Call for Papers 2012 Symposium
2nd Symposium of the ICTM Study Group
on the Performing Arts of Southeast Asia (PASEA)
14-19 JUNE 2012
CALL FOR PAPERS
DEADLINE FOR SUBMISSION: 1 December 2011
We are pleased to announce the 2nd Symposium of the ICTM Study Group on Performing Arts of Southeast Asia (PASEA) and offer this call for abstracts to be submitted by 1 December 2011. Please note that this symposium will focus on the themes described below, which will form the basis of the presentations and discussions.
The host and local arranger for this symposium is the Citizens for Arts & Culture, Manila, Inc.
June 14 (Thursday) Registration, Opening of Symposium & Sessions
June 15 (Friday) Sessions
June 16 (Saturday) Sessions
June 17 ( Sunday) Day trip excursion possibly to Villa Escudero in San Pablo, Laguna, or Intramuros (16th century walled city
in Manila, or other sites [to be announced])
June 18 (Monday ) Sessions
June 19 (Tuesday) Sessions, Closing, Departure of Participants
Theme I. (RE)PRODUCING SOUTHEAST ASIAN PERFORMING ARTS --- TRADITIONS IN THE HERE AND NOW
In the modern world, local traditions are reconstructed in new and myriad ways that are more intelligible when seen in the context of intense international movements of peoples, ideas, images, technology, and money. The influx of tourists and foreign workers of all types, the infusion of multi-national capital, and the diffusion of peoples away from the region have all worked to situate Southeast Asia as an important nexus in an increasingly intricate network of global exchange.
In this symposium, we seek to understand the complex pragmatics behind the reconstructions and re-contextualizations of Southeast Asian performing arts traditions vis-a-vis the "here and now". In particular, we aim to interpret the meanings and motivations behind the initiatives of various agencies – from local grassroots communities to formal ideological apparatuses such as government and market institutions – to (re)produce "traditions" at specific times and in particular places in Southeast Asia and the Southeast Asian diaspora. In this context, we consider the following issues:
Local Identity Formation
How do Southeast Asian communities (re)construct their identity through the performing arts, considering the impact of globalization and new contexts? How do performing artists or culture-bearers mark their distinctiveness amidst change in their environment?
Tourism and Commodification
As one of the steadily growing phenomenon in Southeast Asia, the influx of tourists and the cultural performances designed for this clientele pose a number of questions relative to the music and dance found throughout the region. What is the impact of tourism on Southeast Asian performing arts? What are the specific effects of tourism on the culture-bearers and their performing arts traditions? What kinds of subjectivities and identities are forged when folk traditions are "staged" into cultural presentations for tourists? What is the impact of global production modes and employment patterns on cultural recreation? What is the role of mass media in the process of promoting tourism? Is there a reduction or re-definition of ritual or religious justification of performances put on for tourists?
Institutionalizing Southeast Asian Performing Arts Traditions in Modern Multi-Cultural Music Education
What political dynamics in Southeast Asia propel the inclusion of local musics into mainstream, often Western-based — or otherwise “modern”— music education? What interests and roles do the state and the market play in this re-contextualization of local traditions? What transformations occur when traditional arts are transmitted to the youth in dance/music groups and schools? Are the pragmatics of assimilating local traditions consistent across the region and throughout the history of modern Southeast Asia? How are we to understand the role of governmental and non-governmental cultural initiatives such as the "School for Living Traditions"? What is the role of the UNESCO Intangible Cultural Heritage (ICH) program and other educational initiatives vis a vis Southeast Asian performing arts?
Theme II. Southeast Asian Bodies, Music, DANCE AND OTHER MOVEMENT ARTS.
This theme focuses on movement arts and their relation to music, dance and theatre. In an overall view of movement arts in Southeast Asia, individual papers and panels are invited in the following sub-topics (and others as well):
Movement arts and the Southeast Asian body
This topic examines the construction and the conceptualisation of the body as it is played out in the performing arts of Southeast Asia. Some possible topics would include representation of the Bugis in Central Javanese wayang or sendra tari, Arab-ness in Malaysian zapin, masculinities in the enactment of the Rama character in Southeast Asian dance dramas, Isan pop singers in Thailand and Laos, waria in ‘folk’ theatres of Indonesia, the Filipino pop musician presence throughout Southeast Asia, ‘the body as canvas’ in Singaporean Teochew opera, Balinese beleganjur, Philippine ati-atihan and so on.
Movement arts, music, ritual and theatre.
This topic invites individual papers or panels on movement arts and their co-relation to music, ritual and dramatical arts. The movement arts may include such examples as muay Thai/krabi-krabong (Thailand), bando/banshay (Myanmar), kali/arnis de mano/escrima (Philippines), and silat systems including pencak silat as found throughout the region. This theme also proposes to examine the cross relations between silat and the Sino-Malay forms of kuntao/kuntau, and any music and movement art related with these (for example, the Dragon Dance, local variants of Chinese opera and so on). It is hoped that a sub-Study Group may develop from this theme to carry on research in a long term working project.
Theme III. NEW RESEARCH
The language of this symposium is English, as is the official language of the host country.
THE PROPOSAL AND FORMAT
Proposals are invited in the following formats:
1. Individual paper, 20 minutes long and followed by 10 minutes of discussion,
2. Organized panel, 90 minutes long for 3 presenters, 120 minutes long for 4 presenters OR 3 presenters and a discussant (each presentation is 20 minutes with 10 minutes for discussion),
3. Forum/Roundtable, up to 90-120 minutes long with 3 or 4 presenters on a given topic, organized and run by a given Chair of the Roundtable, with discussion among the presenters and the audience,
4. Participatory Workshop, informal, interactive hands-on session on one topic for a maximum of two hours,
5. Film/Video, recently completed or in-progress films, video programs or excerpts thereof, each presentation about 20-30 minutes in length including some discussion on the film/video,
6. This symposium is also accepting proposals for ‘lightning’ sessions of 10-15 minutes in length to focus on reports of current research by graduate students and others.
Please submit an abstract for your individual paper, panel, round table discussion, film/video, workshop or 'lightning session' plan of approximately 250 words, and a very short biographical note (100 words or less) on the main organizers/presenter and all other presenters in a panel, round table or workshop, and those proposing a film/video production. Panels and roundtables must submit a statement on the focus and central concern of the panel/roundtable along with an abstract from each presenter on the presentation (each abstract is limited to 250 words).
Please send your proposal by email. The text should be pasted in the body of the email and also sent as a Word file (.doc) or Rich Text Format (.RTF) attachment to your email to assure access. If you are unable to send your proposal by email, you may send a hard copy and an electronic version on a CD. Please label all communications clearly with your full electronic and postal contact details.
The Program Committee reserves the right to accept only those proposals that, in their opinion, fit best into the scheme of the Symposium, and that can be situated within the time frame of the Symposium.
SEND PROPOSALS TO:
The Chair of the Program Committee and the Chair of the Local Arrangements Committee by 1 December 2011:
1) Made Mantle Hood, Program Committee Chair, email: firstname.lastname@example.org
2) Felicidad Prudente, Local Arrangements Committee Chair, email: email@example.com
If sending your proposal by hard copy and on CD, please send to:
Dr. Made Mantle Hood
The Melbourne Conservatorium of Music
Melbourne, Victoria 3010, AUSTRALIA
Please note that when your emailed proposal has been received, you will receive an email acknowledgment within 4-5 days. If you do not receive an acknowledgement within this time, please contact the Program Committee Chairperson (email address above).
All proposals will undergo peer review, and notification of acceptance will be announced in January 2012.
A NOTE ON SUB-STUDY GROUPS
For those of you who are interested in starting a sub-study group focusing on a specific theme or topic, you will need to select a chair or spokesperson and write up a brief description of your proposed sub-study group, noting the rationale and any projects that can be earmarked by the group at the time of your proposal. Submit your proposal for the particular sub-study group to the Chair of this Study Group (firstname.lastname@example.org). Your proposal will be tabled at the Business Meeting for discussion and approval.
A NOTE ON MEMBERSHIP IN ICTM
Please note that all presenters must register as a member of the International Council of Traditional Music directly with the ICTM Secretariat before attending the Study Group Symposium. The email contact is: email@example.com Those visitors who wish to attend this Symposium as non-members will be able to do so under a special registration fee, as will students. All registration fees and other information will be forth coming from the Local Arrangements Committee.
The Program Committee for this Symposium is Made Hood (Program Committee Chair), Felicidad Prudente (Local Arrangements Chair), Jose Buenconsejo (Philippines), Tan Sooi Beng (Malaysia), Bussakorn Binson (Thailand), David Harnish (USA), Wim van Zanten (Netherlands), Paul Mason (Australia).