Boundaries and Ties: The Place of Metal Music in Communities
The Biannual International Society for Metal Music Studies Conference at the University of Victoria (Previously held at Bowling Green in 2013, and Helsinki in 2015) June 9-11, 2017.
Metal Studies at the University of Victoria and ISMMS are pleased to announce the following Call for Papers:
Metal music is a crucible for identity and community. At its core it aims to press boundaries. These boundaries, in turn, serve both to reinforce belonging and to exclude nonparticipants. The goal of this conference is to explore different ways metal music fans experience and create communal bonds, and the relationship of these bonds with other types of communal bonds (ethnic, religious, and national for example). How can these multivalent bonds reinforce or destabilize each other? How do lyrical and symbolic themes and communal bonds aid or hinder the process of or reclaiming identity or regaining voice? How do artists grapple with and recontextualize some of the problematic origins of the genre?
The organizers would like to invite proposals for papers of twenty minutes devoted to any aspect of metal music, identity and community. We would also like to encourage students and postgraduates to submit an abstract.
We invite topics that include but are not limited to:
· The relationship between local and global metal scenes.
· The formation of and allegiance to specific sub genres with in metal.
· Heavy metal and national or ethnic identity.
· Margins and periphery within metal communities.
· The role of “narrative(s) of origin” of metal or its sub-genres in fostering a sense of communal identity within metal.
· Metal in First Nations communities
· The interrelationships between metal music and sporting/leisure contexts
· Metal music as political community
· The relationship between embodying a cultural identity and heavy metal fandom
· How developments in technology influence metal communities (such as the dynamics across online and offline metal communities)
· Metal and DIY/participatory archives
· Lo-fi recording and the bonds between metal artists and audiences
· The entanglements of analog and digital (re)productions of metal
· Lyrics as a call for communal action
· Plurilingual Metal as communal connections or divisive agents
Please submit a title and an abstract of 200- 250 words (if an accompanying reference list is included, it does not go towards the word count) to firstname.lastname@example.org by December 15, 2016. Applicants will be notified of acceptance by February 1st, 2017.
To celeberate the release of our new title, Theatrical Reality, we are giving away a section of the introduction for free! To buy a copy of the book please click here
This book is concerned with theorizing the ways in which the aesthetics of theatrical representation are complicated and informed by the embodied and spatial conditions of its realization. The following chapters will examine the various ways in which theatre makers attempt to organize the spectator’s experience of reality within performance. By analysing how the threshold spaces of performance shape the spectator’s perception of the performer’s actions and experiences, the book seeks to explore some of the ways in which representation and meaning in theatre are informed by the spectator’s embodied and affective engagement with the art form.
Throughout the book I will make reference to a variety of critical and theoretical perspectives, drawing on material from the fields of phenomenology, cognitive psychology, neuroscience, geography and sociology. However, it should be noted that many of the arguments developed with this book were sparked by my pedagogical engagement with the practice of making theatre. My work as a theatre maker has always been rooted in personal and idiosyncratic concerns; but as a university lecturer, tasked with teaching others to make theatre, I have been forced towards greater pragmatism. In recent years, I have discovered that, when attempting to help students realize their aims in performance, my most useful questions were always concerned with the intended role of the spectator in performance. It is this realization that drove me to start writing this book.
If the theatre maker is to assess the success of his work, he1 must be able to judge its impact on an audience. Without having a sense of the different ways in which the spectator is being invited to deploy his emotions and imagination when watching or participating in performance, the theatre maker will remain incapable of judging his work’s effectiveness. I believe strongly that the practitioner must be able to theorize the nature of the spectator’s engagement with the world represented onstage. This is not due to any kind of belief in the intrinsic value of theory. Instead, it relates to the view that a clear understanding of form is creatively enabling. In order to guide the reception of meaning onstage, the practitioner must understand how theatre functions. It is for this reason that this book ultimately focuses on responding to two key questions: What do we mean by theatricality? And: How might we define the experience of reality within the context of theatrical performance?
Theatre is a medium where invisible worlds are rooted in visible objects, where the material becomes metaphor, and where the intimate and personal are made universal. Through referencing theatre’s ability to overcome and accommodate such oppositions, the book will argue that theatrical space establishes unique modes of reality for both performer and spectator. It will also argue that unpicking the complexity of these connections is paramount if we are to assess some of the ways that meaning, place, character and narrative are constructed and conveyed within theatrical performance.
In order to develop my argument, I will draw on a wide range of case study examples, crossing the boundaries between disciplines and attempting to make links between distinct forms of performance practice (from dance, to theatre, to performance art). I would like to make it clear that my aim is not to diminish the importance of recognizing the distinctions between separate aesthetic forms and disciplines of study. Instead, I hope that by encouraging you to cross the borders between theatre and dance, or neuroscience and literary analysis, you will be able to analyse the material, aesthetic and social dimensions of theatrical performance – thus developing your understanding of the complex ways in which spectators and performers occupy and share physical and imagined spaces during performance.
My hope is borne from my experiences as both a theorist and practitioner. The reflexive nature of this dual life has continually encouraged me to question the practical value of theory. It concerns me that so little of the contemporary application of theory within theatre and performance studies is written for the explicit benefit of the theatre maker or audience. Perhaps I am alone in this response, but I invite you to consider how many times you have read an elegantly argued and diligently researched piece of scholarship before questioning whether its insights could usefully be applied by a spectator, performer or designer. Of course, it depends by what one means by ‘useful’; but, for me, so much of the application of theory to performance seems to me to be an abstract exercise – an exercise in which the insights of theorists are applied to theatrical experience in the same way that one might complete a complex jigsaw puzzle. I believe that the application of theory needs to be approached with greater pragmatism, but also greater adventure. As theorists, practitioners and spectators, we should be helping each other to think more efficiently and more fully about how the complexities of theatre function so that the experience of making and watching theatre can become richer and more powerful.
With this in mind, the book aims to demonstrate that the best theatre practitioners are/ were often the best theorists. To paraphrase George Devine, great theatre must have an attitude – and such attitudes are necessarily formed from philosophies. Although my concern in this short text is to cross-reference different approaches to thinking about the nature of reality in the shared spaces of performance, I hope that the reader will come away from this book with a clearer sense of how the spectator fits within the philosophies of some of the twentieth and twenty-first century’s key theatre makers. I hope that by questioning what reality might mean in the context of theatre, the implicitly stated theories of figures such as Adolphe Appia, Konstantin Stanislavski and Bertolt Brecht can be freshly illuminated.
Could you tell us a bit about your new book, Mindful Movement?
Mindful Movement is a book that tells stories of healing, consciousness and activism that led to a new field - that of somatic movement education and therapy. As a dancer, exercise physiologist and movement therapist I have had the privilege over 40 years to meet the Moshe Feldenkrais, Irmgard Bartenieff, Charlotte Selver, the proteges of Mabel Todd, Bonnie Bainbridge Cohen, Anna Halprin, Emilie Conrad, Nancy Topf, Joan Skinner, Dr. Sondra Fraleigh, Elaine Summers. Each of these people founded a system of learning through body awareness and movement. Each also learned a way to teach others to engage with the soma - the living body - as a primary vehicle to increase consciousness.
What was the inspiration behind this book?
Many of my colleagues are passionate about their work and yet only a few have come to know the antecedents of it. I am fascinated by the interconnections between all of these systems - what is common between them and what distinguishes them. I wanted to give people both of glimpse of the people who were pioneers as well as a view to where this work can be applied.
What did you enjoy the most when writing this book?
I loved doing the interviews with the sage women, my elders - Martha Myers, Anna Halprin, Elaine Summers. It was an honor to give Martha Myers a copy of this book that highlights her work.
Do you have a favourite chapter and if so why?
I dont have a favorite chapter but I do have a sense of urgency that the chapters on education, social somatics and eco-somatics become familiar territory for many people. While so much is in crisis on our planet it behooves educators, scientists, medical professionals, researchers and theorists to understand this inexpensive and widely accessible resource - our own living bodies as guides to healthy lifestyles.
How do you think the future looks for somatic education?
There is room for somatic education to permeate every facet of life. It is simply a call to wake up to our humanness and to pay attention to our moment by moment experience during the day.
What is your favourite Intellect book or journal?
I so appreciate Intellect for continuing to publish new journals on new topics. It is great that Intellect has chosen since 2007 to begin both the Journal of Dance and Somatic Practices as well as Dance, Movement and Spiritualites.
Are you attending any events, conferences, book talks etc?
I already did a book talk at Teachers College - the school of education affiliated with Columbia University. I will do a webinar for them again on Dec 6th.
I am delighted to have just sold out all books mailed to the National Dance Education Conference in Washington DC and I hope to have the same experience at the BodyIQ Conference in Berlin next weekend.
I also am doing a book talk for the Laban/Bartenieff Institute Of Movement Studies on November 17th in mid-town Manhattan.
Book Talks are also being arranged for the Five College Dance Department in Northampton MA, At the Arizona State University and at Coventry as part of the Somatics and Dance conference coming up there on July 6th.
Martha's book is now available to buy from here.
Intellect is delighted to announce the new issue of the Journal of Illustration 3.1 is now available.
Articles within this issue include: "The pixillated doodler: Illustrating Finnegans Wake"by John Vernon Lord, "Finnegans Wake: Readings through drawing"by Clinton Cahill and "The jobbing artist as the ethnographer: Documenting 'lore' "
If you have any questions about the journal click here.
Intellect is delighted to announce the new issue of the International Journal of Food Design 1.2 is now available.
Articles in this issue include: "What design can bring to the food industry" by Hendrik N.K. Schifferstein and "Searching for vernacular concepts in teh contemporary scene: The Turkish floor table as a source of design inspiration" by Esra Bici Nasir.
For more information on this journal please click here.
Intellect is delighted to announce the new issue of Punk & Post Punk 5.1 is now available.
Articles within this issue include: 'Striving for authenticity: Punk in China' by Jain Xiao, 'Laughter is a Harlequin: Laughter and identity in a close reading of a Cuban punk band' by Tom Astley and 'Si si puede!: Chicas Rockeras and punk music education in South East Los Angeles' by Jessica A. Schwartz.
For more information on this journal click here
Intellect is delighted to announce the new issue of Interactions: Studies in Communication & Culture 7.2 is now available to buy.
Articles within this issue include: ‘From victims to perpetrators: Cultural representations of the link between the Holocaust and the Israeli-Palestinian conflict’ by Liat Steir-Livny, ‘Representations of disability in Turkish television health shows: Neo-liberal articulations of family, religion and the medical approach’ by Dikmen Bezmez and Ergin Bulut and ‘I Have a Drone’: Internet memes and the politics of culture’ by Kevin Howley.
For further information on this journal or to purchase this issue please click here.
We are very delighted to offer you a 10% individual discount on the below books and a 20% bundle discount on all four of the books.
The individual 10% discount code is PRINTELLECTLIVE and the bundled 20% code is IBLIVE20.
Pleading in the Blood
The Art and Performances of Ron Athey
Edited by Domininc Johnson
Throwing the Body into the Fight
A Portrait of Raimond Hoghe
Edited by Mary Kate Connolly
The Only Way Home is Through the Show
Performance Works of Lois Weaver
Edited by Jen Harvie & Lois Weaver
It's All Allowed
The Performances of Adriana Howells
Edited by Deirdre Heddon and Dominic Johnson
*Codes valid only until 23rd October 2016 and can only be used through our distrbutors, University of Chicago's website (links above)
Available to Pre Order Now!
Intellect is delighted to announce our latest film series KinoSputnik, titles within this series include: Aleksandr Askoldov The Commisar, Aleksandr Sokurov Russian Ark, Sergei Paradjanov Shadows of Forgotten Ancestors.
Filmed in 1966 and ’67, but kept from release for twenty years, The Commissar is unquestionably one of the most important and compelling films of the Soviet era. Based on a short story by Vasily Grossman, it tells of a female Red Army commissar who is forced to stay with a Jewish family near the front lines of a battle between the Red and White Armies as she waits to give birth. The film drew the ire of censors for its frank portrayal of the violence faced by Russian Jews in the wake of the revolution. This book is the first companion to the film in any language, recounting the film’s plot and turbulent production history as well as offering close analysis of the artistic vision of its director, Aleksandr Askoldov.
Russian Ark (2002) drew astonished praise for its technique: shot with a Steadicam in on ninety-six minute take, following the Marquis de Custine as he wandered through the vast Winter Palace – and through three hundred years of Russian history. Providing a comprehensive synopsis, in-depth analysis and an account of the production history, Beumers offers an insight into the now legendary work of Alexsandr Sokurov.
Paradjanov’s Shadows of Forgotten Ancestors (1965) is a landmark of Soviet-era cinema because of its emphasis on folklore and mysticism in Carpathian Hutsul culture, which broke with Soviet-realism. This book, as the first full-length companion to the film, offers readers a close analysis of the film’s symbolism, a plot synopsis, and a history of the legendary production process. It closes with an account of the film’s reception by critics, audiences and Soviet officials, and the controversies, which have kept it a subject of heated debate for decades.
Now accepting abstracts to be considered for a new book, Fan Phenomena: Disney from Intellect Press. This title will be part of the latest series of Fan Phenomena books, which aim to explore and decode the fascination we have with what constitutes an iconic or cultish phenomenon and how a particular person, TV show or film infiltrates its way into the public consciousness.
The Disney (Fan Phenomena) title will look beyond the Disney canon of films, shows, products and places, into the heart of the fan culture that has passed a love of the phenomenon from generation to generation. This project is aimed for both fans and those interested in the cultural aspects and social impacts of Disney.
Suggested topics include, but are not limited to:
· Disneyana and the economics of collecting Disney merchandise
· The D23, the Official Disney Fan Club vs. grassroots fan clubs (including the original Mickey Mouse clubs)
· Experiencing hyperreality: Theme Park events and pilgrimage
· Fan podcasts, websites
· Retelling Disney stories through YouTube videos or Reddit theories
· Disney goth/villains and the aesthetics of the shadow/darker side of Disney
· The ethos of the Disney family
· The mythos of Uncle Walt
· The diverse aspects of fan art, fan tributes, fan tattooing, fan crafting, etc.
Ten essays will be selected and published within the following broad categories: Fashion, Fan Media, Language, Economics, Virtual, Influence, Philosophies, Character/Characterization.
Abstracts should be 300 words long. Please include a CV with your abstract. Abstracts are due April 30, 2017. Final chapters of 3,000-3,500 words will be due September 1, 2017. Please direct all questions and submissions to editor Priscilla Hobbs: email@example.com.