Second Notice and Call forProposals
You are cordially invited to attend the 43rd ICTM World Conference which will be held between 16 and 22 July 2015 at the Kazakh National University of Arts in Astana, Kazakhstan.
The ICTM World Conference is theleading international venue for the presentation of new research on music and dance. Many new initiatives emerge at World Conferences and, perhaps even more crucially, discussion atthese meetings helps us shape our ongoing work. A successful World Conference—like that in Shanghai, China, in July of 2013—is a truly stimulating place to be.
Kazakhstan has become a wellintegratedand successful affiliate of theEuropean community, as reflected by the fact that Kazakhstan is the only Central-Asian state within the European Higher Education Area, and the first country to chair the Summit of theOSCE in 2010. The capital city, Astana, is a rapidly evolving administrative centre, annually hosting several politically and economically motivated global events. This is a perfect opportunity for the addition of a cultural influence such as that of ICTM.
Razia Sultanova (UK)
Timothy Rice (USA)
Jean Kidula (USA)
Maria Elizabeth Lucas (Brazil)
Inna Naroditskaya (USA)
Svanibor Pettan (Slovenia)
Mark Slobin (USA)
Terada Yoshitaka (Japan)
Saida Yelemanova (Kazakhstan)
Centre of Development Studies
Alison Richard Building
7 West Road, Cambridge CB3 9DT
Tel: +44 (0) 7946870030
Department of Ethnomusicology
UCLA Los Angeles, CA 90095-1657
Local Arrangements Committee
Tauelsizdik dangyly, 50, Kazakh National
University of Arts
Astana, Kazakhstan, 010000
Tel: +7172 506 947, +7013 287 287,
+7172 705 498
Fax: +7172 705 494
1. Music and New Political Geographies in the Turkic-speaking World and Beyond
A conference held in Kazakhstan, a nation-state formed in 1991, provides a perfect opportunity to consider the role of music and dance in the formation, in our time, of new political and cultural geographies. Such new geographies may include new nation-states in the wake of the collapse of the Soviet Union; new alliances along transnational ethnic lines, as in the cases of the Turkic-speaking area of the world’s twenty eight countries, republics and districts, or the formation of the European Union; the challenge to national identity posed by globalization; and the rise of new subnational, regional sensibilities as a response to nationalism, transna-tionalism, and globalization. This topic is particularly relevant to the location of the meeting, but also inspires new submissions for other regions of the world affected by “new political geographies.” How have these new and emerging political and cultural alliances at the junction of a decision to merge or to choose independence used music to further their geopolitical goals and how have musicians and their audiences resisted new forms of economic and political domination and hegemony through music-making and dancing?
2. The Creators of Music and Dance
In a field of study that tends to focus on the music and dance of groups of people, what is the status of studies of individual creators of music, dance, artistic institutions, and scholarship? These creators may be musicians, singers, dancers, composers, choreographers, instrument-makers, social activists, government officials, or scholars. How do we understand the role of these individual creators in particular societies? How do we define creativity in terms of contributions to aesthetic forms? What cultural and social power do we attribute to individual creators? What cultural and social restraints do individual creators work under in particular communities?
3. Music, Dance, the Body, and Society
Music and dance performance in many societies are events that bring some people together while excluding other people. How do these processes of inclusion and exclusion work at the intersection of the body and society? How is the body politic formed by musicking and dancing bodies? How does society use music and dance performances to heal ailing bodies and reintegrate them into society? How do people use their able or (dis)abled bodies to counter social exclusion through music and dance performance? How is the gendered body interpreted and made in music and dance performance? How do minorities, immigrants, and displaced people use their musical and dancing bodies to deal with the power of the mainstream to define their social status?
4. Sound Environments: From Natural and Urban Spaces to Personal Listening
In the last decade there have been a number of calls for ethnomusicologists to broaden their studies from music to the more general area of sound. Questions are being asked about the relationship between the sounds of war and industrialization and the sound of music. Other questions concern the change of natural and musical sounds in environments altered by climate change. How is ethnomusicology responding to developments in the field of sound studies? How might ethnomusicological methods and perspectives contribute to sound studies? How do individuals and communities respond to their sound environments through personal listening choices, the building of new performance venues, the creation of new songs, performance styles, and genres, and the use of new electronic media and listening devices?
5. Visual Representation of Music Cultures
From Persian miniatures to YouTube and Vine, music and dance have nearly always and nearly everywhere been the subject of visual representation. Such representations have presented music historians with many problems under the rubric of musical iconography. What methodological and theoretical issues are still prominent in this long established area of study? On the other hand, how do new electronic visual media affect the transmission of musical and dance knowledge? How do they affect the social life of music and dance in particular societies? How are these new media altering our research methods? How can the visual images in these new media be adequately archived and preserved? How do these new media, and the opportunities they provide for self-expression, alter the balance of representation between researchers and research subjects? What is the relationship between representations of, and the flow of knowledge about, “traditional” and popular musics in these new media?
6. New Research
Proposals on new research on other relevant topics are also welcome.
Abstracts should be no more than 300 words in length, and written in English (papers may be presented in either English or Russian, but all abstracts must be in English).
Abstracts should include a clear focus of the problem, a coherent argument, evidence of the author’s knowledge of previous research, and a statement of the implications for ethnomusicology,
ethnochoreology, or other disciplines.
Because abstract review is anonymous, do not include your name, the names of other panellists, or the names of fellow researchers in the body of the abstract.
Following evaluation by the Programme Committee, authors will be notified by December 2014.
1. Individual paper
Individual paper should be 20 minutes long and followed by 10 minutes of discussion. The proposal must include a 300-word maximum abstract.
Organized panels are 90 minutes (three papers, each 20 minutes, followed by 10 minutes of discussion) or 120 minutes long (four papers, or three papers and a discussant). A proposal by the panel organizer (300 words) as well as one by each individual presenter (300 words each) are required. Where an independently submitted abstract appears to fit a panel, the programme committee may suggest the addition of a panellist. The programme committee may also recommend acceptance of only some of the papers on a panel.
3. Film/video session
Recently completed films introduced by their author and discussed by conference participants may be proposed.
Submit a 300-word abstract including titles, subjects, and formats, and indicate the duration of the proposed films/videos and introduction/discussion.
Forum/Roundtable sessions provide opportunities for participants to discuss a subject with each other and with members of the audience. Sessions of up to two hours long should include at least four but no more than five presenters. We encourage formats that stimulate discussion and audience participation. The organizer will solicit position papers of up to 15 minutes from each presenter and will facilitate questions and discussion for the remaining time. Proposals for forums/
roundtables should be submitted by the session organizer (300 words).
Presentational aspects of music and dance are better suited to the workshop format. The submitted proposal should include a 300-word abstract stating the intended duration of the workshop (max. 90 minutes).
Proposals can be submitted directly from the Conference website. http://www.ictmusic.org/next-world-conference
✴ First call for proposals: October 2013
✴ Second call for proposals: April 2014
✴ Deadline for submission of proposals: 30 September 2014
✴ Notification of acceptances: December 2014.
The Preliminary Programme will be published in the April 2015 issue of the Bulletin of the ICTM.
Local Arrangements Information
Astana is a large political, administrative, business, and cultural centre of the Republic of Kazakhstan. All central authorities of the country, diplomatic missions, headquarters of domestic and foreign companies, leading universities, state-of-the-art medical clinics, and significant cultural institutions are located here.
Kazakhstan is transcontinental country located in Central Asia and Europe. Astana lies to the North of Central Kazakhstan.
The territory of Kazakhstan is 2,727.300 square kilometres, making it ninth largest country in the world and the world's largest landlocked country, bordering with Russia, China, Kyrgyzstan, Uzbekistan, and Turkmenistan.
The population of the country is 16.6 million (2011), and of Astana is 708,794 (2010).
Kazakh is the official language of Kazakhstan, but in state institutions and local administration bodies Russian is used equally with Kazakh. Kazakhstan’s voltage system is 220 volts. European two-pin sockets are used.
The international calling country code of Kazakhstan is +7.
The currency of Kazakhstan is the Tenge (KZT). Major international credit cards are accepted in most hotels, malls, and restaurants. There is a good network of ATMs throughout the city. Banks are open on weekdays from 9 AM to 6 PM. Money can be exchanged in any bank at the rates stated on the information table. No commission is applied. ID is obligatory. It is advisable to retain all exchange receipts. If you bring money in cash, it should rather be in USD or Euro. As of April 2014, the following currency exchange rates were current:
✴ 1 USD: 182.02 KZT
✴ 1 EUR: 252.72 KZT
✴ 1 GBP: 304.28 KZT
Arriving in Astana
Many airlines operate flights to Astana. You will land on an elegant but striking masterpiece by Japanese architect Kisho Kurokawa, the Astana International airport, located 15 kilometres away from the city. You will be greeted with the sign of ICTM upon arrival to the airport.
You can place local, regional, and international calls from within Kazakhstan. You can purchase a local SIM card for your mobile phone at the 2nd floor of the airport and in big shopping malls. All telephone companies operate on a prepaid system. Once your credit runs out, it can be easily recharged at terminals throughout the city (every small shop has one!).
Most hotels and shopping malls in Astana provide free wireless Internet. List of diplomatic missions of the Republic of Kazakhstan The Republic of Kazakhstan operates embassies, permanent missions, diplomatic missions, and consulates is present in the following countries: Afghanistan, Armenia, Austria, Azerbaijan, Belarus, Belgium, Brazil, Bulgaria, Canada, China, Croatia, Cuba, Czech Republic, Egypt, Finland, France, Georgia, Germany, Greece, Hungary, India, Indonesia, Iran, Israel, Italy, Japan, Jordan, Korea (ROK), Kyrgyzstan, Lebanon, Libya, Lithuania, Malaysia, Mongolia, The Netherlands, Norway, Pakistan, Poland, Romania, Russia, Saudi Arabia, Singapore, Slovakia, Spain, Switzerland, Tajikistan, Thailand, Turkey, Turkmenistan, Ukraine, United Arab Emirates, United Kingdom, USA, and Uzbekistan.