we are very proud to announce the first volume of the new series ~Vibes by the German-speaking branch of IASPM. «Pop–Power–Positions: Globale Beziehungen und populäre Musik» (Global Relations and Popular Music) looks at (global) power relations and representations of differences in popular music (studies).
Just a few things to run by you from the world of Journal of Popular Music Studies as we kick off 2021. Our book series resumes tomorrow with Daphne Brooks, in conversation with Farah Jasmine Griffin and Gayle Wald, talking about her Liner Notes for the Revolution: The Intellectual Life of Black Feminist Sound, coming out next month on Harvard Press. We have a jampacked set of offerings: look for the schedule here: http://iaspm-us.net/journal-of-popular-music-studies/books-in-process-series/
Editors: Serouj Aprahamian, Shamell Bell, Rachael Gunn, and MiRi Park
IASPM Journal is the peer-reviewed open-access e-journal of the International Association for the Study of Popular Music (IASPM). As part of an international network, the journal aims to publish research and analysis in the field of popular music studies at both global and local levels.
The recent succession of protests and uprisings following the murder of George Floyd at the hands of (now former) Minneapolis police officers overwhelmingly included dance as a protest tactic. While dancers have long engaged in cultural acts of resistance, this iteration in the #blacklivesmatter movement stemmed directly from the efforts of dancers/activists who participated in the protests following the deaths of Trayvon Martin, Ezell Ford, and Michael Brown. Dancer/activist/scholar/mother Shamell Bell deemed “Street Dance Activism” as a protest tool to celebrate Black Joy in the face of Black death, and renowned dance scholar Brenda Dixon-Gottschild has noted how such actions have gained increasing visibility over the last decade.
Sounds of the Pandemic International online conference, December 16-17, 2020
3 Keynotes | 8 Thematic Sessions | 10 Virtual Posters | 60 Panelists: the conference programme is now online! GO TO PROGRAMME.
The conference will take place on Zoom as a Video Webinar. There will be room for up to 500 registered attendees: registration opens on Tuesday, December 1 on the conference website and will close on Monday, December 14.
The event will not be live streamed on social media, but will be later uploaded on YouTube.
Please see below for editorial contacts and instructions for initial submissions.
Edited by Sarah Woodland (Faculty of Fine Arts and Music, University of Melbourne, Australia) and Wolfgang Vachon (School of Social and Community Services, Humber Institute of Technology and Advanced Learning, Canada)
Due for publication in early 2022
About the book
This edited collection aims to investigate the use of sound and audio production in community engaged participatory arts practice and research. The popularity of podcast and audio drama, combined with the accessibility and portability of affordable field recording and home studio equipment, makes audio a compelling mode of participatory creative practice. Working in audio enables a flexible approach to participation, where collaborators in sites such as prisons, schools, and community settings, can engage in performance and production in flexible ways, while learning valuable skills and producing satisfying creative outcomes. Audio works also allow projects to reach wider audience (and for longer) than an ephemeral performance event, extending the potential for diverse perspectives to be heard beyond prison walls, across borders, and between different communities and cultures.