DEADLINE EXTENDED: Call for papers: Music and dance research in East Africa
CALL FOR PAPERS by IFRA in collaboration with the Technical University of Kenya
Deadline: 28th May 2016
Conference: 12th and 13th October 2016, Nairobi, Kenya
Recognition of the important place music and dance occupy in most African societies is that of a long date, and so has research on music and dance on the continent been developing since the mid‐ 1970s. In East Africa, the seminal works of T. Ranger (1975) and P. Spencer (1985) have opened up an arena for scholarly investigation and reflection on music and dance, yet the place of such studies within the academic community has often been undervalued. As some authors pursued and developed questions on competitive music traditions in East Africa (Gearhart, 2005; Gunderson &Barz (ed.), 2000), others focused on issues of nation building and national identity (Askew, 2002; Edmondson, 2001). A number of researchers worked on popular music and dance genres in East Africa (Barz, 2001; Nyairo & Ogude, 2003; Sanga, 2013), others investigated on traditional musical forms (Senoga‐Zake,1986; Darkwa, 1991; Nyakiti, 1997), as some tackled the sensitive issues of gender in music and dance performances (Fair, 1996; Nannyonga‐Tamusuza, 2005), etc.1
In order to affirm the importance of academic work on the topic of performing arts and the benefits of such work,The French Institute for Research in Africa (IFRA Nairobi) and the Technical University of Kenya (TUK), organizea regionalconferencewith the goal of assembling researchers, students,artists and others interested in music and dance research in the region.This event is to act as a forum for discussion and ideas exchange,to facilitate networking between researchers in the region, aswell as to encourage young scholars and students in the field.
The general framework for the conference is the inclusion of music and/or dance in the widely studied topics in social sciences, including the construction of the state, national and ethnic identities, regional integration, political and social activism, heritage creation and preservation, cultural tourism and development studies, gender and generational issues, etc. We also hope to offer a platform for presentations and discussions on innovative research topics and new tendencies in East African academic community.
This list in not exhaustive and appears here only as a reminder of some of the works done in ethnomusicology on the East side of the African continent. All the references are fully cited in the bibliographic list on pages 2‐3 of the document.
We therefore call for papers and contributions which critically interrogate issues concerning the creation (composition and choreography), tradition, innovation, and appropriation in music and dance. Researchers from the region and elsewhere are invited to reflect on the following and other issues:
- Ethnic, regional and national identity issues and their expression in music and dance;
- Music and dance heritage, defined as a process under construction and the key actors of that process on different levels (local, national and international);
- Property and appropriation in “indigenous” music and dances;
- Historical and contemporary power relations within the music and dance milieu;
- Studies of cultural policies from the music and dance point of view;
- Activism and social development through performing arts;
- Gender and generational issues expressed in music and dance;
- Transmission of knowledge and music education;
- The role of the media and the archive in generating visibility and invisibility for music and dance;
- Methodological issues in music and dance
Contributions from all social sciences, as well as interdisciplinary approaches are welcomed, with an openness to applied ethnomusicology and practitioners’ reflections on their own music and/or dance practice.
This conference will lead to a publication (journal or book), while it’s long term objectives are the establishment of a permanent research group on musical and kinesthetic practices (and on performance) in East Africa, as well as the initiation ofa Franco‐Kenyan culturalresearch network.
For participation, please submit your abstract (300 words + 5 key words and bibliography) together with the presentation’s title, your name, title (e.g., Ms., Dr., Prof.) and institutional affiliation via email to the conference coordinator Miss Kiiru at seminars@ifra‐nairobi.net by April 30th 2016.
All applicants will receive a conference response notice by May 16th 2016. If accepted to present at the conference, they must submit their full paper by September 1st 2016 (3000 words maximum).
Selected bibliographical references
- Askew, K.M., 2002, Performing the Nation, Swahili Music and Cultural Politics in Tanzania,Chicago, University of Chicago Press
- Barz, G.F., 2001, Meaning in benga Music of Western Kenya, British Journal of Ethnomusicology, Vol. 10, No. 1, Music and Meaning, p. 107‐115
- Darkwa, , 1991, Sengenya Dance Music: Its Instrumental Resources and Performance, African Music, Vol. 7, No. 1, International Library of African Music, p. 48‐54
- Edmondson, L., 2001, National Erotica: The Politics of “Traditional” Dance in Tanzania, TDR‐ TheDrama Review, 45, No. 1, MIT Press, p. 153‐170
- Fair, L., 1996, Identity, Difference, and Dance: Female Initiation in Zanzibar, 1890 to 1930,Frontiers: A Journal of Women Studies, Vol. 17, No. 3, p. 146‐172
- Gearhart, R.K., 2005, Ngoma Memories: How Ritual Music and Dance Shaped the Northern KenyaCoast, African Studies Review, 48, No. 3, African Studies Association, p. 21 – 47
- Gunderson F. &Barz G. (ed.), 2000, Mashindano !Competitive Music Performance in East Africa,Dar es Salaam, MkukinaNyota Publishers
- Nannyonga‐Tamusuza, S.& Solomon, T. (ed.), 2012, Ethnomusicology in East Africa: Perspectives in Uganda and Beyond, Kampala, Fountain Publishers
- Nannyonga‐Tamusuza, S., 2005,Baakisimba: Gender in Music and Dance of the Baganda People of Uganda. London and NewYork, Routledge
- Nyairo, J. &Ogude J., 2003, Popular Music and the Negotiation of Contemporary Kenyan Identity: the Example of Nairobi City Ensemble, Social Identities, Vol. 9, n° 3
- Nyakiti, C.O., 1997, Seven Traditional Dances from Selected Ethnic Communities of Kenya, inDagan, E.A., The Spirit’s Dance in Africa, Evolution, Transformation and Continuity in Sub‐ Sahara,Montréal, GalerieAmrad African Arts Publications
- Ranger, T.O., 1975, Dance and Society in Eastern Africa 1890 – 1970, The BeniNgoma, London,Heinemann Educational Books
- Sanga, I., 2013, The Figuring of Postcolonial Urban Segmentarityand Marginality inBongo Fleva Music in Dar es Salaam, Tanzania, IRASM: International Review of the Aesthetics and Sociology of Music, vol. 44, n° 2, p. 385‐405
- Senoga‐Zake, G., 1986, Folk Music of Kenya, Nairobi, Uzima Press
- Spencer, P. (ed.), 1985, Society and the Dance: the social anthropology of process andperformance, Cambridge, Cambridge University