Hans-Flesch-Gesellschaft

Forum für akustische Kunst

Denken, Schreiben, Treffen

Konferenz: 4. “Rhythm Changes”

Unter dem Titel “Jazz Utopia” lädt die Konferenz nach Birmingham, UK, ein. Die Veranstaltung findet vom 14. bis 17. April 2016 statt. Die Einreichungsfrist für Beiträge endet am 01. September 2015.

Weitere Informationen aus dem Call for Papers:

“The fourth Rhythm Changes conference: Jazz Utopia will take place at
Birmingham City University in the United Kingdom from 14 to 17 April 2016.

Keynote Speakers

Professor Ingrid Monson (Harvard University)

Professor Raymond MacDonald (University of Edinburgh)

We invite paper submissions for Jazz Utopia, a four-day
multi-disciplinary conference that brings together leading researchers
across the arts and humanities. The event will feature academic papers,
panels and poster sessions alongside an exciting programme of concerts
delivered in partnership with the Birmingham Conservatoire and Jazzlines.

Jazz has long been a subject for utopian longing and hopes for a better
future; it has also been the focus of deeply engrained cultural fears,
visions of suffering and dystopian fantasies. In its urgency and
presence jazz is now here. As improvisational and transitory, jazz is
nowhere. Utopia is nowhere and now here. Jazz is utopia. Or: jazz is
utopian desire. Jazz Utopia seeks to critically explore how the idea of
utopia has shaped, and continues to shape, debates about jazz. We
welcome papers that address the conference theme from multiple
perspectives, including cultural studies, musicology, cultural theory,
music analysis, jazz history, media studies, and practice-based
research. Within the general theme of Jazz Utopia, we have identified
three sub-themes. Please clearly identify which theme you are speaking
to in your proposal.

· Jazz identities.

Claims have always been made for jazz as a certain utopian practice, in
which jazz has made possible a musical-social space where different,
usually marginal, identities are expressed and confirmed. At the
multiracial club, bandstand, or dance-floor race and ethnicity are
acknowledged, difference is championed or erased. Musicians have used
jazz to step out of their class. The dialogic qualities and queer sounds
alike of jazz offer opportunity for the expression of gender and
sexuality. New thinking around disability and music reads jazz as a
crip-space. Equally, consider the way in which freedom in improvisation
has been understood as a liberating utopian practice. Even in its
diasporic invention jazz comes from a kind of no-place (ou-topia = no
place). In utopia, jazz is the effort to sound another world into being,
the only condition of which is that it must be better. Has jazz really
been that good?

· Inside / outside: jazz and its others.

What does jazz mean to its community of insiders and those that approach
it from outside? For those who are deeply involved with jazz, whether
musicians, critics, scholars, or fans, the genre often provides a
utopian space for creative encounters. By definition, the articulation
of this space through performance, writing, research and consumption
also creates a community of outsiders who may seek ways to engage with
the jazz community or observe it from afar. This strand invites papers
that address the relationships between jazz and its ‘others’, defined in
relation to music making, criticism, scholarship or reception, whether
these interactions are antagonistic or collaborative in tone.

· Heritage and archiving.

This strand focuses on the different ways in which heritage practices
and archival work contribute to the reconfiguration of jazz as a utopian
space. Through its commitment to alternative ways of living and being,
jazz offers imaginative variations on themes of history and
preservation. It creates communities of collectors and music lovers, who
refigure jazz as nostalgia and escape, as well as renewal and return. We
welcome papers that explore all aspects of archiving practice and
cultural heritage and the opportunities and tensions that present
themselves for scholars, institutions and practitioners in these fields.

Proposals are invited for:

· Individual papers (20 minutes) – up to 350 words.

· Themed paper sessions of three individual (20 minute) papers –
350 words per paper plus 350 words outlining the rationale for the session.

· Seventy-five minute sessions in innovative formats – up to 1000
words outlining the form and content of the sessions.

Please submit proposals (including a short biography and institutional
affiliation) by email in a word document attachment to: jazzutopia@bcu.ac.uk

The deadline for proposals is 1st September 2015; outcomes will be
communicated to authors by 1st October 2015. All paper submissions will
be considered by the conference committee: Christa Bruckner-Haring,
Nicholas Gebhardt (chair), George McKay, Loes Rusch, Catherine Tackley,
Walter van de Leur and Tony Whyton.

The conference builds on the legacy of the Rhythm Changes research
project. Rhythm Changes: Jazz Cultures and European Identities was
funded as part of the Humanities in the European Research Area (HERA)
Joint Research Programme, which ran from 2010-2013. The project team
continues to develop networking opportunities and champion collaborative
research into transnational jazz studies.

Updates on the conference and information about travel and accommodation
will be available at: http://www.rhythmchanges.net

Prof George McKay
AHRC Leadership Fellow, Connected Communities Programme
Film, Television & Media Studies (FTM)
University of East Anglia
Norwich NR4 7TJ, UK
tel +44 (0)779 1077 074; +44 (0)1603 592152

connected-communities.org georgemckay.org
Shakin’ All Over: Popular Music & Disability (University of Michigan
Press, 2013)
ed., The Pop Festival: History, Music, Media, Culture (Bloomsbury, 2015)”

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