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Sounds and Poetry of the Streets: Empowering Philippine Expressive Popular Cultures

Posted: February 6th, 2019 | Filed under: Calls for Papers | No Comments »

EPAPC September 2019 National Conference 

Organisers: Alona Guevarra, Lara Mendoza, Jose Buenconsejo, all scholars of EPAPC

The research group, Ethnographies of Philippine Auditory Popular Cultures (EPAPC), a grantee of the Commission of Higher Education (CHED)-SALIKHA Creative Grants, announces a call for papers for a special conference on Philippine Expressive Popular Cultures entitled Sounds and Poetry of the Streets: Philippine Expressive Popular Cultures. Selected abstract proposals will be presented in September 2019 at Ateneo de Manila University. Selected papers from the conference will be published in Kritika Kultura, the international refereed journal of language, literary, and cultural studies of the Department of English, Ateneo de Manila University.

Please submit a title and abstract (200 to 250 words) together with a short bio (no more than 150 words), to [email protected] by March 15, 2019 (cc: [email protected] / subject heading: Philippine Expressive Popular).

Conference Abstract

The CHED-EPAPC project invites scholars whose field of inquiry delve on Philippine expressive popular cultures using explicitly inter-disciplinary methods. The conference aims to investigate salient Filipino practices that involve multi-sensorial aesthetics (as expressive art forms often are), and the transformative ways of contemplating and apprehending them.

Its objective is to provide a venue for new knowledge that will impact discussions of popular culture in higher education in the Philippines through paper presentations that tackle issues of local, everyday phenomena of music, film, radio, and other expressive arts. For instance, auditory or sonic artistic expressions and scenes can benefit from interdisciplinary approaches and methodologies. These scenes would include how people experience radio music, karaoke sessions in garages, local religious and devotional practices, rap and hip-hop battles, recording studio production among indie artists, digital music production, among others. These are embodiments of relationships in and among practitioners, listeners, dancers, bystanders, producers, indicative of the rich and varied scenes comprising aural popular cultures. The pulsating power of street culture is conditioned by the tactics and intuitive creativity of the ordinary pedestrian, who carves paths both sensual and visceral in apprehending the ephemeral sparks and contours of art and craft.

Against this backdrop, the conference organizers invite individual paper presentations and panel presentations on the theme of aesthetics, class, and identity. The organizers are interested in the papers and panels that deal with the question of what constitutes the different periods and genres are in Philippine Expressive Popular Culture, what are the changing aesthetics of the popular, what are current dominant forms of the expressive popular and how are these proliferated and what identity/identities are being created by the popular.

Papers and panel proposals are invited that deal with theoretical and empirical debates on Philippine Expressive Popular Culture, including:

  1. Theoretical issues surrounding aesthetics, class and/or identity (ACI) in Philippine Expressive Popular Cultures (PEPC)
  2. Theoretical and empirical understanding on the relationship between ACI and PEPC
  3. Case studies of ACI in PEPC
  4. Comparative studies between PEPC and other popular cultures in terms of ACI;
  5. The nature of collaboration in PEPC This question would bring one to the notion of social networks, interdependencies between production and consumption, taste, etc;
  6. The multisensorial aspect of PEPC;
  7. Digital popular culture production as cultural critique and socio-political commentary;
  8. Individual and collective auditory experiences and practices and how they constitute places, identities and/or social formations;
  9. Specific examples of PEPC, affects and emotions; and
  10. Genres and performances on digital and embodied presences.

Background References

Berger, Arthur Asa. Bali Tourism. New York, NY: Haworth Press, 2013.

Bourdieu, Pierre. A Social Critique of the Distinction of Taste. Cambridge: Harvard University Press, 1984.

Cohen, Sara. “Ethnography and popular music studies.” Popular Music. Vol 12 (2). Cambridge: Cambridge University Press, (May) 1993.

Cohen, Sara. Rock culture in Liverpool: popular music in the making. Oxford: Clarendon/Oxford University Press, 1991.

De Certeau, Michel. The Practice of Everyday Life. Berkeley: University of California Press, 1988.

De Nora, Tia. After Adorno: Rethinking Music Sociology. Cambridge: Cambridge University Press, 2003.

De Nora, Tia. Music in Everyday Life. Cambridge: Cambridge University Press, 2000.

Frith, Simon. “Music and Identity.” In Questions of Cultural Identity, edited by Stuart Hall and Paul Du Gay. Copenhagen Business School: SAGE Publications, 1996.

Frith, Simon. Sound Effects: Youth, Leisure and the Politics of Rock ‘n’ Roll. New York: Pantheon Books (Random House), 1981.

Frith, Simon. “Towards an Aesthetic of Popular Music.” In Music and Society: The Politics of Composition, Performance and Reception, edited by Richard Leppert and Susan McClary, 133-150. Cambridge: Cambridge University Press, 1987.

Hebdige, Dick. Subculture: The Meaning of Style. London: Routledge, 1979.

Hennion, Antoine. “Music Lovers: Taste as Performance.” Theory, Culture & Society 18 (2001): 1-22.

Hennion, Antoine. “Pragmatics of Taste.” In The Blackwell Companion to the Sociology of Culture, edited by Mark Jacobs and Nancy Hanrahan, 131-144. Massachusetts: Blackwell, 2005.

Hennion, Antoine “The Production of Success: An Anti-Musicology of the Pop Song. Popular Music. 3 (1983): 159193.

Hymes, Dell. Foundations in sociolinguistics: an ethnographic approach. Philadelphia: University of Pennsylvania Press,1974.

Neumark, Norie. Voicetracks: attuning to voice in media and the arts. Massachusetts: MIT Press, 2017.

Neumark, Norie. “Doing things with voice: performativity and voice.” In Vo1ce: vocal aesthetics in digital arts and media, edited by Norie Neumark, Ross Gibson, and Theo van Leeuwen. Massachusetts: MIT Press, 2010.

Rose, Tricia. “Rap Music and Contemporary Cultural Practice.” Music and Marx: Ideas, Practice, Politics, edited by Regular Burckhardt Qureshi. New York and London: Routledge, 2002.

Schafer, R. Murray. The soundscape: our sonic environment and the tuning of the world. Rochester, Vt.: Destiny Books. 1993/1994.

Shuker, Roy. Understanding popular music. New York, NY: Routledge. 1994.

Wallach, Jeremy. Modern Noise, Fluid Genres: Popular Music in Indonesia, 1997-2001. Madison: The University of Wisconsin Press, 2008.

Information for Presenters

  • The title and abstract (maximum of 250 words), including name[s] and affiliation[s]) should be submitted to [email protected]by Mar. 15, 2019 (cc: [email protected] / subject heading: Philippine Expressive Popular).
  • Presentations can be in any of the following formats: paper presentations (20 minutes), panel presentations (4 members max/panel, 20 mins each), roundtable discussions on a certain theme (no more than 5 discussants, including the main convenor, 20 mins each), workshop seminars (3 maximum per workshop, 20 mins each), or performances (3 per themed presentation, 20 mins each)
  • The abstract should be in MS Word format, submitted as an email attachment to [email protected](cc: [email protected] / subject heading: Philippine Expressive Popular). The title should be on page 1 and not exceed 15 words, followed by an abstract of 200 to 250 words, 5 to 7 keywords or key phrases are required.
  • Please include presenter bio-notes (150 words maximum).

Important Dates

  • Title and abstract submission: Mar. 31, 2019
  • Release of decison: June 15, 2019
  • Conference: September 2019


For all inquiries, please contact Alona U. Guevarra at [email protected] (cc: [email protected] / subject heading: Philippine Expressive Popular).

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