Apologies for cross-posting.

General Outline

How can the concept of "Black British Music" be reframed or reimagined to better capture the diversity and complexity of Black musical experiences in Britain? What role should national institutions, such as the British Library, play in preserving and promoting Black British Music? And how can collaborations and partnerships between institutions, researchers, artists, and communities be leveraged to advance the understanding, appreciation, and impact of Black British Music?

Black British Music: Past, Present and Futures is an interdisciplinary symposium that reflects on the meaning, histories and legacies of Black British music. The symposium forms part of a broader partnership project between the British Library and the University of Westminster’s Black Music Research Unit (BMRU). Culminating in the first major exhibition on Black British Music, Beyond the Bassline: 500 years of Black British Music, the partnership aims to research and curate national collections relating to Black musical experiences in Britain in a way that engages with broader conversations on British popular culture and Black histories.

Call for Papers

This symposium invites the submission of a diverse range of conference papers and facilitated discussions that critically examine the meaning, histories, and legacies of Black British music, both within the UK and globally. The format will include a mixture of short lightning talks as well as panel discussions focused on the music industry and broader cultural implications.We welcome submissions that engages with the following questions and themes:

Defining and Interrogating the Concept of "Black British Music"
•       What is the meaning and significance of the term "Black British Music"? Is it a useful or limiting categorization?
•       How does the concept of "Black British Music" intersect with issues of race, identity, and cultural representation in Britain?
•       What are the historical roots and legacies of Black British Music, and how have they shaped contemporary British culture?

Representation, Curation, and Archiving of Black British Music
•       What role should national institutions, such as the British Library, play in preserving and promoting Black British Music?
•       How can archives and exhibitions effectively represent the diverse experiences and contributions of Black British musicians and creatives?
•       What challenges or limitations exist in curating and documenting Black British Music, and how can they be addressed?

Exploring the Intersections of Black British Music
•       How does Black British Music intersect with issues of technology, copyright, education, heritage, class, and gender?
•       What are the social, political, and cultural implications of these intersections, and how do they shape the production, dissemination, and reception of Black British Music?
•       How can these intersections be further explored and addressed in research, education, and industry practices?

Gender and Black British Music
•       How have gender dynamics and gender representations shaped the creation, performance, and reception of Black British Music?
•       What are the experiences and contributions of women and non-binary artists, producers, and industry professionals in Black British Music?
•       How can issues of gender equity, inclusivity, and intersectionality be addressed within the context of Black British Music?
•       What are the intersections between gender, race, and class in the narratives and discourses surrounding Black British Music?

The Future of Black British Music
•       What are the emerging trends, challenges, and opportunities for Black British Music in the contemporary and future landscape?
•       How can the legacies and contributions of Black British Music be sustained and advanced in the face of globalization, commercialization, and technological disruptions?
•       What roles can different stakeholders (artists, educators, curators, policymakers, etc.) play in shaping the future of Black British Music?


We welcome submissions from those who might not be affiliated with a University or other organisations/institutions. Please use the following as a guide, and feel free to suggest your own.

How to Submit Your Proposal:

Please submit all abstracts (250 words) with accompanying bio (up to 100 words) and affiliation (if any) by May 20th, 2024, to Hussein Boon at [log in to unmask] [University of Westminster, United Kingdom] with the subject heading “Proposal- Annual Black Music Research Symposium – Beyond The Bassline”. Presentations are 10 minutes + panel discussion and audience Q&A. You can also submit your proposal using the following forms link: https://forms.office.com/e/FDgGnA1NgH.


More information

Conference Information:
The symposium is scheduled to be an in-person event at the British Library in London on 12th July 2024. Tickets will be administered by The British Library.

Contact Info:
Hussein Boon at University of Westminster, United Kingdom.

Contact Email:
[log in to unmask]

About the BMRU
The BMRU's research methods provide greater access and ownership to Black British-born individuals of their history within academia. Historically academic literature has erased and rendered them invisible across generations, overlooking their contributions in analyses of punk and its successor genres, despite punk and reggae's coexistence and considerable collaboration in the 1970s. The now elderly, first generation Africans and Caribbeans possesses crucial stories, objects, and recordings to share, which would inform subsequent generations of musicians. This is central to BMRU's research program, discourse, and the Beyond the Baseline exhibition.

If you are interested in finding out more about the BMRU or would be interested in presenting at future events, then please get in touch with us.

Sounds and Vision Collection, British Library
British Library Sound & Vision comprises one of the largest collections of recorded sound in the world, including all genres of music, spoken word and wildlife sounds. It holds more than six million recordings, on more than 40 formats, from wax cylinders dating from the late 19th Century to born-digital files of the present. These include commercial releases, radio broadcasts and privately made, unpublished recordings. Recordings are available for listening onsite and, where possible, online.

To discover more about the collections see the Sound and vision blog.

*with special thanks to the ECCLES Centre, British Library*

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