Category Archives: Conference

Call for papers, Rhythm Changes #5 conference, Re/Sounding Jazz, Amsterdam, 31 Aug.-3 Sept.

We have extended the deadline for submission of papers until 31 March, so here is the CfP again. Further information here.



 Resound
 verb 

  1. (of a sound, voice, etc.) fill or echo throughout a place. Synonyms: echo, re-echo, reverberate, ring out, fill the air, boom, peal, thunder, rumble.
  2. (of a place) be filled or echo with a sound or sounds. Synonyms: reverberate, echo, re-echo, resonate, ring, vibrate, pulsate
  3. (of fame, an achievement, etc.) be much talked of. Synonyms: be acclaimed, be celebrated, be renowned, be famed, be noted, be glorified, be trumpeted, be talked about.

Resounding adjective 

  1. (of a sound) loud enough to reverberate. Synonyms: reverberant, reverberating, resonant, echoing, vibrant, ringing, sonorous, deep, rich, clear, loud, deafening.

The fifth international Rhythm Changes Conference ‘Re/Sounding Jazz’ will take place at the Conservatory of Amsterdam from 31 August to 3 September 2017. The event is delivered in partnership with the Conservatory of Amsterdam, the University of Amsterdam, Birmingham City University, the University of Music and Performing Arts Graz, CHIME, and a number of academic publishers and journals.

Keynote Speakers

  • Dr Sherrie Tucker (Professor of American Studies, University of Kansas)
  • Dr Wolfram Knauer (Director of the Jazzinstitut Darmstadt).

Conference Outline

In the centennial year of the recording of ‘Livery Stable Blues’/‘Dixie Jass Band One-Step’ by the Original Dixieland Jazz Band, we invite paper submissions for ‘Re/Sounding Jazz’, a four-day interdisciplinary conference that brings together researchers across the arts and humanities to explore the relationship between the distinctive sonic histories that define jazz, and the way in which these histories have been transmitted across cultures and societies over the last century. With an ear for the unexpected, we welcome contributions that address the conference theme from multiple perspectives, including musicology, sociology, cultural theory, music analysis, history, media studies, and practice-based research. Although not restricted to specific themes, possible topics could include:

  • Re/Sounding dissonance: Jazz is often celebrated as a music that has the power to unite, but has also been the site of disagreements about what it is and isn’t, who owns it and who appropriated it, and whether it is dead or alive, has a future, or just smells funny. The jazz world has disagreed over race, gender, power, and class, as well as over jazz’s meanings, traditions, practices, and education. We invite papers that celebrate the cultural clashes that are at the very heart of this music.
  • Sonic histories: Marking the centenary of the first jazz recording in New York in 1917, we invite explorations of the significance, or indeed of the secondary nature, of jazz as recorded form. This could include questions of recording technologies, studio organisation, ‘liveness’, ownership and copyright.
  • Everyday experiences of jazz: Explorations of the connection between sound and place in jazz, histories of listening, issues of everyday aesthetics and soundscapes, and the relationship between sound and lived experiences.
  • Margins/peripheries: Jazz and related improvised forms in Europe have often been positioned as well as self-identified at the margins of commercial success, of high culture, of career structure, of formal and informal funding. Its preferred live venues – clubs, pubs and bars – compare unfavourably with the classical world, while its media presence compares unfavourably with pop and rock. Is jazz the music of the precariat? Also, turning the question round, how and who does jazz marginalise?
  • The sounds of jazz: Investigations into different aspects of jazz’s sonic world – ‘the music itself’ as a primary source and basis of jazz discourse – including innovative and/or experimental sounds and creative processes, work and stylistic analyses of musicians and repertoires, (new) genre-related studies, instrumental and sound studies, as well as recordings.
  • The politics of jazz: Jazz has been, and arguably remains, a contested cultural form. From the Cold War to Black Lives Matter, musicians, writers and activists have drawn on jazz as a symbol of freedom from oppression. To what extent has the music challenged, provoked and re-sounded political debates?
  • Jazz encounters: We are interested in examining ways in which cultural encounters with jazz have shaped different artistic practices and social movements and how the music has worked as a catalyst for social change. What are the achievements – the resounding successes – of jazz?

Proposals

The Conference committee welcomes individual papers and proposals for panels and round table discussions. Please use one of the following formats:

  • For individual 20-minute contributions: up to 250 words.
  • For themed 3-paper sessions or panel discussions: up to 250 words per contribution plus 250 words outlining the rationale for the session.
  • For 75-minute sessions in innovative formats: up to 750 words outlining the form, content and rationale for the session.
  • Please include a biographical by-line of no more than 50 words.

Send abstracts and event queries to Prof Walter van de Leur W.vandeLeur@uva.nl by 31 March 2017.

Conference Committee

  • Walter van de Leur, Chair – Conservatory of Amsterdam and University of Amsterdam
  • Christa Bruckner-Haring – University of Music and Performing Arts Graz
  • Nicholas Gebhardt – Birmingham City University
  • George McKay – University of East Anglia
  • Loes Rusch – Birmingham City University and University of Amsterdam
  • Catherine Tackley – University of Liverpool
  • Tony Whyton – Birmingham City University.

Rhythm Changes

This conference builds on the legacy of the Rhythm Changes ‘Jazz Cultures and European Identities’ research project (www.rhythmchanges.net). Rhythm Changes was initially funded as part of the first joint research programme of Humanities in the European Research Area (HERA) which ran from 2010–2013. The project team continues to develop networking opportunities and champions collaborative research into transnational jazz studies.

Keynote speaker biographies

Sherrie Tucker is Professor of American Studies (University of Kansas), and the author of Dance Floor Democracy: the Social Geography of Memory at the Hollywood Canteen (Duke 2014), Swing Shift: “All-Girl” Bands of the 1940s (Duke 2000) and co-editor, with Nichole T. Rustin, of Big Ears: Listening for Gender in Jazz Studies (Duke 2008). She is a member of two major collaborative research initiatives: International Institute of Critical Improvisation Studies and Improvisation, Community, and Social Practice. She was the Louis Armstrong Visiting Professor at Columbia University’s Center for Jazz Studies in 2004–2005.

Wolfram Knauer has served as the director of the Jazzinstitut Darmstadt since its inception in 1990. He studied musicology, English and American literature, art history and sociology and holds a Ph.D. from Kiel University. Knauer’s scholarly credits include several books and numerous essays in international publications and scholarly journals. He was the first non-American Louis Armstrong Visiting Professor at Columbia University’s Center for Jazz Studies (Spring 2008). His most recent books are a (musical) biography of Louis Armstrong, and a biography of Charlie Parker (both Reclam Verlag).

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LitCom 1 conference programme, 2-3 March, Norwich

Below is the programme for the literature and communities conference. This is the latest event in the programme we organise from UEA for and with Connected Communities. Further information is here

Venue: Writers’ Centre Norwich, Dragon Hall, King Street, Norwich         


Thursday 2 March

12:15-13:00                 Registration

13:00-13:15                 Welcome and introduction

13:15-14:00                 1. Keynote address

 Celebrating Reading in Athens

Ava Chalkiadaki, UNESCO World Book Capital, Athens

Chair: George McKay, UEA

14:00-15:30                 2. Community and Place A

Writing ‘home’: madness, health and gender in the work of the female authors of the Greater Moray Firth Issie MacPhail, University of the Highlands and Islands Rural Health and Wellbeing and Jane Verburg, Cromarty History Society

The John Hewitt Society: ‘Once alien here’ Jan Carson, writer and community arts facilitator, and Hilary Copeland, General Manager, The John Hewitt Society

Creative writing and / as community arts practice Lynne Bryan and Belona Greenwood, Words and Women

Community relations and affect in post-industrial townscapes: ‘Merthyr gave me a hug’ Peter Davies, School of Social Sciences, Cardiff University

Chair: Jos Smith, UEA

15:30-16:00                 Tea and coffee

16:00-17:30                 Parallel sessions

  1. Poetry and community

Poetry Postie Sally Crabtree, Independent Researcher

“That was England in nineteen eighty four” – non-professional poets (re)write the 1984-85 Miners’ Strike in post-industrial South Yorkshire Ryan Bramley, University of Sheffield

Writing from within/without the LGBTQ Communities Dr Cath Nichols, University of Leeds

Chair: Eleanor Rees, Liverpool Hope University

16:00-17:30                 4. Writing Home – Workshop*

Jane Moss, Independent Researcher

*Places limited. See Workshops for more information.

19:30                           Evening meal for speakers at The Last Wine Bar


Friday 3 March

9:00-9:30                     Tea and coffee

9:30-10:15                   5. Keynote address

The Amazing Push Poem Machine: How Writing Connects Communities Dave Ward, Co-ordinator, The Windows Project

Chair: Eleanor Rees, Liverpool Hope University

10:30-12:30                 6. Digital and Publishing

Small Publishers Fair  Helen Mitchell, Director, Small Publishers Fair

White Water Writers Francesca Baker and Dr Joseph Reddington, White Water Writers

‘Stand out from the crowd!’ Literary advice in online writing communities Bronwen Thomas, Bournemouth University

Connecting communities through digital fiction Isabelle van der Bom, Sheffield Hallam University

Chair: Jane Moss, Independent Researcher 

12:30-13:15                 Lunch

13:15-14:45                 Parallel sessions

  1. Practices and Reading(s)

Spaces of possibility: literary communities in and outside the classroom Tom Sperlinger, Bristol University

Shared reading: creating and connecting communities Susan Jones, University of Nottingham

Mother earth in translation: Exploring the literary geographies and aesthetic borderlands of demiurgical figures in transnational indigenous activism Naomi Millner, Bristol University

Chair: Hugh Escott, Sheffield Hallam University

  1. Life Chances

Life Chances: re-imagining future regulatory systems for low-income families in modern urban settings through co-writing a fictional sociology Debbie Watson, Bristol University, Simon Poulter, Artist, Moestak Hussein and Nathan Evans, Community Partner

*Places limited. See Workshops for more information

14:45-15:15             Tea and coffee

15:15-16:45             9. Community and Place B

Literary pathways in the co-creation and re-presentation of stories by, with and from disadvantaged young people Candice Satchwell, University of Central Lancashire

A Tale of Two Cities Polly Moseley, Liverpool John Moores University

The Gloves of Democracy: Co-Constructing Stories with Children and Young People Hugh Escott, Sheffield Hallam University, and Sarah Christie, Grimm and Co.

Chair: Dave Ward, The Windows Project


Parallel Sessions

Spaces limited – booking will be available at registration

Day 1 16:00 – 17:30

Writing home

Jane Moss, Independent Researcher

This practical writing workshop offers an approach to writing about our personal ideas of home and community; the places and communities we consider our homelands, whether we live in them now, are in exile, or have moved on from them. The session is facilitated by Jane Moss, a writer working in communities in Cornwall. Jane will use the Dear Homeland model established by Steve Potter (www.dearhomeland.com) to demonstrate the way writing letters to and from our homelands can give rise to reflection and realisations about our concepts of home and our relationship with the communities in which we live. Jane, with colleagues in Lapidus Cornwall (www.lapidus.org.uk), has hosted this workshop at the Penzance Literary Festival and other community settings, and is interested in the potential for creative writing to bring people together to enhance community cohesion and a shared sense of story making across diverse communities of interest and place within localities. You will need to bring a pen and paper, and are warmly invited to participate and reflect on the process of writing as an individual practice and as a group experience, and of the role of the writer-facilitator in the community.

Day 2 13:15-14:45

Life Chances

Debbie Watson, Bristol University, Simon Poulter, Artist, Moestak Hussein & Nathan Evans, Community Partner

The middle classes form a buffer between the super-rich and the detached poor. They join in with the finger pointing by proxy through being uninformed about the reality of what’s right in front of us.

Life Chances is a project within the Productive Margins programme. Participants, community organisations, the researchers and artists have together produced a published fictional novel, an interactive game, and jewellery.

The novel combines participant’s characterisations into a collaborative storyline that is both critical of policies and services and provides radical inclusive alternatives from community perspectives. The focus is on welfare provisions and reform and foregrounding how families experience these in their daily lives. Utopian thinking and re-imagining is introduced in order to offer alternative systems of regulation such as benefits, housing, immigration and child protection. Whilst ostensibly a work of fiction, Life Chances is also a rich data source allowing different understandings of people’s lives to be co-constructed in ways that provide people control over the story telling and making. How much of the novel is art and how much social science data collection and how the two disciplines have been utilised, and for what purposes, will be the focus of our presentation.

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