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---------- Forwarded message ----------
From: Luis-Manuel Garcia <[log in to unmask]>
Date: 24 February 2012 16:23
Subject: [SEM-L] Fwd: CFP: Dancecult Journal: Doing Fieldwork in Nightlife
Scenes and EDMC
To: [log in to unmask]
Hello everyone,
[with apologies for any cross-posting]
I am pleased to announce a Call for Abstracts for a special edition of
/Dancecult: Journal of Electronic Dance Music Culture/ devoted to the issue
of "Nightlife Fieldwork." This may be of interest to ethnomusicologists
whose fieldwork involves nocturnal musical worlds and/or "leisure" spheres.
Please circulate this widely, and feel free to contact me if you have any
further questions.
A PDF version of this Call can also be downloaded here:
http://dl.dropbox.com/u/11685477/DancecultCFPFieldworkMethodsIssue.pdf
best,
Luis-Manuel Garcia
--
Luis-Manuel Garcia
Postdoctoral Fellow, Freie Universität
Berlin Program for Advanced German and European Studies
PhD, Ethnomusicology, University of Chicago
http://theluisgarcia.com
http://lmgmblog.wordpress.com
=============================================
CFP: Doing Fieldwork in Nightlife Scenes and EDMCs
------------------------------------------------------------------------------
Special edition of Dancecult: Journal of Electronic Dance Music Culture
Guest editor, Luis-Manuel Garcia | http://dj.dancecult.net/
This special edition of Dancecult seeks to address the fact that, although
many EDM (Electronic Dance Music) projects have a significant ethnographic
component, there are few methodological resources available to
ethnographers of EDM scenes/cultures.
There is presently a near-total lack of pedagogical materials on nightlife
or EDM-specific fieldwork, and even descriptive or critical writing that
takes such fieldwork as a central theme is scant and fragmented. While some
EDMC ethnographers describe and discuss their own fieldwork approach in the
appendices and introductory chapters of their doctoral dissertations (and,
less frequently, their monographs), these ruminations rarely come into
critical dialogue with other EDMC ethnographers and thus do not actively
engage in the development of a body of ethnographic methods in EDMC studies.
Certainly, there is no agreed-upon body of “best practices” or even “first
principles” in the field of EDMC ethnography, in contrast to larger and
older ethnographic disciplines, such as anthropology, sociology, folklore,
oral history, etc. While one may rightly ask whether a unified pedagogy of
ethnographic methods is desirable in such a diverse field, there are
nonetheless several practical, ethical and legal considerations particular
to EDMC-fieldwork that the young ethnographer should not have to face
alone. These include such issues as:
- Exposing/endangering the identities of participants in scenes that often
involve transgressive activities (e.g., drug consumption, sex, sartorial
exuberance, genderfuck)
- Establishing trust in communities that are wary of researchers and
journalists
- Addressing the ethnographic directive for gathering archival “evidence”
(video, images, audio) while respecting local norms of privacy and cultural
ownership
- Preventing one’s fieldwork activities from interfering with participants’
engagement with/enjoyment of music events
- Dealing with the practical limitations of fieldwork at EDM events (music,
noise, lighting, etc.)
- Cultivating fieldwork contacts in a cultural milieu that has little to
gain from collaborating with scholars (and, in some more privileged urban
scenes, the complexities of “studying up”).
- Managing the financial costs of participant-observation in the
“leisure/entertainment industry.”
- Managing the physical impact of the primarily nocturnal rhythms of EDM
scenes, especially for researchers maintaining an academic “day job” as an
educator or administrator.
Thus, this special edition of Dancecult seeks contributions from
ethnographers of EDM—whatever their disciplinary background—to address this
lacuna through elaboration, analysis, and dialogue.
// SUGGESTED THEMES //
The editor encourages that contributions be grounded in the author’s own
fieldwork experiences and focused on a particularly relevant theme, rather
than on fieldwork in general. Such themes might include (but are not
limited to):
- gender and sexuality (of the researcher, of scene participants, of the
community)
- race and ethnicity
- embodiment and dis/ability
- privacy and publicity
- money, capital, research budgets, fieldwork in consumer cultures
- professionalism and the view of the academe on doing "fun" research
- intoxication, illicit activities, and the notion of “risk”
- legal issues, law enforcement
- urban settings, rural settings, outdoor events
- tourism, resorts
- festivals and other large and/or regular events
- researching public funding, sponsorship, and private investment in EDM
events
- working with promoters, club managers, organizers, etc. (especially in a
competitive or secretive environment)
// SUBMISSIONS //
Feature Articles:
Feature Articles will be peer-reviewed and are 6000–9000 words in length
(including endnotes, captions and bibliography).
For policies, see:
http://dj.dancecult.net/index.php/journal/about/editorialPolicies#sectionPolicies
“From the Floor” Articles:
This special edition will also feature a special version of the From the
Floor format: “Tales from the Field.” Submissions for this shorter format
(750–2500 words) should relate one (illuminating / thought-provoking /
exemplary / problematic / surprising) vignette from one’s own fieldwork,
followed by brief and exploratory comments. This format will be of
particular interest to scholars who wish to share some of the insights of
their fieldwork, but are unable to devote the time necessary for a
feature-length and argument-driven article.
See guidelines at the Section Policies link above
Articles must adhere to all style and formatting rules stipulated in the
Dancecult Style Guide (DSG). Download it here:
http://dj.dancecult.net/index.php/journal/about/editorialPolicies#custom1
Multimedia Submissions:
Dancecult encourages authors to complement their written work with audio
and visual material. See the DSG for style and formatting requirements.
Language:
Although the language of publication in Dancecult is English, the editor
strongly encourages submissions from non-Anglophone scholars and will be
happy to provide linguistic/stylistic support during the writing process.
// DATES AND DEADLINES //
This special edition is proposed for publication in Dancecult in April/May
2013.
If interested, send a 250 word abstract (along with brief author bio) to
Luis-Manuel Garcia ([log in to unmask]) by **APRIL 30th, 2012.**
If your abstract is accepted, the deadline for full article submission is
November 1st, 2012. Beyond that, the deadline for online submission to
Dancecult
(for peer review) is February 1st, 2013.
Please send inquiries and expressions of interest to Luis-Manuel Garcia:
[log in to unmask]
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