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HomeExile and contemporary sound creation: recent conflicts and revolutions

Exile and contemporary sound creation: recent conflicts and revolutions

Exil et création sonore contemporaine : conflits et révolutions récentes

“Filigrane”, n°30

« Filigrane », n°30

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Published on Tuesday, May 28, 2024

Abstract

This issue will examine the multiplicity of dimensions that exist within the relationship between contemporary artistic sound creation and tragic situations of exile, provoked by a multitude of factors, including geopolitical, social, economic, and religious conflicts, as well as discrimination. The study will examine the migratory paths of exiled musicians to assess the impact of forced displacement on their creative processes and musical practices.

Announcement

Argument

This issue will examine the multiplicity of dimensions that exist within the relationship between contemporary artistic sound creation and tragic situations of exile, provoked by a multitude of factors, including geopolitical, social, economic, and religious conflicts, as well as discrimination. The study will examine the migratory paths of exiled musicians to assess the impact of forced displacement on their creative processes and musical practices. It will also question the very category of 'exiled artist' that is used to designate them (Rinaudo 2023, Laborde 2019, Laplanche-Servigne 2023, Miller and Raab Hansen 2023).

Articles may document the multiplicity of these migration experiences, both personal and professional, which can be perceived as uprooting, disorientation, tragic and traumatic chaos, transitional stages, or even liberating (Kristeva 1988, Le Menestrel 2012). It is encouraged that articles should shed light on the sound creations that are born within these contexts, thus providing visibility and recognition to these forms of artistic expression.

Researchers are invited to examine in depth the musical and sound representations of exile situations. The focus of this examination should encompass both individual and collective crises, and their expression. It should extend to formal violence to the violence of language. A particular focus could be placed on the notions of resistance, mobilisation, and political engagement advocated by refugee musicians (O'Connell/El-Shawan Castelo-Branco 2010, Larzillière 2023, Laplanche-Servigne 2023), through the study of concrete or less visible artistic actions. The symbolic and cathartic dimension of creation within these contexts can be explored.

Furthermore, we are interested in the new creative spaces that have emerged during these migratory trajectories and the role of associations (such as Atelier des Artistes en Exile, Artists at Risk, AAUTS, Aid for Artists in Exile, among others) that accompany and protect artists of all backgrounds and disciplines. We also welcome proposals that address the integration of exiled artists through multidisciplinary programmes and projects. Furthermore, studies on the role of public, private, and cultural institutions (in both host and country of origin) in supporting these artists, as well as the involvement of artists in formal, informal, and activist networks, will contribute to a more comprehensive understanding of the topic.

It is also important to consider the following questions: how do sound creations reflect the traces of exile? How do musical memories of exile unfold in the various contexts considered? How do musicians incorporate their experiences of exile into their creative practices? What is the gendered dimension of exile in the field of contemporary sound creation?

We encourage contributions that offer in-depth analysis of these questions, with particular emphasis on the voices and perspectives of the artists themselves. Articles may explore a wide range of thematic and methodological approaches, including artists' personal narratives about their experience of exile and its influence on their musical practice, as well as the resilience and adaptation strategies of sound artists in the face of adversity and discrimination.

The contributions of researchers from various disciplinary backgrounds, including musicology, cultural studies, migration studies, sociology and ethnomusicology, among others, are encouraged.

Submisison guidelines

Proposals must include: 

  • Title
  • Name and affiliation of the author(s)
  • Text up to a maximum of 1000 words
  • 5 keywords
  • Short biography up to 350 words

Proposals must be submitted to:

  • s.filigrane@gmail.com
  • louisa.martin-chevalier@sorbonne-universite.fr
  • imp@fcsh.unl.pt

before September 1, 2024 

Articles may be submitted in French or English

Timeline 

  • Submission of proposals/abstracts: September 1, 2024 
  • Selection of contributions: September 30, 2024 
  • Receipt of complete articles: January 10, 2025 
  • Sending to reviewers and feedback to authors: February to April 2025 
  • Sending of final version after revision: June 1, 2025 
  • Publication: Fall 2025

Editors

  • Louisa Martin-Chevalier (Sorbonne Université, IReMus)
  • Isabel Pires (Centre for the Study of the Sociology and Aesthetics of Music (CESEM); School of Social Sciences and Humanities (NOVA FCSH)

Date(s)

  • Sunday, September 01, 2024

Keywords

  • création sonore, exil, musique, conflits

Contact(s)

  • Louisa Martin-Chevalier
    courriel : louisa [dot] martin-chevalier [at] sorbonne-universite [dot] fr

Information source

  • Louisa Martin-Chevalier
    courriel : louisa [dot] martin-chevalier [at] sorbonne-universite [dot] fr

License

CC0-1.0 This announcement is licensed under the terms of Creative Commons CC0 1.0 Universal.

To cite this announcement

« Exile and contemporary sound creation: recent conflicts and revolutions », Call for papers, Calenda, Published on Tuesday, May 28, 2024, https://doi.org/10.58079/11qg6

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