633606656

Call for Papers – Crossroads in Cultural Studies, 2018

Crossroads in Cultural Studies, 2018

For the first time in its history, Crossroads in Cultural Studiesis coming to Mainland China. Hosted by Shanghai University, the 12th Crossroads in Cultural Studies will be held in Shanghai, from August 12th to 15th 2018 , prior to the date there will be a one day pre-conference for graduate students on August 11th. Scholars from around the world will come together in the beautiful summertime to engage with the past, present and future of cultural studies scholarship.

Keynote Speakers: Stay tuned for the announcement of more speakers!

The Crossroads in Cultural Studies Conference has played an important role in the creation of a global discussion of Cultural Studies. It has become a major international conference where scholars from all five continents gather regularly to exchange research, views, and insights. Organized by the Association for Cultural Studies (ACS), the Crossroads conference is held every other year in different parts of the world. Previous conferences have taken place in Sydney(Australia), Birmingham (United Kingdom), Urbana-Champaign (USA), Istanbul (Turkey), Kingston (Jamaica), Hong Kong (China), Paris (France), and Tampere (Finland).

A day-long postgraduate/graduate research student conference will precede the main conference on August 11th.

  • Submit your proposal before 24:00, Nov. 30th, 2017(Beijing time). The call for both pre-organized panel and paper proposals (for both main conference and pre-conference) is now open.Submission guidelines and forms can be accessed here.
  • Information on registration and accommodation will follow soon, along with confirmed speakers.
  • Spread the news! Please share this page with your colleagues and friends – we look forward to seeing you in Shanghai in the summer of 2018!
Suggested Topics for Crossroads 2018 Shanghai:

The conference is open to all topics relevant to cultural studies. Here are some suggested topics as food for thought, drawing on the work of our invited keynote, plenary and spotlight speakers, and on more general themes in cultural studies research. However, all contemporary cultural studies research is welcome at this conference:

  • Relationships between the urban and the rural
  • Political/cultural unconscious of the youth
  • Ideas and practices for the alternative
  • Knowledge production and its transformation
  • Rethinking university and the academic community
  • Return to the communities
  • Human/non-human relations
  • Working class and the intellectual proletariat
  • Green culture/economy
  • Gender identity
  • Creative industry and cultural economy
  • Labour right and robot
  • Political and technical dimensions of “post-truth”
  • Practices of space
  • Food sovereignty, safety and quality
  • Redefinition of economy
  • Cultural citizenship
  • New media and new politics
  • Law and everyday-life rationality
  • Immaterial labour and intellectual property
  • Rethinking time in the digital era
  • Regional cultural traditions and global mainstream culture
  • Borders and mobilities