[ecrea] Call for Chapter Proposals: Mixing Pop and Politics

Mixing Pop and Politics: Call for Chapter Proposals

Editors:

Catherine Hoad (Massey University, Wellington)
Geoff Stahl (Victoria University, Wellington)
Oli Wilson (Massey University, Wellington)

Overview:

History provides us with ample instances of the power of popular music 
to speak to, through, and against various political moments. The 
contemporary socio-political situation of the late-2010s also offers 
countless opportunities to explore how popular music revisits, 
reconstitutes, rewrites and reconciles itself to this past. This current 
context necessitates an awareness of the complex position of popular 
music, and the new directions it must negotiate, as music responds to 
the shifting paradigms of power in which we currently find ourselves.

This collection aims to explore the complex politics of resistance, 
subversion, containment and reconciliation in popular music in both 
contemporary and historic formations. Following the IASPM-ANZ 2017 
conference on this theme, and building on earlier scholarship mapping 
popular music’s entanglement with politics (Frith 1983; Bennett, Frith 
and Grossberg 2005; Cloonan and Garafolo 2009), here we ask what it 
means to mix popular music with the political in the current 
socio-political paradigm. How has popular music responded to, resisted, 
or been represented within the resurgence of far-right politics? What is 
the role of popular music in responding to climate change and 
environmental degradation? In what ways can the use, misuse and abuse of 
musical technology be framed as political? What role has popular music 
played, both historically and contemporaneously, in contributing to the 
fluid renegotiation of gendered and sexual identities? How is popular 
music situated within the context of online activism, as international 
communicative flows target police brutality, state corruption, and 
sexual harassment? Here we seek to explore popular music’s political 
implications, and the nuances with which these impact upon constructions 
of identity, community and practice in distinct locations and 
ideological epochs.

We invite chapter proposals that can be situated within the following 
broad areas. We emphasise the value of diverse contributions, in 
pointing to pop’s entanglements with politics beyond Western centres, 
and the regional nuances of this relationship therein. We will consider 
chapter proposals which touch on, but are not restricted to, the 
following areas:

Affect and Embodiment:

• I Will Survive: The Politics of Pleasure and Popular Music
• We Are the Robots: Resistant, Reconciled, Reconstituted, Recombinant 
Bodies in Popular Music
• If You’re Feeling Sinister: Affect, Emotion and the Subversive Power 
of Popular Music

Technology:

• This Machine Kills Fascists: Technologies, Politics and Popular Music
• A Whisper to a Scream: Silence, Distortion, Amplification and the 
Politics of Sound
• The Revolution Will Not Be Televised: Popular Music on Screen(s)

Histories, Identities, and Spaces:

• Playing With a Different Sex: Otherness and Othering in Popular Music
• Here’s Where The Story Ends: Alternate Histories of Popular Music
• What’s My Scene: Communality in Online Spaces and Local Scenes

Protest:

• You Don’t Own Me: Cultivating, Codifying and Commodifying Resistance
• You've Got the Power: Populism, Authoritarianism, Conservatism and 
Popular Music
• (We’re) Stranded: Political Legacies of Punk and Post-Punk

Please submit chapter proposals of 300 words (plus references, if 
necessary) along with author name(s), institutional affiliations, and 
contact details and a brief bio of no more than 150 words by September 
1st to: (mixingpopandpoliticsbook /at/ gmail.com) 
<mailto:(mixingpopandpoliticsbook /at/ gmail.com)>


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