Call for papers
Back to the Future: Popular Music and Time
18th Biennial IASPM Conference
29 June – 3 July 2015
Universidade Estadual de Campinas
São Paulo, Brazil

*Versão em português abaixo*
*Versión en español abajo*

Whether in relation to rhythms, eras, live performances, lyrics, identities, politics, scenes, production, or changing technologies, the topic of time can be linked to popular music in a variety of ways. The compartmentalising of sounds into genres, the ageing of audiences, and the shifting sands of the music industry all invoke notions of the temporal. For the 18th Biennial IASPM Conference, we invite researchers and practitioners to submit proposals for presentations that engage with the theme of time. We encourage proposals dealing with one of the following strands:

– Ageing Times: fandom and memory; musicians’ biographies; archiving and remastering; ageing bodies; ageing technologies; recycling repertoires.
– Historical and Social Times: contextual times; local and global histories and counter-histories; fashion, retro and revival trends; timelessness; sampling and other forms of sonic genealogies, re-circulations and surrogations.
– Modern Times: new sounds; new technologies; futurism; music industry strategies; mobile media.
– Phenomenological Times: creative process; performance deployment; gesture, affect and listening experience; cross time productions, collaborations and performances.
– Structural Times: rhythm, tempo, groove, swing, beat and the various ways of conceptualizing the duration of sound; periodicity and repetition; flow and cadence; being in/out of time and sync; relationships between noise and silence(s).

There will be the options of: panels (of 3 or 4 presenters), individual papers, film/video presentations, or poster sessions.

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 panelist.

Papers
We invite abstracts of no longer than 200 words, including five keywords for programming purposes. 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, that remain on hand for a scheduled period for discussion, 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 as a Word doc attachment to iaspm15[at]iaspm.net. Please name the file with your surname. The following format should be used:

– Name, affiliation and contact email address
– Type of presentation (select one from: panel, individual paper, film/video, poster)
– Title of presentation (and panel if applicable)
– Strand (select one from: Ageing Times / Historical and Social Times / Modern Times / Phenomenological Times / Structural Times)
– Abstract
– Five keywords
– Bio (80 words maximum)

Papers will be accepted in English, IASPM’s official language, and Portuguese and Spanish, IASPM Latin America’s official languages. For submissions in Portuguese and Spanish, an additional abstract in English is required, and, if selected, an English visual presentation is to be screened while presenting.

Questions about the organization of panels should be directed to the Chair of the Academic Committee, Goffredo Plastino: chair[at]iaspm.net. Suggestions for other possible events at the Conference should be directed to the Chair of the local Organizing Committee, Rafael dos Santos: rdsantos[at]unicamp.br

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.

Deadlines
Deadline for receiving abstracts: 31 May 2014
Acceptance/rejection letters: 30 September 2014
Opening registration: 1 October 2014
Deadline for “early bird” registration (US$ 150): 1 February 2015
Program draft: 1 March 2015
Conference fee payment deadline (US$ 200): 2 April 2015
Final program: 31 May 2015

Subject: Call for Papers: “All Hail the Queenz: A Queer Feminist Recalibration of Hip Hop Scholarship”

Call for Papers:

“All Hail the Queenz: A Queer Feminist Recalibration of Hip Hop Scholarship”

A Special Issue of *Women and Performance: A Journal of Feminist Theory*.

Issue Guest Editors: Shanté Paradigm Smalls (University of New Mexico) and
Jessica N. Pabón (New York University)**

Submission deadline: *May 1, 2013*

*Women and Performance *invites submissions for a special issue, “All Hail
the Queenz: A Queer Feminist Recalibration of Hip Hop Scholarship.” The
editors welcome scholarly articles and performative texts that foreground
feminist and queer performance studies approaches to hip hop culture,
consumption, and production.

Contemporary rap music, as a stand-in for hip hop culture and production,
is virtually synonymous with misogyny and homophobia in the mainstream US
and academic imaginary. We want to explore the range of understandings and
theories that inform how women and queers experience hip hop culture and
performance; this issue underscores the multiplicity of hip hop culture and
rejects a myopic totalizing view of what “the culture” does and is. We seek
to engage with the wide range of hip hop scholars and practitioners working
at the intersections of various methodologies not always associated with
scholarly considerations of hip hop (including psychoanalysis, feminist and
queer theory, and performance theory), as well as methods typical to hip
hop studies—sociology, Black studies, literature, history, musicology, and
urban studies. An emerging class of hip hop scholars pressure the givens of
race, gender, performance, sexuality, region, nationality, artistry, and
iconography—as a culture that has been in a state of constant development
for the past forty years, hip hop scholarship is more than due for a queer
feminist remixing and reimagining.

As coeditors, we challenge the readers of *Women & Performance* to ask:
What would a specifically queer feminist performance studies approach to
hip hop’s culture and production generate in terms of scholarship? How does
a queer feminist experience and critique revise hip hop studies? Why has
performance studies had so little to say about hip hop, what interventions
does performance studies yield? The issue’s focus on producing knowledge
about hip hop culture that centralizes women, girls and queer people will
include a range of elements, both popular and subcultural: DJ culture,
dance, graffiti, human beat boxing, rap music, as well as fashion, media
and print, organizing, and other forms of knowledge production. No matter
the genre, hip hop is often conceived and misrepresented as a
male-dominated culture which casts women and girls as an addendum to hip
hop rather than as primary producers, critics, and consumers. Within the
pages of this issue, contributors revisit the centrality of feminist and
queer artists to the production of all elements of hip hop culture and of
feminist and queer critique to hip hop scholarship. “All Hail the Queenz”
intends to tease out the nuanced negotiations women, girls, and queer
people develop as hip hop artists, critics, and consumers participating
within this climate.

Through re-centering feminist and queer critiques and female and queer
performance, “All Hail the Queenz” recalibrates hip hop’s center. By
recalibrating the center, contributors to this issue refashion hip hop
historiography and hip hop aesthetics beyond the art of rapping by the
cisgendered male body. In a kind of textual reperformance, this issue takes
its title from Queen Latifah’s lyrical demands for respect on her first
womanist rap classic album, “All Hail the Queen,” and reminds readers once
again that “stereotypes, they got to go!”

Potential Topics:

– Alternate Hip Hop historiographies
– Artist Scholars
– DJing, technology, gender, sexuality
– Feminist, queer, trans* aesthetics
– Feminist, queer, trans* pedagogy
– Graffiti and gender/sexuality
– Hip Hop culture and dis/ability
– Hip Hop diasporas
– Hip Hop fashion
– Hip Hop feminism
– Hip Hop festivals
– Hip Hop’s hybridity
– Human Beatboxing
– Media culture and social networking
– Nation, Empire, and hip hop
– Queer feminist hip hop critique
– Queerness and/in/of hip hop
– Trans* in/and hip hop

Article submissions should be 6-8,000 words in length and adhere to the
current Chicago Manual of Style (CMS), author-date format. Performative
texts should be 2-3,000 words and in any style the author chooses (same CMS
style as above if using citations). Photo essays are welcome. Questions and
abstracts for review are welcome before the final deadline.

Complete essays and texts for consideration must be submitted by 11:59 PM
EST, May 1, 2013.

Please send all work to both Shanté Paradigm Smalls and Jessica N.
Pabón via email (MSWord attachment): shantesmalls@gmail.comand
jnp250@nyu.edu.

Further submission guidelines may be found at:
http://www.womenandperformance.org/submission.html. *Women and Performance* is a
peer reviewed journal published by Routledge, Taylor & Francis.

Thanks for circulating!

Best,

Jessica N. Pabón

ABD, Performance Studies New York University
American Association of University Women Dissertation Fellow, 2012-2013
Curator, bob bar gallery, NYC
Email: jnp250@nyu.edu
Blog: artofgettingovaries.wordpress.com
Facebook Page: http://www.facebook.com/ArtofGettingOvaries
TedxWomen Talk: http://tedxwomen.org/speakers/jessica-pabon/