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Women and Electronic Dance Music Culture

Posted: May 9th, 2016 | Filed under: Calls for Papers | No Comments »

Special edition of Dancecult: Journal of Electronic Dance Music Culture
Guest Editors: Rebekah Farrugia and Magdalena Olszanowski


This special edition of Dancecult seeks to address the diverse roles of women-identified persons within electronic dance music culture (EDMC). While a great deal has been written about the practices of EDM subcultures and DJ culture in general, the experiences of women has received little attention perpetuating and reinforcing male dominance.

Women’s involvement in EDMC has largely been written out of the genre’s history; however, scholarly research has begun to intervene in popular and academic discourses that for decades positioned women as outside the sphere of EDMC with the exception of their presence as dance floor participants. Where once few women-identified role models and women-centered spaces served as inspiration for women to become agents in EDMC, the support network for women has been expanding. Since the 2000s especially, there has been tremendous growth in the number of women-centered EDM collectives and support networks worldwide. Still, as women are forging inroads, their successes are tempered by a discourse that continues to insist on ‘a lack” of women’s involvement. Over the past decade, research has begun to address both the significant and innovative contributions of women to the genre and industry as well as the ongoing misogyny that limits women’s participation, opportunity, and recognition in EDMC. Currently, women make crucial contributions to EDM in their roles as DJs, producers, agents, promoters, designers, VJs, and so on.

This special issue of Dancecult will include current research that examines, interrogates, and highlights the tensions and experiences of women, transgender and gender nonconforming contributors to EDMC. This issue is grounded in existing EDM literature as well as contemporary debates in the field of culture and gender studies as well as technology studies as inflected by intersections of gender, power, privilege, and bodies in globally diverse locales and cultures. We are particularly interested in intersectional work that addresses race, class, ability, age, and/or sexuality in addition to one or more of the themes below.


Potential themes for articles include (but are not limited to):

  • problematizing the contemporary popular discourse (or lack thereof) on women-identified persons
  • women’s emotional labour and backstage support
  • trans and gender nonconforming participants in EDM
  • diverse practices/interrogating and interpreting modes of participation
  • intersections of gender and technology
  • gender scripts in EDM
  • the industry of EDM production
  • formation and dynamics of collectives, especially marginalized collectives
  • historical analyses of issue themes
  • emerging initiatives in EDM


 Feature Articles:

Feature Articles will be peer-reviewed and are 6000–9000 words in length (including endnotes, captions and bibliography). For policies, see:


“From the Floor” Articles:

This special edition will also feature a special version of the From the Floor format: “In Our Own Words”. Submissions for this shorter format (750–2500 words) should relate one (illuminating / thought-provoking / exemplary / problematic / surprising) vignette from one’s own work and practice, followed by brief and exploratory comments. We are particularly looking for mini-ethnographies, auto-ethnographies, and interviews. See guidelines at the Section Policies link above.

Articles must adhere to all style and formatting rules stipulated in the Dancecult Style Guide (DSG). Download it here:

 Multimedia Submissions:

Dancecult encourages authors to complement their written work with audio and visual material. See the DSG for style and formatting requirements.


Although the language of publication in Dancecult is English, the editors strongly encourage submissions from non-Anglophone scholars and will be happy to provide linguistic/stylistic support during the writing process.


 This special edition will be published in Dancecult on 1 November 2017.

If interested, send a 250-word abstract (along with a 100 word maximum author biography) to [email protected] by 1 July 2016.

If your abstract is accepted, the deadline for submission of a full article draft to Rebekah Farrugia ([email protected]) is 1 December 2016. Beyond that, the deadline for online submission to Dancecult (for blind peer-review) is 1 April 2017.

Please send inquiries and expressions of interest to Magdalena Olszanowski [email protected].

Guest Editors

Rebekah Farrugia holds a PhD in communication with a specialization in media studies. Her scholarship explores the politics and intersections of gender, community, and place in contemporary music genres such as electronic dance music and hip-hop. Her work has been published in various journals including Feminist Media Studies, Music & Politics and Journal of Popular Music Studies. In 2012, Rebekah published Beyond the Dance Floor: Female DJs, Technology and Electronic Dance Music Culture. Her current research project is an ethnographic study about a women-centered, community-based hip-hop movement in post-bankruptcy Detroit. She is an Associate Professor in the Department of Communication and Journalism at Oakland University.

Magdalena Olszanowski is an artist, instructor, and PhD candidate in Communication Studies at Concordia University, Montreal. She has published and created work on gender, electronic music, and sound and image technologies with a particular focus on women’s work as inflected by censorship. Her work can be found in journals such as Feminist Media StudiesVisual Communication Quarterly and Dancecult. She has participated in the EDM scene in nearly every capacity over the last fifteen years. She is also currently working on microfemininewarfare, a documentary featuring women experimental electronic music composers. http://raisecain.net

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