Save the Date! 3rd Meeting of the European HipHop Studies Network, Rotterdam, 12-13 September 2020

We are very excited to announce that the third meeting of the European HipHop Studies Network will take place from 12-13 September 2020 in Rotterdam, NL for the first time. Claudia Marinelli and her team from the National Centre of Expertise for Cultural Education and Amateur Arts will organize the meeting in cooperation with the Da Bounce Urban Lifestyle Festival in Rotterdam. We will publish the Call for Sessions in April. If you have any questions in the meantime, please email us.

Register for our newsletter, mark your calendars, and stay tuned for more updates!

4ESYDNEY – The Home of HIPHOP: Festival, Conference and Mentoring Program, 21 March – 4 April 2020, Sydney, Australia

4ESydney is the only festival and project of its kind, specialising in HipHop culture and multi artform, interdisciplinary practice. It acts as a meeting ground, a space where community, industry and education meet, to create unique opportunities for the growth and preservation of HipHop culture, professional development and industry sustainability. For the community, by the community, 4ESydney, now heading into its 6th year, continues to gradually build a global infrastructure and platform for HipHop in Australia.

Conference (1-4 April 2020)

4ESydney opens the floor to having honest uncensored dialogue, putting the HipHop scene and creative industries under the microscope, dissecting and analysing what is really going on, finding new ways to make it healthier and more sustainable. It’s all about the power and exchange of knowledge, of culture, of history and sharing experiences which have impacted our lives. It doesn’t matter who you are, how old you are or where you are from, we all hold knowledge and experiences which allow us to be both teacher and student.

The conference is led by industry professionals, artists, academics, community and HipHop pioneers, and structured to be interactive with a combination of discussions, roundtables, workshops, networking events and more.

Join us as we explore the bright lights and dark nights of the forever growing HipHop culture which is driving youth-led movements around the world.

2020 Key Themes

• 1. MENTAL HEALTH
• 2. GENDER
• 3. RACE
• 4. YOUTH ENGAGEMENT & EDUCATION
• 5. ACTIVISM & GLOBAL IMPACT
• 6. FIRST PEOPLES LEADERSHIP
• 7. INDUSTRY DEVELOPMENT

Festival and Conference Details:

• Conference website
• Contact information: vyvienne@vyvaentertainment.com
• Conference costs: approx. 115 Australian dollars

Call for Participation: Low End Theories: Understanding Bass Music & Culture, 16 May 2020, U Bristol

A JOINT BFE/RMA ONE-DAY CONFERENCE | VICTORIA ROOMS, UNIVERSITY OF BRISTOL

Keynote speaker: DJ Krust

Over the last four decades, hip-hop, EDM, and sound system-influenced genres with bass-heavy beats have become staples of global club culture. Digital audio production tools are increasingly mobile and affordable, while low-frequency vibrations diffuse through diverse parts of society, from the UK Deaf Rave movement to 2017’s #grime4corbyn campaign. The academic literature on bass music and culture, meanwhile, has steadily grown since the turn of the millennium. Authors such as Bradley (2000), Veal (2007), and Henriques (2011) have collectively focused on reggae and dub music, laying an invaluable intellectual foundation for more recent efforts to expand the sounds, issues, theories, and methods that might fall within the frame of bass music studies. Ongoing work led by Riley (2014–), described as ‘instigating the academic appropriation of the term ‘bass culture’’, reminds us that at least in the United Kingdom, bass culture is profoundly shaped by the Jamaican community and structural racism. In their 2017 special issue of Dancecult, Farrugia and Olszanowski problematize the insistence in public and academic discourse on the ‘lack’ of women in EDM, giving visibility to both significant women in bass culture and the musicological biases that obscure them. Following the lead of Goodman (2009), political questions of affect, materialism, and sonic ecology have also been put deeper in the spotlight by Henriques (2017) and Jasen in Low End Theories (2016), the title of which we borrow for our study day. To quote a timely essay by Robert Fink (2018), bass culture is increasingly seen as a ‘singular’ phenomenon resonating across the borders and (sub)cultural boundaries of a ‘Black Atlantic’ (Gilroy 1993). ‘This is the timbral world the subwoofer has made,’ continues Fink, ‘a virtual archipelago of thumping musics situated along the old trade routes of the African diaspora—from Jamaican reggae, dub, and dancehall through US “Dirty South” hip-hop, Miami bass, and other Latin American derivatives (cumbia, reggaeton), and then back across the Atlantic in a dizzying explosion of hardcore UK dance styles.’

The ‘Low End Theories’ study day responds to these developments. It will encourage discussion and debate around questions such as: What defines bass music? Who and what counts as part of its ‘culture’? What does it mean to ‘feel’ bass through our bodies, whether through listening or dancing or otherwise? Furthermore, how can researchers be more cross-disciplinary, integrating a stronger technical understanding of the sub-bass signal chain in their work? And how do we address intersectional problems of access and identity to make bass culture—and the way it is studied—more inclusive?

We invite proposals to present academic or creative work for 20 minutes to be followed by 10 minutes of discussion. Submissions for organised roundtable/panel discussions of 45-60 mins will also be considered—contact the committee about any preliminary plans. We particularly welcome presentations by graduate students, early career researchers, and practitioners (e.g. producers, engineers, teachers, DJs). Prospective topics may include (but are not limited to):

• Case studies of contemporary bass culture: of particular beats, songs, albums, projects, styles, genres, artists, collectives, labels, scenes, events, festivals, networks, or practices
• Bristol-specific studies and presentations, for example on its current dance music scenes, or the historic impact of its trip-hop bands, or the early development of reggae sound systems in the city and county
• Theoretical or historical accounts of bass music and culture
• Musical analysis of bass music
• Technologies and techniques of mixing, mastering, producing and listening
• Bass music as subculture; as a nocturnal, underground cultural practice
• Bass music in the city: Nightlife, civic culture, and local governance; the politics of noise pollution
• Bass music and/as popular music; its relationship with mainstream production and media e.g. music, film, television, video games
• Bass culture and the web: links with streaming services, social media (memes and virality), and digital tools
• Power, politics, and bass; bass culture and activism
• Identity and access: intersections of race, gender, class, ethnicity, sexuality, and disability in our experiences and sounds of bass culture
• Postcoloniality and bass culture
• Performance and the body: bass music and materiality, feeling, movement, dance, pleasure, pain, violence, or wellbeing

Presentation titles and abstracts of 250 words should be sent as a PDF, Word Doc, or Google Doc to lowendtheories2020@gmail.com by Friday 31 January 2020. Include your name and institutional affiliation, if applicable. Submissions will be anonymised when reviewed. Successful presenters will be notified in February 2020.

To support wide participation, we expect the cost for attending the full day (including tea/coffee/refreshments) to be less than £20.

Organising Committee: Ivan Mouraviev, Zach Diaz, Marko Higgins (University of Bristol); Dr Steven Gamble (BIMM Institute Brighton). Special thanks also go to Dr Justin Williams.

• Conference website
• Facebook event
• Enquiries: lowendtheories2020@gmail.com
• Twitter: #LowEnd2020

Call for Papers: HipHop in Germany 2020

This German-speaking Call for Papers is for a conference on HipHop in Germany which will take place in June 2020. If you have any questions on the conference, please email the organizers:

Prof. Dr. Michael Rappe, Hochschule für Musik und Tanz Köln
Prof. Dr. Thomas Wilke, Pädagogische Hochschule Ludwigsburg

Hip Hop in Deutschland 2020. Medialität, Tradierung, Gesellschaftskritik und Bildungsaspekte einer (Jugend-)Kultur
19./20. Juni 2020 in Ludwigsburg

Hip Hop als eine komplexe kulturelle Erscheinungsform ist in ihren Einzelelementen
heutzutage nicht mehr wegzudenken aus Musik- und Alltagskultur, Identitäts- und
Sozialisierungsprozessen, aus Abgrenzungsdiskursen, Stilfragen, Innovationszyklen,
Modeentwicklungen, Kommunikationsdynamiken, wissenschaftlichen Auseinandersetzungen und ökonomischen Zusammenhängen. Seien es die Panini-Sammelbilder zum Deutschrap ab 2000, die über 73 Millionen Beiträge auf Instagram unter #hiphop, sei es die Ü30-HipHop-Party in Leipzig mit Samy Deluxe als DJ oder die Fanta4-Ausstellung im Stuttgarter Stadtmuseum, seien es HipHop-Workshops oder filmische Thematisierungen in Serien wie Skyline oder Dogs of Berlin – die thematische Verhandlungsbreite ist immens.

[…]

Die interdisziplinär ausgerichtete Tagung möchte mit dem Titel nicht nur eine
Bestandsaufnahme vornehmen, sondern zugleich eine systematisierende Herangehensweise im Umgang, der Aufarbeitung, der Einordnung und der Potentiale von Hip Hop als die Summe seiner einzelnen Elemente angehen. Ausschlaggebend sind Fragen nach den Diskursformen von Hip Hop als Kultur, in seinen  Alltagsbeschreibungen oder ihrer Verweigerung, als Ritualisierung, als Inszenierung, als Tradierung in seiner fast 40jährigen Geschichte, als kommunikative Gedächtnisform oder nach gegenwärtigen Einschränkungen, wenn beispielsweise nur Straßenrap und sprachliche Gewaltdarstellungen pars pro toto in den Blick genommen werden. In diesem Sinne ist auch die Frage nach dem tradierten Selbstverständnis von Hip Hop als Kultur der vier Elemente und ihrer Beziehung zueinander zu aktualisieren. Mit stetem Blick auf die Entwicklung von Hip Hop in Deutschland und die
gegenwärtige Situation fokussiert die Tagung folgende Bereiche:

I. Aspekte und Dimensionen von Medialität

• Vernetzungen und Austausch: Lokal und Medial
• Virale Produktion und Distribution von Hip Hop
• Websites, Fanzines, Gossip und Musikjournalismus
• Hip Hop im Film und in Serien
• Mediale Repräsentationen (bspw. Musikvideos) und Rolemodels
• DJing, MCing, Beatboxen, Beatmaking und Graffiti im Zeichen der Digitalisierung

II. Aspekte und Dimensionen von Tradierung, Tradition, Archivierung

• Kulturelles Gedächtnis von Hip Hop in situ und in actu
• Fragen der Archivierung von Hip Hop
• Historisierung und Oral History
• Traditionslinien und -brüche im MCing, DJing, Breaking Graffiti
• Selbstreferenzialisierungen und Verweissysteme von Sozialisierungsmomenten und
kulturellen Praxen
• Der Blick von außen: Deutscher Hip Hop in der internationalen Wahrnehmung

III. Aspekte und Dimensionen von Gesellschaft, Kritik, Gesellschaftskritik

• Kritische/Politische Positionen in/durch Hip Hop
• Thematisierung von Gesellschaft auf Text- und Bildebene, aber auch auf klanglicher
(Beatmaking, DJing) oder körperlicher (Breakdancing) Ebene
• Hip Hop zwischen Empowerment und Vereinnahmung
• Frauen und Gender im Hip Hop (Misogynie, Heteronormativität, Queer)
• Migration, Interkulturalität und Intersektionalität
• Be a Part of it: Jamkultur Gestern und Heute
• Rechtsrap

IV. Aspekte und Dimensionen von Lern- und Bildungsprozessen

• Informale und formale Lernorte: Hip Hop im Kulturzentrum, in der Schule und
anderswo
• Selbstbildungsprozesse
• Prinzip des Each-One-Teach-One – Diskursivierung von Wissen
• Institutionalisierung und Akademisierung von Hip Hop
• Wissensordnungen im/des Hip Hop

HINWEISE FÜR ABSTRACTS
Die Tagung bietet unterschiedliche Formate an, um eine differenzierte Auseinandersetzung und Analysen in Theorie und Praxis zu ermöglichen. Wir möchten Sie herzlich einladen, Abstracts zu Panelbeiträgen und künstlerisch-praktischen Workshops einzureichen. Die Übernahme der Reise- und Übernachtungskosten für Referent*innen ist beantragt, eine Publikation der Beiträge geplant.
I. PANELBEITRÄGE (20-30 min)
Die Bewerbung für Panelbeiträge sollte folgende Angaben enthalten:
• Titel und Abstract des Beitrags (ca. 1500 Zeichen inkl. Leerzeichen)
• Kurz-Vita (max. 500 Zeichen inkl. Leerzeichen).

II. WORKSHOPS (90 min)
Die Workshops sind auf 90 Minuten angelegt und finden mit einer begrenzten Anzahl an Tagungsteilnehmenden statt. Bitte geben Sie Ihren Bedarf an Räumlichkeiten und Technik an und wenden Sie sich bei Fragen direkt an uns.
• Kurzbeschreibung des Workshops (max. 1500 Zeichen inkl. Leerzeichen)
• Kurz-Vita (max. 500 Zeichen inkl. Leerzeichen)
• Angabe der benötigten Räumlichkeiten & ggf. des Materials

Deadline für die Einreichung der Abstracts:
Bitte senden Sie Ihre Vorschläge bis 13. Dezember 2019 an:
Prof. Dr. Michael Rappe
Prof. Dr. Thomas Wilke
Bitte ordnen Sie Ihr Abstract/Ihren Workshop einem der vier Themenschwerpunkte zu und machen Sie deutlich, ob es sich um einen Originalbeitrag handelt.
Über die Annahme des Beitrags/des Workshops entscheidet das Scientific Committee bis zum 18. Dezember 2019. Eine Benachrichtigung erfolgt direkt im Anschluss.

Trinity International Hip Hop Festival 2020: Call for Submissions

The Trinity International Hip-Hop Festival and Conference is seeking submissions for performers and presenters for their 15th annual event to be held at Trinity College in Hartford, Connecticut, on March 26-29, 2020. This year’s theme is “15 Years of Hip Hop: Past, Present and Future”. This year, the festival is honoring the roots of hip hop as a vehicle of empowerment and resistance for marginalized voices while celebrating how hip hop has also dynamically changed as a movement through time. Looking back
in order to step forward, this 15th year’s focus is to honor the foundations of hip hop as well as to celebrate the artists that keep hip hop alive. We invite all artists from around the world to celebrate the roots, seeds, and branches of hip hop as we honor how it has existed, developed, mobilized, and sparked change throughout the decades.

Any topics will be considered, but submissions focused on these topics are preferred: hip hop and social or political change, hip hop education, women in hip hop, hip hop diplomacy, hip hop history or similar.

Submissions will be accepted in the following categories: Performers (hip hop artists, MCs and/or DJs), presenters (lecture or workshop), panel discussions, film screenings, dance groups/judges (b-boy/b-girl and all styles), graffiti artists, spoken word artists, music producers, and hip hop photographers.

About the Festival

The festival was started by students as a way to unite disparate communities – academic, racial and economic – using hip hop culture in all of its forms and drawing from the international hip hop community. The festival has grown to become an annual meeting place for champions of social change: professors and students, artists and activists, educators and event promoters, and people from all manner of hip hop related grassroots and non-profit organizations descend on Hartford for several days
of connecting, learning, sharing and inspiring each other.

In the last fourteen years, we have hosted artists and presenters from over 50 countries. Although many of the people did not know each other coming in, as one first time attendee put it, “It felt like a family reunion!” A strong tie exists between attendees from shared beliefs in hip hop culture and social awareness. Everyone leaves feeling energized, inspired and more connected to fellow practitioners from around the world.

Each festival also runs concurrently with a one-day youth conference, sponsored by the City of Hartford. Hartford-area teens meet in their own “youth only” events, and also sit in on some of the open panels and performances. Hip hop artists – who would perform later that night – teach groups of students about beatboxing, freestyling, a variety of dance forms and more. This youth outreach continues to grow and strengthen the college-community bond.

PERFORMERS
Please submit artist/group information, EPK, links to web site and live performance videos (if possible). We are only able to book 7-8 groups each year and seek to balance by countries of origin, languages and gender with a mix of live bands and MC/DJ combos. Artists who can also provide a presentation (see above) is a plus, but not required.

Submit your proposal to trinityinternationalhiphop@gmail.com Due Tuesday, October 15th, 2019.

Notices indicating the acceptance of your submission will be sent by Saturday, November 30th, 2019.

PRESENTERS
Please submit up to 300-word proposal for a presentation of scholarly work, lecture, panel discussion, workshop, or a film screening at the festival. Please include the type of presentation you are proposing, any technical requirements plus name and contact information. Film proposals should include film length and a link to the trailer (if possible).

Submit your proposal to trinityinternationalhiphop@gmail.com Due Tuesday, October 15th, 2019.

VISUAL ARTISTS
Please submit a link to your portfolio or web site for art installations, photography exhibitions or to be considered for our live graffiti art painting. Please include a description of your proposed exhibition as well as a biography.

Submit to trinityinternationalhiphop@gmail.com Due Tuesday, October 15th, 2019.

Call for Papers: Global HipHop Studies, Vol. 1 and 2 (2020)

Global Hip Hop Studies (GHHS) seeks contributions for the inaugural volume (issues 1 and 2) to be published in spring and autumn 2020.

GHHS is a new peer-reviewed, rigorous and community-responsive academic journal that publishes research on contemporary as well as historical issues and debates surrounding hip hop music and culture around the world, twice annually. The journal provides a platform for the investigation and critical analysis of hip hop politics, activism, education, media practices and industry analyses as well as manifestations of hip hop culture in all four of the classic elements (DJing/turntablism, MCing/rapping, graffiti/street art and b-boying/b-girling/breaking and other hip hop dances), and the under-examined realms of beatboxing, fashion, identity formation, hip hop nation language (HHNL) and beyond.
In short, GHHS is a hip hop cipher that aims to examine and expand the ‘fifth element’, knowledge (knowledge of self, historical knowledge, hip-hop cultural knowledge and other knowledge paradigms) and its intersections with all the culture’s material, embodied and conceptual forms. Centred around the truly global collection of established scholars on its advisory board, GHHS privileges the insights of people of colour and supports and encourages those of all marginalized, subordinated and disenfranchised global citizens who are engaged in manifesting progressive political and social change and expanded intellectual vistas.
The GHHS proactive distribution model provides journal access to underdeveloped countries through the Electronic Information for Libraries global initiative and has also made a commitment to postcolonial contexts in the overdeveloped world by granting access to public libraries in under-resourced communities (via a simple application process). GHHS thus centres those communities that created the culture – those who built ‘something out of nothing’ – aiming for nothing less than a refiguration of the university knowledge trade.
For this first CFP, the Coordinating Editors and the Editorial Board (Murray Forman, Bettina Love, Karim Hammou and Sina Nitzsche) are soliciting submissions in all six of the journal’s sections:

• Articles (6,000-10,000 words)
• Book Reviews (1,000-2,000 words)
• Media Reviews (1,000-2,000 words)
• ‘In the Cipher’ (artist-centered outputs) (1,000-4,000 words)
• ‘Dive-in-the-Archive’ (archival pieces) (1,000-4,000 words)
• ‘Show and Prove’ (high-res image for cover and 400-2,000 word text)

Submissions should adhere to the word count for the appropriate
section and follow Intellect’s journal editor and contributor guidelines.
Submissions should not appear in the body of the email. All articles
will be peer-reviewed by two reviewers. Please note that any articles
that do not conform to the guidelines will be returned to the author for
corrections prior to being sent out for review. We are happy to receive
inquiries about prospective submissions.
Book Reviews and Media Reviews
Submissions may come as:

• requests for ‘Titles to Review’ (books will be requested from publishers
• and mailed directly to contracted reviewers. In most cases, media must
  be procured by reviewers themselves); or
• unpublished Draft Reviews.

 

‘In the Cipher’ and ‘Dive in the Archive’
Submissions may come as:

• a pitch for an artist- or archive-centred piece (interview, alternative
  format, etc.); or
• an unpublished Draft Piece.

The editors encourage artists to include full details on where else to find
their work (web pages, social media, etc.). Where appropriate, the editors
can host related media and links on the journal site.
‘Show and Prove’
Submissions should come with both:

• a high-resolution image (or small set of images) of graffiti writing,
  photography, or any hip hop image; and
• one of the following: a proposed 400-2,000 word accompanying text, a
  draft artist statement, a draft curated statement about the artist, etc.

The editors encourage artists to include full details on where else to find
their work (web pages, social media, etc.). Where appropriate, the editors
can host related media and links on the journal site. GHHS will also have
the capacity to host embedded media via companion web pages on the
press website.
While submissions must be in English for Volume 1, the editors anticipate
publishing subsequent volumes as bilingual and/or translated special
issues.

For more information and to submit, please go to https://www.intellectbooks.com/global-hip-hop-studies
Global Hip Hop Studies http://www.intellectbooks.com

DEADLINES: 15 OCTOBER 2019 / 10 MARCH 2020

Coordinating Editors

• Adam Haupt, University of Cape Town
  adam.haupt@uct.ac.za
• J. Griffith Rollefson, University College Cork
  jg.rollefson@ucc.ie

Editors

• Murray Forman, Northeastern University
  M.Forman@northeastern.edu
• Karim Hammou, French National Center for Scientific Research
  karim.hammou@gmail.com
• Bettina Love, University of Georgia
  blove@uga.edu
• Sina Nitzsche, Ruhr-Universität Bochum
  sina.nitzsche@udo.edu

Hip Hop Interpellation: Senior Research Fellow in Computer Science and Cultural Data Analytics Wanted

Position Summary

University College Cork invites applications for an experienced Senior Research Fellow to lead a new high impact 5-year research project in the area of Hip Hop Studies. The position of Senior Research Fellow is in the area of Computer Science and Cultural Data Analytics and is available at the Department of Music in the School of Film, Music, and Theatre at University College Cork. The position is funded by the European Research Council and is associated with the research project CIPHER: Hip Hop Interpellation. This study of global hip hop knowledge flows will synergize computational and ethnographic methods to examine how hip hop “unlocks the global through the local.” The principal investigator of the project is Professor J. Griffith Rollefson.

The successful candidate will work on a research project in global hip hop studies that combines cultural data analytics (text and sound, crowdsourcing, NLP, machine learning, semantic web, stylometry) with ethnographic and cultural studies methods. The researcher will work closely with the PI and a team of ethnographic researchers. S/he will also manage a dedicated doctoral student and a computational support team at the Insight Centre for Data Analytics.

The successful candidate is expected to live in Cork, Ireland and become part of the research environment/network of the university and contribute to its development. The researcher is expected to publish independently and together with the CIPHER team, present research papers at workshops and international conferences, and contribute to popular dissemination of the research results.

For an information package including full details of the post, selection criteria and application process see www.ucc.ie/hr/vacancies. The University, at its discretion, may undertake to make an additional appointment(s) from this competition following the conclusion of the process.

Informal enquiries can be made in confidence to Prof Griffith Rollefson Email: cipher@ucc.ie Further information on the Department is available at https://www.ucc.ie/en/music-theatre/

Salary: Senior Research Fellow Salary Scale: €65,414 – €70,200 – Salary placement on appointment will be in accordance with public sector pay policy.

Applications must be submitted online via the University College Cork vacancy portal. Queries relating to the online application process should be referred to recruitment@ucc.ie, quoting the job-title.

The successful candidate will be familiar with and propose appropriate solutions to the computational challenges of the CIPHER project. See the full CIPHER details at: https://europeanhiphoporg.files.wordpress.com/2018/06/ercconsolidatorgrant-2018-rollefson-fullapp.pdf

Candidates should apply, in confidence, before 12 noon (Irish Local Time) on Thursday 22th August 2019. No late applications will be accepted.

UNIVERSITY COLLEGE CORK IS AN EQUAL OPPORTUNITIES EMPLOYER

Please note that an appointment to posts advertised will be dependent on University approval, together with the terms of the employment control framework for the higher education sector

Contact Person : Prof. J. Griffith Rollefson Contact Email : cipher@ucc.ie
Job ID : 036431 Contact Number : +353-(0)21-490-4521

https://europeanhiphop.org/2019/05/13/cipher-jobs-posted/

Full Job Packet here: CIPHER-SRF-JobDetails

Apply Here (Job ID: 036431): 

• https://ore.ucc.ie
• https://ore.ucc.ie/pls/corerecruit