CALL FOR PAPERS

Sounds and Poetry of the Streets

PHILIPPINE EXPRESSIVE POPULAR CULTURES

SEPTEMBER 4-6, 2019 | ATENEO DE MANILA UNIVERSITY, QUEZON CITY PHILIPPINES

The research group, Ethnographies of Philippine Auditory Popular Cultures (EPAPC), a grantee of the Commission of Higher Education (CHED)-SALIKHA Creative Grants, announces a call for papers for a special conference on Philippine Expressive Popular Cultures entitled Sounds and Poetry of the Streets: Philippine Expressive Popular Cultures. Selected abstract proposals will be presented in September 2019 at Ateneo de Manila University. Accepted conference paper abstracts will be published in Kritika Kultura, the international refereed journal of language, literary, and cultural studies of the Department of English, Ateneo de Manila University.

CONFERENCE ABSTRACT

The conference aims to investigate salient Filipino practices that involve performative aspects involving the body and all its senses and the transformative ways of contemplating and apprehending them.

 

Its objective is to provide a venue for new knowledge and understanding that will impact discussions of popular culture in higher education in the Philippines through paper presentations that tackle issues of local, everyday phenomena of music, film, radio, and other expressive arts. Examples of scenes that invite interdisciplinary or multiple perspectives would include how people experience

  • radio music and live talk;

  • karaoke sessions in home living rooms or garages, beer houses, or bars;

  • local religious and devotional practices;

  • rap battles of varying formats;

  • street performances or barangay festivities;

  • recording studio production among session and indie artists; and

  • digital music production, to cite only a few out of a multitude of examples.

 

The pulsating power of street culture is conditioned by the tactics and intuitive creativity of the ordinary pedestrian, who carves paths both sensual and visceral in apprehending the ephemeral sparks and contours of art and craft.

 

It is against this backdrop that the conference organizers invite individual paper presentations, panel presentations, workshop seminars, and performances that deal with the following themes and issues:‚Äč

  • what constitutes the different periods and genres in Philippine Expressive Popular Culture;

  • changing forms, particularities, and styles of the popular;

  • current dominant forms of the expressive popular and how are these abound; and

  • Identity/identities being created or evolving from what constitutes the popular.

 

Papers and panel proposals are invited that deal with theoretical and empirical debates on Philippine Expressive Popular Culture, including:

  1. Theoretical issues surrounding aesthetics, class and/or identity (ACI) in Philippine Expressive Popular Cultures (PEPC)

  2. Theoretical and empirical understanding on the relationship between ACI and PEPC

  3. Case studies of ACI in PEPC

  4. Comparative studies between PEPC and other popular cultures in terms of ACI;

  5. The nature of collaboration in PEPC This question would bring one to the notion of social networks, interdependencies between production and consumption, taste, etc;

  6. The multisensorial aspect of PEPC;

  7. Digital popular culture production as cultural critique and socio-political commentary;

  8. Individual and collective auditory experiences and practices and how they constitute places, identities and/or social formations;

  9. Specific examples of PEPC, affects and emotions; and 

  10. Genres and performances on digital and embodied presences.

BACKGROUND REFERENCES

Berger, Arthur Asa. Bali Tourism. New York, NY: Haworth Press, 2013.

Bourdieu, Pierre. A Social Critique of the Distinction of Taste. Cambridge: Harvard University Press, 1984.

Cohen, Sara. “Ethnography and popular music studies.” Popular Music. Vol 12 (2). Cambridge: Cambridge University Press, (May) 1993. 

Cohen, Sara. Rock culture in Liverpool: popular music in the making. Oxford: Clarendon/Oxford University Press, 1991.

De Certeau, Michel. The Practice of Everyday Life. Berkeley: University of California Press, 1988.

De Nora, Tia. After Adorno: Rethinking Music Sociology. Cambridge: Cambridge University Press, 2003.

De Nora, Tia. Music in Everyday Life. Cambridge: Cambridge University Press, 2000.

Frith, Simon. “Music and Identity.” In Questions of Cultural Identity, edited by Stuart Hall and Paul Du Gay. Copenhagen Business School: SAGE Publications, 1996.

Frith, Simon. Sound Effects: Youth, Leisure and the Politics of Rock ‘n’ Roll. New York: Pantheon Books (Random House), 1981.

Frith, Simon. “Towards an Aesthetic of Popular Music.” In Music and Society: The Politics of Composition, Performance and Reception, edited by Richard Leppert and Susan McClary, 133-150. Cambridge: Cambridge University Press, 1987.

Hebdige, Dick. Subculture: The Meaning of Style. London: Routledge, 1979.

Hennion, Antoine. “Music Lovers: Taste as Performance.” Theory, Culture & Society 18 (2001): 1-22.

Hennion, Antoine. “Pragmatics of Taste.” In The Blackwell Companion to the Sociology of Culture, edited by Mark Jacobs and Nancy Hanrahan, 131-144. Massachusetts: Blackwell, 2005.

Hennion, Antoine “The Production of Success: An Anti-Musicology of the Pop Song. Popular Music. 3 (1983): 159193.

Hymes, Dell. Foundations in sociolinguistics: an ethnographic approach. Philadelphia: University of Pennsylvania Press,1974.

Neumark, Norie. Voicetracks: attuning to voice in media and the arts. Massachusetts: MIT Press, 2017. 

Neumark, Norie. “Doing things with voice: performativity and voice.” In Vo1ce: vocal aesthetics in digital arts and media, edited by Norie Neumark, Ross Gibson, and Theo van Leeuwen. Massachusetts: MIT Press, 2010.

Rose, Tricia. “Rap Music and Contemporary Cultural Practice.” Music and Marx: Ideas, Practice, Politics, edited by Regular Burckhardt Qureshi. New York and London: Routledge, 2002.

Schafer, R. Murray. The soundscape: our sonic environment and the tuning of the world. Rochester, Vt.: Destiny Books. 1993/1994.

Shuker, Roy. Understanding popular music. New York, NY: Routledge. 1994. 

Wallach, Jeremy. Modern Noise, Fluid Genres: Popular Music in Indonesia, 1997-2001. Madison: The University of Wisconsin Press, 2008.

INFORMATION FOR PRESENTERS

  • The title and abstract (maximum of 250 words), including name[s] and affiliation[s]) should be submitted in MS Word format as an e-mail attachment to aguevarra@ateneo.edu by March 31, 2019 (cc: epapc@ateneo.edu / subject heading: Philippine Expressive Popular). The title should be on page 1 and not exceed 15 words, followed by an abstract of 200 to 250 words, 5 to 7 keywords or key phrases are required.

  • Presentations can be in any of the following formats: individual paper presentations (20 minutes), panel presentations (4 members max/panel, 20 mins each), roundtable discussions on a certain theme (no more than 5 discussants, including the main convenor, 20 mins each), workshop seminars (3 maximum per workshop, 20 mins each), or performances (3 per themed presentation, 20 mins each)

  • Please include presenter bio-notes (150 words maximum).

POSTER

IMPORTANT DATES

  • Title & Abstract Submission - MARCH 31, 2019

  • Release of Decision - JUNE 15, 2019

  • Conference Date - SEPTEMBER 4-6 2019

FOR INQUIRIES

Please contact Alona U. Guevarra at aguevarra@ateneo.edu.

 

cc: epapc@ateneo.edu 

with subject heading: Philippine Expressive Popular

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Ethnographies of Philippine Auditory Popular Cultures

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