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CfP: Dancecult – Echoes from the Dub Diaspora

Eine Spezialausgabe des Magazins zur Elektronischen Tanzmusik-Kultur sucht Beiträge, die sich mit dem Thema Dub in all seinen Schattierungen auseinandersetzen.

Aus dem Call:

Special Issue of Dancecult: Journal of Electronic Dance Music Culture

— Editors —
tobias c. van Veen, Université de Montréal
Hillegonda Rietveld, London South Bank University

DUB is a term that resonates in multiple aspects of electronic dance
music culture. In the crates of DJs, the search terms of online record
shops, and echoing throughout scholarly and cultural genealogies, dub
signifies a signature style of spatialized rhythm and sound that derives
from the studio practices pioneered by Jamaican dance sound systems
since the late 1960s, in which versions — “dubs” — were crafted from
instrumentals of reggae recordings.

Pressed on vinyl and spun by DJ “selectors”, these skeletal forms of
reggae allowed vocalists, emcees and the dancing crowd to superimpose
lyrics during sound system events. Using the studio as instrument, by
the 1970s the practice of versioning developed into a remix aesthetic.
As an evolving and experimental art, dub foregrounds the texture of
sound as a landscape of low frequency vibrations, haunted absences and
instrumental snippets punctuated by rhythmic events and otherworldly
toasting. Crucially then, dub is not only a musical style but also an
artistic discourse, in the aesthetic act of making dub — a type of
remixing that emphasizes the phatic affects of sonic space and haunted time.

In this special issue of Dancecult: Journal of Electronic Dance Music
Culture, we aim to expand the concept of dub, putting dub to work as a
means to connect different scholarly approaches that encompass
electronic dance music cultures. In the mapping of dub’s global
connections, we mean to pose, and question, the meaning of dub diaspora.
Expanding upon “dub diaspora” helps to conceptualize dub as an open set
of remix practices and styles that connect multiple cultural contexts
that bind the ephemera of musical belongings to infrastructures of
distribution and production, their technologies and recording practices.
What would it mean, then, to speak of the dub diaspora?

  In this special issue, we will consider all things dub, including:

• dub and remixology
• dub acoustemology, as a way of knowing and hearing
• dub as an art, aesthetic practice and form of performance
• dub Rastafarianism, Jamaica and (post-)reggae politics
• dub and Afrodiaspora
• dub Afrofuturism, science fiction worldings, temporalities, becomings
• dub as a material practice of cultural belonging
• dub as an infrastructure or assemblage of technics and culture
• dub philosophies of sonic simulacra and versioning
• dub subjectivities, ontologies, phenomenologies
• dub technogenesis, technics and creative mis-uses of technologies
• dub body technologies and entheogens
• dub genders, sexualities and identities; queer(ing) dub
• dub vampires, zombies, the undead, uncanny and becoming-animalia
• dub bodies, rhythm and low frequency affect
• microgenealogies of dub producers, performers, participants
• ethnographies of dub scenes and sound systems
• production studies of dub studio, performance and recording practices

== Submissions ==

This special edition is proposed for publication in November 2015.
Please send expressions of interest, inquiries, and if interested, a 250
word abstract (and a brief author bio) to:

     Dr. tobias c. van Veen | tobias.c.van.veen@umontreal.ca
      —> Deadline for abstracts: October 1st, 2014 <—

Deadline for full article submission: March 1st, 2015.

Dancecult publishes both peer-reviewed Feature Articles (6000–9000
words, including references and endnotes) as well as non-peer reviewed
pieces in its From the Floor and Conversations sections (750–2500 words).

Details on Dancecult’s article policies can be found here:
All articles must adhere to the Dancecult Style Guide (DSG):


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