CfA: Echoes from the Dub Diaspora (Dancecult)

Dancecult: Journal of Electronic Dance Music Culture – Special Issue:
“Echoes from the Dub Diaspora”
Deadline: 2014-10-01

In this special issue of Dancecult: Journal of Electronic Dance Music Culture, we aim to expand the concept of dub, putting dub to work as a means to connect different scholarly approaches that encompass electronic dance music cultures. In the mapping of dub’s global connections, we mean to pose, and question, the meaning of dub diaspora. Expanding upon “dub diaspora” helps to conceptualize dub as an open set of remix practices and styles that connect multiple cultural contexts that bind the ephemera of musical belongings to infrastructures of distribution and production, their technologies and recording practices. What would it mean, then, to speak of the dub diaspora?

DUB is a term that resonates in multiple aspects of electronic dance music culture. In the crates of DJs, the search terms of online record shops, and echoing throughout scholarly and cultural genealogies, dub signifies a signature style of spatialized rhythm and sound that derives from the studio practices pioneered by Jamaican dance sound systems since the late 1960s, in which versions — “dubs” — were crafted from instrumentals of reggae recordings.

Pressed on vinyl and spun by DJ “selectors”, these skeletal forms of reggae allowed vocalists, emcees and the dancing crowd to superimpose lyrics during sound system events. Using the studio as instrument, by the 1970s the practice of versioning developed into a remix aesthetic. As an evolving and experimental art, dub foregrounds the texture of sound as a landscape of low frequency vibrations, haunted absences and instrumental snippets punctuated by rhythmic events and otherworldly toasting. Crucially then, dub is not only a musical style but also an artistic discourse, in the aesthetic act of making dub — a type of remixing that emphasizes the phatic affects of sonic space and haunted time.

In this special issue, we will consider all things dub, including:

  • dub and remixology
  • dub acoustemology, as a way of knowing and hearing
  • dub as an art, aesthetic practice and form of performance
  • dub Rastafarianism, Jamaica and (post-)reggae politics
  • dub and Afrodiaspora
  • dub Afrofuturism, science fiction worldings, temporalities, becomings
  • dub as a material practice of cultural belonging
  • dub as an infrastructure or assemblage of technics and culture
  • dub philosophies of sonic simulacra and versioning
  • dub subjectivities, ontologies, phenomenologies
  • dub technogenesis, technics and creative mis-uses of technologies
  • dub body technologies and entheogens
  • dub genders, sexualities and identities; queer(ing) dub
  • dub vampires, zombies, the undead, uncanny and becoming-animalia
  • dub bodies, rhythm and low frequency affect
  • microgenealogies of dub producers, performers, participants
  • ethnographies of dub scenes and sound systems
  • production studies of dub studio, performance and recording practices

Submissions

This special edition is proposed for publication in November 2015. Please send expressions of interest, inquiries, and if interested, a 250 word abstract (and a brief author bio) to:

Dr. tobias c. van Veen | tobias.c.van.veen@umontreal.ca

Deadline for abstracts: October 1st, 2014
Deadline for full article submission: March 1st, 2015.

Dancecult publishes both peer-reviewed Feature Articles (6000–9000 words, including references and endnotes) as well as non-peer reviewed pieces in its From the Floor and Conversations sections (750–2500 words).

Details on Dancecult’s article policies can be found here: http://goo.gl/DHh5En

All articles must adhere to the Dancecult Style Guide (DSG): http://goo.gl/7aWdL1

Editors
Tobias c. van Veen, Université de Montréal
Hillegonda Rietveld, London South Bank University

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