This is a general call for contributions to Dancecult: Journal of Electronic Dance Music Culture. Entering a new era with a new and expanded editorial and production team, Dancecult is extending its deadline on submissions for its next edition.
New deadline - December 20, 2010.
As the issue is hosting a special section on The Love Parade, submissions on this theme will be welcome in both the From the Floor and Featured Article categories.
Also, we will host material in the next and future editions on the theme of Bad EDM: from disco to rave, electro to terrorcore, psytrance to minimal techno, e-tards to psychedelic bogans, and from "commercial" sounds to "cheesy" vibes, the identification of EDM and its cultures and subcultures as "bad", "other", "noisy", etc, is ever present in modes of (micro)distinction and identification by non-EDM and EDM enthusiasts alike. Critical examination of these trends offers insight on central issues concerning genre formation, "subcultural capital", the abject, popular and alternative music, as well as nationalist, class, race, ethnicity, gender, sexuality and age issues. Dancecult welcomes contributions which address this theme across all genres, scenes and aesthetics.
Additionally, while contributions are welcome on any topic related to the study of electronic dance music cultures, submissions on the following themes are also welcome for this and near future editions: dance floors and embodiment; cosmopolitanism and EDM; the cartographies of EDM; Detroit techno; sampling and exotification.
Featured Articles:
Featured articles are 5000-8000 words (including endnotes, captions and bibliography). Must include a 150 word abstract.
From the Floor:
"From the Floor" hosts shorter peer-reviewed pieces. These include field reports, mini-ethnographies, and interviews. Pieces for this section should be from 1500-3000 words in length. Rather than written in the style of an article with formal analysis and many citations, FF pieces will be more conversational and creative. They may include substantive multimedia components. The emphasis is on ethnography, style and creativity.
