<div dir="ltr"><div class="gmail_default" style="font-family:arial,helvetica,sans-serif"><span lang="EN-CA">Special edition of <i>Dancecult: Journal of
Electronic Dance Music Culture</i></span><br>
<br>
<span lang="EN-CA">Guest Editors: Rebekah Farrugia and Magdalena
Olszanowski </span><br>
<br>
<a href="https://dj.dancecult.net/index.php/dancecult" target="_blank">https://dj.dancecult.net/index.php/dancecult</a><br>
<br>
<span lang="EN-CA">This special edition of <i>Dancecult</i> seeks to
address the diverse roles of women-identified persons within
electronic dance music culture (EDMC). While a great deal has
been written about the practices of EDM subcultures and DJ
culture in general, the experiences of women has received little
attention perpetuating and reinforcing male dominance.</span><span lang="EN-CA"></span><br>
<br>
<span lang="EN-CA">Women’s involvement in EDMC has largely been
written out of the genre’s history; however, scholarly research
has begun to intervene in popular and academic discourses that
for decades positioned women as outside the sphere of EDMC with
the exception of their presence as dance floor participants.
Where once few women-identified role models and women-centered
spaces served as inspiration for women to become agents in EDMC,
the support network for women has been expanding. Since the
2000s especially, there has been tremendous growth in the number
of women<span><ins>-</ins></span>centered
EDM collectives and support networks worldwide. Still, as women
are forging inroads<span><ins>,</ins></span> their successes are
tempered by a discourse that continues to insist on ‘a lack” of
women’s involvement. Over the past decade, research has begun to
address both the significant and innovative contributions of
women to the genre and industry as well as the ongoing misogyny
that limits women’s participation, opportunity, and recognition
in EDMC. Currently, women make crucial contributions to EDM in
their roles as DJs, producers, agents, promoters, designers,
VJs, and so on.</span><br>
<span lang="EN-CA"></span><br>
<span lang="EN-CA">This special issue of <i>Dancecult </i>will
include current research that examines, interrogates, and
highlights the tensions and experiences of women, transgender
and gender nonconforming contributors to EDMC. This issue is
grounded in existing EDM literature as well as contemporary
debates in the field of culture and gender studies as well as
technology studies as inflected by intersections of gender,
power, privilege, and bodies in globally diverse locales and
cultures. We are particularly interested in intersectional work
that addresses race, class, ability, age, and/or sexuality in
addition to one or more of the themes below.</span><span lang="EN-CA"></span><span lang="EN-CA"></span><br>
<br>
<b><span lang="EN-CA">// SUGGESTED THEMES //</span></b><span lang="EN-CA"></span><br>
<br>
<span lang="EN-CA"> </span><span lang="EN-CA">Potential themes for
articles include (but are not limited to):</span><br>
<br>
<span lang="EN-CA"><span>-<span> </span></span></span><span lang="EN-CA">problematizing the contemporary popular discourse
(or lack thereof) on women-identified persons</span><br>
<br>
<span lang="EN-CA"><span>-<span> </span></span></span><span lang="EN-CA">women’s emotional labour and backstage support</span><br>
<br>
<span lang="EN-CA"><span>-<span> </span></span></span><span lang="EN-CA">trans and gender nonconforming participants in EDM</span><br>
<br>
<span lang="EN-CA"><span>-<span> </span></span></span><span lang="EN-CA">diverse practices/interrogating and interpreting
modes of participation</span><br>
<br>
<span lang="EN-CA"><span>-<span> </span></span></span><span lang="EN-CA">intersections of gender and technology</span><br>
<br>
<span lang="EN-CA"><span>-<span> </span></span></span><span lang="EN-CA">gender scripts in EDM</span><br>
<br>
<span lang="EN-CA"><span>-<span> </span></span></span><span lang="EN-CA">the industry of EDM production</span><br>
<br>
<span lang="EN-CA"><span>-<span> </span></span></span><span lang="EN-CA">formation and dynamics of collectives, especially
marginalized collectives</span><br>
<br>
<span lang="EN-CA"><span>-<span> </span></span></span><span lang="EN-CA">historical analyses of issue themes</span><br>
<br>
<span lang="EN-CA"><span>-<span> </span></span></span><span lang="EN-CA">emerging initiatives in EDM</span><br>
<br>
<span lang="EN-CA"> </span><b><span lang="EN-CA"></span></b><b><span lang="EN-CA">// SUBMISSIONS //</span></b><span lang="EN-CA"></span><br>
<br>
<b><span lang="EN-CA"> </span></b><b><span lang="EN-CA">Feature Articles:</span></b><span lang="EN-CA"></span><br>
<br>
<span lang="EN-CA">Feature Articles will be peer-reviewed and are
6000–9000 words in length (including endnotes, captions and
bibliography). For policies, see:</span><br>
<br>
<span lang="EN-CA"><a href="https://dj.dancecult.net/index.php/dancecult/about/editorialPolicies#sectionPolicies" target="_blank">https://dj.dancecult.net/index.php/dancecult/about/editorialPolicies#sectionPolicies</a></span><br>
<br>
<b><span lang="EN-CA"></span></b><b><span lang="EN-CA">“From the Floor” Articles:</span></b><span lang="EN-CA"></span><br>
<br>
<span lang="EN-CA">This special edition will also feature a special
version of the From the Floor format: “In Our Own Words”.
Submissions for this shorter format (750–2500 words) should
relate one (illuminating / thought-provoking / exemplary /
problematic / surprising) vignette from one’s own work and
practice, followed by brief and exploratory comments. We are
particularly looking for mini-ethnographies, auto-ethnographies,
and interviews. See guidelines at the Section Policies link
above.</span><br>
<br>
<span lang="EN-CA"> </span><span lang="EN-CA">Articles must adhere to all style and formatting
rules stipulated in the Dancecult Style Guide (DSG). Download it
here:</span><br>
<span><a href="https://dj.dancecult.net/public/journals/24/dancecult_styleguide.pdf" target="_blank">https://dj.dancecult.net/public/journals/24/dancecult_styleguide.pdf</a></span><span lang="EN-CA"></span>
<span lang="EN-CA"></span><br>
<br>
<b><span lang="EN-CA"> </span></b><b><span lang="EN-CA">Multimedia Submissions:</span></b><span lang="EN-CA"></span><br>
<br>
<i><span lang="EN-CA">Dancecult </span></i><span lang="EN-CA">encourages authors to
complement their written work with audio and visual material.
See the DSG for style and formatting requirements.</span><br>
<br>
<b><span lang="EN-CA"></span></b><b><span lang="EN-CA">Language:</span></b><span lang="EN-CA"></span><br>
<br>
<span lang="EN-CA">Although the language of publication in <i>Dancecult
</i>is English, the editors strongly encourage submissions from
non-Anglophone scholars and will be happy to provide
linguistic/stylistic support during the writing process.</span><br>
<div class="MsoNormal" style="text-align:center" align="center"><span lang="EN-CA">
<hr align="center" size="2" width="100%"> </span></div>
<br>
<span lang="EN-CA"></span><b><span lang="EN-CA"></span></b><b><span lang="EN-CA">// </span></b><b><span>DATES
AND DEADLINES </span></b><b><span lang="EN-CA">//</span></b><br>
<br>
<b><span lang="EN-CA"> </span></b><span>This special edition will be published in <i>Dancecult
</i>on <b>1 <span>November 2017</span></b>.</span><br>
<br>
<span> </span><span>If interested, send a 250-word abstract (along with a
100 word maximum author biography) to </span><a href="mailto:farrugia@oakland.edu" target="_blank"><span></span></a><a href="mailto:farrugia@oakland.edu" target="_blank">farrugia@oakland.edu</a><span> by
<b>1 July 2016</b>.</span><br>
<br>
<span></span><span>If your abstract is accepted, the deadline for
submission of a full article draft to Rebekah Farrugia (</span><a href="mailto:farrugia@oakland.edu" target="_blank"><span></span></a><a href="mailto:farrugia@oakland.edu" target="_blank">farrugia@oakland.edu</a><span>) is
<b>1 December 2016</b>. Beyond that, the deadline for online
submission to <i>Dancecult</i>
(for blind peer-review) is <b>1 April 2017</b>.</span><br>
<br>
<span> </span><span>Please send inquiries and expressions of interest to
Magdalena Olszanowski </span><a href="mailto:magdalena.olszanowski@concordia.ca" target="_blank"><span></span></a><a href="mailto:magdalena.olszanowski@concordia.ca" target="_blank">magdalena.olszanowski@concordia.ca</a><span>. </span><br>
<b><span lang="EN-CA"></span></b><span lang="EN-CA"></span><br>
<b><span>Guest Editors</span></b><br>
<br>
<span style="font-size:10pt">Rebekah Farrugia holds a PhD in
communication with a specialization in media studies. Her
scholarship explores the politics and intersections of gender,
community, and place in contemporary music genres such as
electronic dance music and hip<span><ins>-</ins></span>hop. Her work has been
published in various journals including<i> Feminist Media
Studies, Music & Politics </i>and <i>Journal of Popular
Music Studies</i>. In 2012, Rebekah published <i>Beyond the
Dance Floor: Female DJs, Technology and Electronic Dance Music
Culture</i>. Her current research project is an ethnographic
study about a women-centered, community-based hip<span><ins>-</ins></span>hop
movement in post-bankruptcy Detroit. She is an Associate
Professor in the Department of Communication and Journalism at
Oakland University.</span><br>
<br>
<i><span style="font-size:10pt"> </span></i><br>
<span style="font-size:10pt">Magdalena Olszanowski is an
artist, instructor, and PhD candidate in Communication Studies
at Concordia University, Montreal. She has published and created
work on gender, electronic music, and sound and image
technologies with a particular focus on women's work as
inflected by censorship. Her work can be found in journals such
as <i>Feminist Media Studies</i>, <i>Visual Communication
Quarterly </i>and <i>Dancecult</i>. She has participated in
the EDM scene in nearly every capacity over the last fifteen
years. She is also currently working on <i>microfemininewarfare</i>,
a documentary featuring women experimental electronic music
composers. </span><a href="http://raisecain.net" target="_blank"><span style="font-size:10pt"></span></a><a href="http://raisecain.net" target="_blank">http://raisecain.net</a><span class=""><font color="#888888">
<pre cols="72">--
Rebekah Farrugia, PhD
Associate Professor
Department of Communication and Journalism
Oakland University
Rochester, MI 48309
</pre></font></span></div>-- <br><div class="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div>carlos palombini, ph.d. (dunelm)<br>professor de musicologia ufmg<br>professor colaborador ppgm-unirio<br><a href="http://www.proibidao.org" target="_blank">www.proibidao.org</a><br><a href="http://goo.gl/KMV98I" target="_blank">ufmg.academia.edu/CarlosPalombini</a><br></div><div><a href="http://www.researchgate.net/profile/Carlos_Palombini2" target="_blank">www.researchgate.net/profile/Carlos_Palombini2</a><br><a href="http://scholar.google.com.br/citations?user=YLmXN7AAAAAJ" target="_blank">scholar.google.com.br/citations?user=YLmXN7AAAAAJ</a><br></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div><div></div></div></div></div></div></div></div></div></div></div></div>
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