Call for Papers: Music & Racism in Europe, Online Symposium, 21-22 October 2021

Race is among the most significant social categories that informs and organises understandings of music. Although there is an abundance of music research that deals with BIPOC minorities and, at least implicitly, also with race, few studies explicitly address how processes of for example racialisation, essentialisation, appropriation and exclusion in music and music research can effectively be categorised as racist. However, recently there has been an increasing interest also in the issue of racism in the field of music and music scholarship and this international online symposium seeks to bring together researchers across disciplines to discuss music and racism particularly as it relates to Europe.

In emphasising racism, rather than the notion of race, we want to encourage scholars to address the real-world consequences of the articulations of race in music and music scholarship. As we do not wish to merely contribute to narratives of victimization, we seek primarily research that identifies institutional and structural forms of oppression and discrimination. Furthermore, acknowledging scholarship as an active part of civil society, we also seek real-world approaches to dismantling racist structures. As such, the symposium will also include a panel discussion organised in collaboration with Music Finland with participants that represent different aspects of the music industries. The panel will be moderated by Professor Anthony Kwame Harrison.

We welcome papers from scholars in any field of research and we also invite presentations in other than traditional academic paper form by practitioners in any style of music who want to contribute to this discussion. Possible topics include, but are not limited to the following:

  • Industry structures that exclude and discriminate BIPOC people, such as mechanisms of chart compilation or myths of neutrality and meritocracy
  • White normativity, whiteness as a power and white Eurocentric epistemologies in discourses around music
  • Different forms of denial and exceptionalist discourses around racism in music
  • The conflation of issues of race with migration in relation to music
  • Critiques of white rock centrism in discourses (scholarly or otherwise) of popular music history
  • Challenges and successes in antiracist strategies and activism in music
  • Challenges involving the (in)ability to collect data about race and ethnicity
  • Critiques of multiculturalism and colorblindness in music diversity work
  • Appropriation of BIPOC music cultures
  • Discourses and representations of exoticism
  • Criminalizing discourses and representations of BIPOC music and music cultures

Keynote speakers

Kira Thurman, University of Michigan Luis-Manuel Garcia, University of Birmingham


Please send an abstract of max 250 words without references and a biography of 50 word plus contact details all in same word or pdf file to Deadline for paper submissions 4 June 2021.

Registration and Fees

Registration will be open from June until September 2021. Details about payment methods will be sent out to registered participants. Fee for waged participants 35 EUR Fee for unwaged participants 15 EUR


The symposium is organised by Research Association Suoni and the Kone Foundation funded research project ”Music researchers in society: Advancing social justice through activist music research” in collaboration with CEMFOR — Centre for Multidisciplinary Studies on Racism at Uppsala University, IASPM-Norden (International Association for the Study of Popular Music) and Music Finland.

Symposium Coordinators

Kim Ramstedt (Suoni) and Jasmine Kelekay (CEMFOR) Contact: kim.ramstedt[at] More information:

Trinity International Hiphop Festival, 9-11 April, online

Join Trinity for the first, totally online, international hiphop festival! For the 15th year of the Trinity International Hiphop Festival, all events will be streamed online on April 9-11 2021.

Highlights include:

  • D Smoke performance!
  • Hiphop legends Grandwizzard Theodore, T La Rock, and Bboy Kid Freez.
  • TWO multiple time DMC world champion DJs: DJ Vekked and DJ Skillz!
  • performers and speakers from Brazil, South Africa, Turkey, Zimbabwe, France, Canada, Singapore, Uganda, Australia, Colombia, Mexico, Estonia, Italy, and more!

Register for FREE at

New Article: “Using Hip-Hop to Promote SEL Competencies”

This new article by Behavior Modification Technician David Spellmon examines how rap song lyrics “can be used to explore the social and emotional learning skills that many teachers seek to encourage in students.” Check it out here.

Shout out and thanks to David for sharing!

Mic & Beat: New Apps for Artists Available

2020 was a year that got us all locked down due to Covid-19’s invasion. An invasion that obviously got sectors almost closed. For example the Showbiz industry, especially for musicians who had several events canceled. Several recordings postponed and more scenarios almost brought to a crawl. Mostly and strongly affected were the independent artists. We all know that as of today the number of independent artists keeps growing at a vast rate.

For Abe Pe Show 2020 was a year not different from other music production houses but it had to act. We were lucky to hit on two Projects aimed for the masses. There was Turn Up an album which included various artist both new and existing with the likes of Mynda Guevara (Portugal), Koflah (Italy), Bamba (Gambia), Rap don (Sierra Leone), Sara Kane (Italy), Big House (Italy), Wasky (Ghana) and many more under the direction of Nana Motobi.

Turn Up was released in December and is now being streamed on most digital platforms across the world. While Turn Up was being produced a team of developers together with the Abe Pe Show Team were also working on Mic & Beat.

Mic & Beat is an application meant to create a network between independent artists mostly to start relating like we would when we meet at event venues, recording sessions, and gatherings. Normally in the said moments, there is a high concentration on the art and work to do which stimulates the exchange of ideologies, methods, and lots of vibes.

Mic & Beat is an app that will host all players in various genres that go on the microphone and beat mode which includes Hiphop, Trap, Afro Trap, EDM, Modern Afrobeat, and all genres where one enters a studio, ask for a beat in a given tempo and records the vocals. We talk about artists as they are the main characters when it comes to art. When we look at the industry there are different role players like managers, bookers, distributors, intellectuals and etc. who are also invited to be members of this fantastic platform. We believe in the fact that all players can partake and help build a new generation of Stars with strong Social causes as many activities like conferences, mentorship programs, healthy competitions, blogging, and Live events will be the work mode.

In the case of intellectuals who have dedicated themselves to arts like hiphop can have first-hand contact with brighter artists struggling to find a way to make their talent a career as well as those who have made impacts which in return can enrich their case studies and problem-solving issues. A true way to research on creating impacts in society for both parties.

“Open to all around the globe. I would say it’s a great way to make organic collaborations across borders.”: nana motobi

Membership is free but donations are always welcome. Certain activities would also require an obligatory donation, mostly for the maintenance of the app and staff.

You are all welcome to this adventure, stay tuned as it will be in operation very very soon.

Watch out for Nana Motobi’s Mic and Beat Album coming out in support of the platform.

We’ll end here with another song from Abe Pe Show’s camp by Nana Motobi.

Thank you!

Contact Information:



New Book: “RECONNECT THE STRING: The African Origins of Hiphop Culture and its Ancestral Healing Power” by Emile YX?

Reconnect The String by Emile YX? exposes the First Nation / African Origin Of Hiphop Culture through showing parallels of expression, it records local first person history about Hiphop from practitioners & connects people internationally to share talents, skills & resources to regain our humanity & family. Emile YX? is a Pioneer of South African Hiphop from Cape Town, South Africa.

Reconnect the String is born out of the Bushman thinking that we have broken the connection to our past, present and thus future. We are also separated from our selves, our spirit, nature and thus we cannot connect. This is also about first person stories and telling our own heritage. Our stories need to be retold by us and this is what i have started in Cape Town. I am reaching out to encourage others to do the same globally by connecting with them and asking them to collect their own stories to rewrite their own histories. Reconnect The String is also about the real friendships and family that Hiphop has globally, outside of industry. Lastly, decolonization or rehumanization of information demands that we reach back into the real heritage of a culture that is deeply rooted in Africa, African & thus all Human (Africa The Cradle of Humanity) forms of expression. 

Call for Papers: Breaking and the Olympics (Global Hip Hop Studies)

The recent announcement of breaking in the 2024 Paris Olympics has stirred a substantial response from within and outside of hip hop culture. This special issue of Global Hip Hop Studies (GHHS) is positioned to not only explore contemporary debates about breaking in the Olympics, but also to develop critical discourse that can offer insight to practitioners, cultural organizations and the IOC. We are especially interested in research projects that engage in local, regional and national perspectives and can provide useful resources transnationally for those involved in this milestone cultural moment. To this end, the issue will be published a year in advance of the 2024 Olympics in 2023.

Breaking’s introduction into the 2018 Buenos Aires Youth Olympic games roused similar debate within breaking communities across the globe, prompting concerns regarding the dance’s misrepresentation and possible exploitation. New tensions between breaking veterans, activists, the general public and corporate interests have emerged already in the lead up to 2024. Despite this, many veterans and community leaders who are responsible for breaking’s introduction into the Olympics also believe the dance has much to gain from its formal elevation and subsequent mainstream rediscovery. This Special Issue will critically assess the potential benefits and dangers for breaking communities worldwide and shed light on the various competing interests vying to authenticate and/or leverage breaking’s new global attention. This is also a good moment to reflect back on the relationship between breaking and the Olympics, starting with the 1984 breaking performances at the closing ceremony in Los Angeles, and the rise of international competitions with events such as Redbull BC One, Battle of The Year, R16, World Bboy Series, Notorious IBE, Silverback Open Championships, Freestyle Session and Outbreak Europe.


To be considered for this Special Issue, please submit the following via this Google Form by 31 May 2021:

  • an abstract of 150–250 words (plus references, if necessary);
  • author name(s);
  • institutional affiliation(s);
  • contact details; and
  • a brief bio of no more than 150 words (which includes the author’s positionalities in relation to their topic).

Guest Editors
Mary Fogarty, York University, Canada
Jason Ng, University College Cork, Ireland

Call for Papers: Popular Music of Europe in Romance Languages? – Historical and Present Dimensions of “Hidden” Connections, Romance Studies Conference, 4-7 Oct 2021

The organizers of this panel invite you to submit papers on hip-hop culture:

Common values and convictions as well as a common memorial culture serve as an essential link to the European idea. Europe or the identification with it, however, suffers from the lack of a common popular culture, especially after US culture has lost its binding force and commonalities are now often found more strongly on a binational level. This is further demonstrated by the fact that the perception of a common European popular culture is a very one-sided one – on the one hand we find a Europe that presents itself as a global community, while on the other, national movements actively work against the trend towards a common popular culture and elevate popular music to a national-patriotic identifier.

The panel seeks to emphasize the binding factors of popular music, ranging from the idea of the Eurovision Song Contest and funding programmes such as Music Moves Europe to a European academical culture in dealing with popular music. Moreover, the focus lies on identification points which elevate popular music of the countries of romance languages to a shared identity of international exchange. Various local realities have established themselves in Romance-speaking Europe as European metropolises of popular music and are characterized by the current “super diversity”, yet also considered to be the cornerstone of local and regional authenticity issues.

The event shall take place during the XXXVII Romanistentag from 04 to 07 October in Augsburg, however, in light of the current circumstances, we do not yet know to what extent the event can be carried out. Online alternatives will be made available.

Publication of the contributions is planned.

If interested, please send a short abstract (maximum 400 characters) and a brief biographical profile to the responsible of this panel by 31 January 2021.


Le Monde ou Rien? New French-language Issue on Authenticity in Rap and Hiphop

Séverin Guillard and Marie Sonnette edited a new volume on authenticity in hiphop entitled Le monde ou rien? Légitimité et authenticité dans les musiques hip-hop. It contains chapters on hiphop culture and rap music in France, Burkina Faso, and the United States. Access the volume here.

CfP: Hip Hop Ecologies, Ecozon@ 13.1 (Spring 2022)

Guest Editors: Alain-Philippe Durand (University of Arizona) and Timo Müller (University of Konstanz)

Hip-hop is one of the most successful forms of global cultural production today. Since its emergence in the Bronx neighborhood of New York City, it has spread around the world and exerted a considerable impact not only on pop culture, but also on social debates around race, class, language, nationality, gender, and a range of other issues. One topic that is rarely discussed, however, is the relationship between hip-hop and the environment.

As a predominantly urban phenomenon, hip-hop does not pursue an environmentalist agenda in any narrow sense. Its focus is traditionally on urban rather than natural life, on the city rather than the countryside. Nevertheless, an environmental perspective on hip-hop promises to enrich our understanding of the ways in which popular cultural forms shape and are shaped by environmental concerns. Such an approach can direct our attention to important dimensions of hip-hop that have remained marginal to public and scholarly debates. Conversely, hip-hop offers unconventional vistas that challenge narrow conceptions of the environment and its academic study. We invite contributions that explore, substantialize, and challenge these premises in all areas of hip-hop culture (rap music, emceeing, deejaying, breakdancing/b-boying, graffiti). Topics might include but are not limited to:

  • depictions and negotiations of nature in hip-hop
  • environmentalist messages in hip-hop
  • hip-hop conceptions of (urban) space in environmental terms
  • hip-hop and ecology
  • rural hip-hop and its environmental investments
  • material environments of hip-hop production and reception
  • environmentally aware or embedded hip-hop cultures
  • hip-hop in/and environmental activism
  • environmental framings in debates around hip-hop
  • hip-hop and the posthuman
  • hip-hop and the natural sciences
  • the land(s) of hip-hop

Ecozon@ is a multilingual journal. We invite contributions in English, French, German, or Spanish that discuss hip hop cultures in any geographic or linguistic setting.

Manuscripts should be between 6,000 and 8,000 words including abstract, keywords, and bibliography. We highly encourage potential contributors to submit an abstract by e-mail before March 2021 to either editor: Alain-Philippe Durand ( or Timo Müller, (

Completed manuscripts are due on July 15, 2021 via the Ecozon@ website, which also provides a style guide.