Sinophone Musical Worlds and their Publics / Les mondes musicaux sinophones et leurs publics
Appel à contributions pour un numéro spécial de China Perspectives – Perspectives chinoises, « Les mondes musicaux sinophones et leurs publics ». Ce dossier de Perspectives chinoises tentera de repenser le rôle de la musique dans la société chinoise contemporaine.
Rédacteur invité : Nathanel Amar, post-doctorant à l’Université de Hong Kong
- Date limite d’envoi des propositions: 31 octobre 2018
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Call for papers for a special issue of China Perspectives – Perspectives chinoises, « Sinophone Musical Worlds and their Publics ». In this special issue of China Perspectives, we would like to rethink the role of music in Chinese society.
Guest editor: Dr Nathanel Amar, postdoctoral Fellow in the Humanities at the University of Hong Kong
- Deadline for submission: 31 October 2018
- For detail, see:
Call for abstracts for the special issue (PDF)
- Dr Nathanel Amar: firstname.lastname@example.org
Recent success of Chinese reality television singing competitions broadcasted on national television or streamed directly on the internet, has shown the extent of musical genres represented in the Chinese world, from pop to folk via hip-hop or rock ’n’ roll. The popularity of new musical styles up to then considered as deviant as well as the recent attempts of the State to intervene directly on musical contents, tend to blur the distinctions between “mainstream” (流行) music, “popular” (民间) music as non-official, “underground” (地下) music or even “alternative” (另类) music. This call for papers aims at promoting a better understanding of the transformations of Chinese “musical worlds”, in the sense that Becker gave to “art worlds”, which stresses the role of cooperation and interactions between the different actors of the artistic sphere. As Becker wrote, “all artistic work, like all human activity, involves the joint activity of a number, often a large number, of people. Through their cooperation, the artwork we eventually see or hear comes to be and continues to be. The work always shows signs of that cooperation” (Becker, 2008: 1). We thus welcome contributions which take into consideration the necessary cooperation between individuals, allowing the constitution of musical worlds.
This call for papers wishes to approach the political management of popular music and its paradox. For instance, the Chinese authorities have indeed tried to co-opt marginal or ethnic minorities artists on national television or by producing their albums, such as the nationalist rap collective CD-Rev whose songs are produced by the Youth League, or the Uyghur folk singer Perhat Khaliq, celebrated on the popular TV show “The Voice of China”. However, at the same time, the authorities went after hip-hop culture after the so-called “hip-hop ban” of January 2018, or even imprisoned popular musicians as the “Xinjiang Justin Bieber”, Ablajan Awut Ayup, incarcerated since February 2018. We also welcome contributions which analyze the use of music and music-video by the organs of government propaganda, such as the multiplication of music-videos to promote the “Belt and Road Initiative” – the most recent was made by the People’s Daily using the music of a famous Coca-Cola advertisement of the 70s – or in the recent past to celebrate international events, as the Olympic Games of 2008 or the Shanghai International Expo of 2010.
In this special issue of China Perspectives, we would like to rethink the role of music in Chinese society. If the intervention of the Party-State is essential, it is necessary to raise the question of the public. How and where do people consume music? What is the relationship between music and the construction of subjectivity in contemporary China? We invite submissions focusing on the public and spaces of popular music and the meanings the audience gives to the activity of listening to music; we thus strongly encourage submissions which use an ethnographic approach. The papers can focus on precise case studies, for instance Karaoke consumption (Fung, 2010), dancing and singing in public spaces, or the transformation of popular opera.
This special issue will also represent an opportunity to analyze Chinese musical worlds beyond the national boundary of the People’s Republic of China (PRC) by considering the relations and influences of other parts of the sinophone world, such as Taiwan and Hong Kong, without forgetting the territories at the margins of the PRC like Xinjiang, Tibet or Inner Mongolia. The use of the term “sinophone”, as coined by Shu-mei Shih, allows us to investigate musical worlds outside the national territory of the PRC, but also the cultures of “minority peoples who have acquired or are forced to acquire the standard Sinitic languages of Mandarin, often at the expense of their native language” (Shu, 2013: 3) residing on Chinese soil.
We welcome contributions from any discipline focusing on popular music and encourage the inclusion of visual material. We are also open to non-academic papers as scene reports or photographic reports.