Call for Papers- ICTM Performing Arts of South East Asia 5th Symposium

5th SYMPOSIUM OF THE ICTM STUDY GROUP

ON PERFORMING ARTS OF SOUTHEAST ASIA (PASEA)

16th – 22nd July 2018

 

Organized by

Department of Sabah Museum

 

Venue: Tang Dynasty Hotel

Kota Kinabalu, Sabah, Malaysia

 

CALL FOR PAPERS

 

DEADLINE FOR SUBMISSION: 1 DECEMBER 2017

 

 

Tentative Schedule:

15th July: Arrival and Registration of Participants and Observers, Opening Ceremony

16th July: Continuing Registration, Opening of the Symposium, Sessions Begin

17th – 18th July: Sessions

19th July: Cultural Excursion Day

20th – 21st July: Sessions

22nd July:  Sessions, Summary, Closing and Departure of Participants

23rd July: Post Symposium Excursion

 

Local arrangements information will be available later this year and will be sent to all PASEA members in a separate email. Information on actual payment of registration fees will be sent January 2018.

 

THEMES 

 

THEME I: Crossing Borders through Popular Performance Genres in Southeast Asia

 

This theme envisions a discussion of popular performance genres and their movement across both physical and virtual borders. Such boundaries may be determined by language, ethnicity, race, topography, and modern nation-states, among others. Popular performance genres are both products and producers of new works that continue to define the conditions, attributes, and character of the said boundaries. Simultaneously, popular forms have crossed borders, and sometimes re-defined these through diasporas, virtual networks and expanding performance industries.

 

Considering a wide range of popular genres both historical (keroncongronggengkundiman, etc.) as well as present-day ones (likaydangdut, luk thung, pop music, jazz, etc.), the focus of this theme unwraps possibilities for a broad discussion of how performance genres in Southeast Asia enable both performers and spectators to widen personal experiences, broaden their recognition or influence, and how, in turn, such movements and border crossings may lead to new developments in the popular performance genres themselves. A critical investigation of specific genres and their spaces of production/consumption may lead to new theoretical conceptualizations of popular performance forms in Southeast Asia through the following queries: How is regional popularity (across borders) defined by local aesthetics or vice versa? How do dominant structures such as industries, festivals, and nation-states produce, reinforce, or redefine boundaries of popular forms? How do cross-border features support the conceptualization of local popular performance genres as specifically Southeast Asian?

THEME II:  Tourism and the Performing Arts in Southeast Asia

                  

Southeast Asia has some of the most attractive tourist destinations in the world given the region’s historical sites, climate, contrasting landscapes, cuisine, and religious and cultural diversity. Historically, European travelers dominated the market but decades of regional economic growth have spurred a frenzy of domestic and regional tourism. Today the region’s tourism industries have helped develop local and national economies through various activities including the performing arts. The myriad effects that tourism has produced include the development of existing cultural traditions, the production of new ensembles and genres, as well as the decline of specific repertoire and performance contexts. For tourism sake, performing art cultures are often presented, (re)presented, and at times misrepresented in cultural “packages” that contain both locale-specific traditional practices and contemporary arrangements often delivered as entertainment for visitors. As tourism economies continue to grow in Southeast Asia, so do the corresponding performing arts, mutually influencing each other with varying outcomes and effects.

 

Considering agency in the production of cultural performances, this theme focuses on the symbiotic relationship between tourism and the performing arts in Southeast Asia examining both short and long term outcomes such as:

  • The temporary or permanent modification of performing arts genres for tourism;
  • The impact of global approaches towards the production of cultural performances;
  • The essentialization of religious and ritual activities;
  • The invention and re-invention of traditions;
  • The commodification and export of cultural productions;
  • The institutionalization of national performance troupes;
  • The production of professional performers;
  • The centrality of the mass media in promoting tourist practices.

 

THEME III: New Research

 

This theme covers all new research topics by members of the PASEA Study Group and may be presented in the form of a full 20-minute paper or a 10-minute lightning report (see more explanation below on forms of presentations).

 

 

LANGUAGE 

English is the official language of this symposium, however, presenters may choose to deliver their papers in any Southeast Asian official language with English language Powerpoint and Abstract, and with a detailed Outline of the presentation in English to be handed out at the time of the session. However, all proposal abstracts are to be submitted in English for review and selection purposes.

 

 

THE PRESENTATION FORMATS 

Proposals are invited in the following formats:

 

  1. Individual paper, 20 minutes long and followed by 10 minutes for discussion; a 20-minute paper is about 8 or 9 type-written pages, double-spaced using 12 point font.
  2. Organized panel, 90 minutes long for 3 presenters, OR 120 minutes long for 4 presenters OR 3 presenters and a discussant (each presentation is 20 minutes with 10 minutes for discussion).
  3. Forum/Roundtable, up to 90-120 minutes long with 3 or more presenters on a given topic, entirely organized and run by a given Chair of the Roundtable, with discussion among the presenters and the audience
  4. Participatory Workshop, informal, interactive hands-on session on one topic for a maximum of one hour, completely run by the workshop organizer/presenter.
  5. Film/DVD, recently completed or in-progress films, video programs or excerpts thereof, each presentation about 20 minutes in length including some discussion on the film/DVD.
  6. ‘Lightning’ papers of 10-minutes in length to focus on reports of current research by graduate students and others, with 5 minutes for Questions/Answers.

The format of the lightning paper may also be a ‘pecha kucha’ presentation in the form of showing 20 slides on your given topic with a 20-second commentary on each slide, the timing of commentary and changing of slides is controlled by the presenters. The entire slide presentation by an individual would be a total of 6 minutes & 40 seconds, with the balance of time for Questions/Answers (Q&A), up to a maximum of 15 minutes total (Slides and Q&A).

  1. Poster Presentationor a poster session is the presentation of research information by an individual or representatives of research teams from ICTM-PASEA. The poster presentation (size 3×4 feet maximum) should follow the IMRAD format (Introduction, Methods, Results, and Discussion) as follows:
  1. The Introduction presents the background and purpose of the research. Typically, this section consists of a statement summarizing the current knowledge in an area, the knowledge that is lacking, and how the research project addresses the knowledge gap. A hypothesis can be included in this section.
  2. The Methods section should specifically address the research design, the research setting, ethnographical notes, and how they were selected.  This section should also include a description of the intervention (if appropriate), a description of the outcome and the method of analysis.
  3. The Results section includes the qualitative and/or quantitative data.  This section usually begins with a description of the subjects in the study and a description of the research result.
  4. The Discussion section states concisely what can be concluded from the study and its implications. It is important that the conclusions are supported by the data presented in the Results and do not present unsubstantiated personal opinion.

 

 

ABSTRACT SUBMISSION

Please submit an abstract for a paper presentation in one of the above listed formats, along with a very short biographical note (100 words or less) about the presenter. The abstract should be a maximum of 300 words. Organizers of panels and roundtables must submit a statement on the focus and central concern of the panel/roundtable along with an abstract from each presenter on his/her presentation (each abstract is limited to 300 words and biographical notes are strictly limited to 100 words).

 

Please send your proposal by email. The text should be pasted in the body of the email and also sent as a Word file (.doc or .docx) or Rich Text Format (.RTF) attachment to your email. If you are unable to send your proposal by email, you may send a hard copy and an electronic version on a CD to the Chair of the Program Committee (email address noted below). Please label all communications clearly with your full electronic and postal contact details.

 

The Program Committee expects that proposals will address issues directly related to the themes stated above.  Any proposals that were submitted previously and not accepted, or that have appeared (or will appear in the near future) in print will not be accepted. All proposals must be submitted in English.

 

The Program Committee reserves the right to accept only those proposals that, in their opinion, fit best into the scheme of the Symposium, and that can be scheduled within the time frame of the Symposium.

 

If a proposal is accepted, the participant agrees to be available for scheduling of the presentation anytime during the seven days of the symposium.

 

With the acceptance of your proposal by the Program Committee and the presentation of your paper at the Symposium, it is assumed and understood that your paper (in a revised and prepared version by you the author) will be included in the published Proceedings of the Symposium.

 

PLEASE SEND YOUR PROPOSALS BY 1 DECEMBER 2017

 

Please note that when your emailed proposal has been received, you will receive an email acknowledgment within 4-5 days. If you do not receive an acknowledgement within this time, please contact the Chair of the Program Committee.

 

Proposals should be sent to: pasea2018@gmail.com with copies to the Chair of the Program Committee and the Committee member listed below: 

 

1) Dr. Mayco Santaella (Chair of the Program Committee)

Email: santaellamayco@gmail.com

 

2) Dr. Tan Sooi Beng (Program Committee)

Email: sbtan2@gmail.com

 

All proposals will undergo peer review, and notification of decision on proposals will be announced no later than the first week of January 2018. If you have a deadline for funding applications towards travel, accommodation and so on, please notify the Program Committee of your deadline date when sending in your proposal.

 

 

A NOTE ON SUB-STUDY GROUPS 

For those of you who are interested in starting a sub-study group focusing on a specific theme or topic, you will need to select a chair or spokesperson and write up a brief description of your proposed sub-study group, noting the rationale and any projects that can be earmarked by the group at the time of your proposal. Submit your proposal for the particular sub-study group to the Chair of this Study Group at email: anisnor55@gmail.com. Your proposal will be included at the Study Group Meeting for discussion and approval.

 

 

MEMBERSHIP IN ICTM 

Please note that all presenters must register as a member of the International Council of Traditional Music directly with the ICTM Secretariat before attending the Study Group Symposium. The email contact is: secretariat@ictmusic.org. Those visitors who wish to attend this Symposium as non-members will be able to do so under a special registration fee. All student presenters must also register as a member of the ICTM directly with the ICTM Secretariat, and all students will have a special registration fee. All registration fees and other information will be forthcoming from the Local Arrangements Committee.

 

 

Program Committee:

Chair:

Mayco Santaella (Malaysia)

Members:

Patrick Alcedo (Canada)

Sarah Anais Andrieu (France)

Margaret Sarkissian (USA)

Randal Baier (USA)

Tan Sooi Beng (Malaysia)

 

Local Arrangements Committee:

Advisor:

Mr. Sintiong Gelet, Sabah Museum Director

Co-Chairs:

Prof. Mohd Anis Md Nor, Conference Curator (NusParc Managing Director)

Ms. Judeth John Baptist, Head of Research and Resource Centre Division at the Sabah Museum

Secretary:

Ms. Christine Yong (NusParc Associate Manager)

Committee Members:

Prof. Jacqueline Kitingan, Universiti Malaysia Sabah

Representative from Sri Pelancongan Sabah (Sabah Tourism)

Representatives from Ministry of Tourism, Culture and Environment Sabah

Representatives from Sabah Museum (Service and Security Departments)

 

 

SUBMISSION INFORMATION (please complete and copy this information onto the head of your Abstract proposal and Biographical note)

 

Name of submitter:

Institutional affiliation:

Mailing address:

Phone/Fax number:

Email address:

 

Confirm if you are a current member of the ICTM?

 

Type of presentation (please identify):

Individual paper, Theme 1, 2 or New Research

Panel (how many presenters?) Theme 1, 2, or New Research

Roundtable or Forum (how many presenters?)  Topic

Workshop & Topic

Film/Video &Topic

Lightning session, Type of presentation: individual paper or ‘pecha kucha slide show’

Poster Presentation

 

Language of delivery if other than English (please specify):

 

Technical equipment requests:

PC or Mac (for Powerpoint or other projection)

Wifi

Audio requirements (specify)

Visual or spatial requirements (specify)

Other technical needs

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