<div dir="ltr"><div id="gmail-m_-2040244876979296018gmail-m_-3868068090071682037m_5882038053759231721divRpF833574" style="font-size:16px;direction:ltr"><b style="font-size:medium;color:rgb(29,34,40);background-color:rgb(255,255,255)"><span style="color:black">Call for Papers – </span></b><b style="font-size:medium"><span style="line-height:115%" lang="EN">Themed
Issue on 'Axes of Oppression in the Cultural Sector'</span></b><span style="font-size:medium;line-height:115%" lang="EN">
<b>- IPED International Journal</b></span></div>
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<p class="MsoNormal" style="font-size:10pt"><font size="3" face="Times New Roman"><i><span style="color:rgb(34,34,34);background:white none repeat scroll 0% 0%" lang="EN"><b>The Interdisciplinary Perspectives on Equality and Diversity</b></span></i><span style="color:rgb(34,34,34);background:white none repeat scroll 0% 0%" lang="EN"><b>
(IPED)</b> international journal invites submissions to a <a href="https://ipedjournal.com/2019/05/07/cfp-themed-issue-on-axes-of-oppression-in-the-cultural-sector-iped-international-journal/" rel="noopener noreferrer" target="_blank">
special issue</a> titled: ‘</span><span lang="EN">Innovations, Intersections, and Institutions: Axes of Oppression in the Cultural Sector’.<span style="color:rgb(34,34,34);background:white none repeat scroll 0% 0%"></span></span></font></p>
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<p class="MsoNormal" style="font-size:10pt"><span lang="EN"><font size="3" face="Times New Roman">There
has been an increasingly visible discourse on diversity -- and more
precisely, the lack of it -- in many cultural sectors across the Global
North, particularly
in major global ventures such as Hollywood (Hunt et al. 2019) and
through national reporting practices (DCMS 2016). This increased
awareness is usually followed by discursive calls to increase diversity
in cultural institutions, as in the Arts Council England’s
“Creative Case for Diversity” and various institutional initiatives in
the US, Australia and others, which have been launched in the last
decade. Furthermore, there have been many activist calls to decolonise
public spaces and cultural practices, which are
starting to make an impact on institutional practices.</font></span></p>
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<p class="MsoNormal" style="font-size:10pt"><span lang="EN"><font size="3" face="Times New Roman">However,
the term diversity is a problematic one that often fails to account for
the importance of the intersectionality of multiple axes of oppression
and the
interplay of varied social constructs such as race/ethnicity and
gender, religion, sexuality, class, disability, and so on. Moreover,
institutional diversity initiatives are typically the result of an
institution being reactive to short-term funding calls
or political agendas, and ultimately fail to address structural
inequalities or understand the artistic and economic value of diverse
artists and content.
</font></span></p>
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<p class="MsoNormal" style="font-size:10pt"><span lang="EN"><font size="3" face="Times New Roman">Artistic
works that negotiate these intersections -- of oppression and
marginalisation -- often offer fertile ground for innovative artistic
processes to address
the complexity of their subject matter and challenge the hegemonic
nature of the cultural sector. This special issue is interested in
highlighting these artistic negotiations, creative processes, and
survival strategies, as well as the contributions of ethnic
minority and decolonial artists, <span style="color:rgb(34,34,34);background:white none repeat scroll 0% 0%">that unsettle hegemonic structures in the Global North.
</span>A particular emphasis is on articulating and unpacking, in
artistic and ethnographic detail (Conquergood 1985), these creative
processes and the negotiations that marginalised artists/voices
undertake while they are creating new work.</font></span></p>
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<p class="MsoNormal" style="font-size:10pt"><span lang="EN"><font size="3" face="Times New Roman">Further,
this special issue recognises the ongoing reinvention and regeneration
of the cultural sectors in the Global North, while aiming to examine the
grassroots
efforts that are contributing to these changes. These efforts could
refer to new economic, artistic, and/or social initiatives that are
revitalising the sector from the bottom up. We welcome contributions
from a range of disciplines including cultural studies,
performance studies, sociology, and anthropology that take the form of
articles (4000-6000 words) or reflections (1000-2000 words) in response<span>
</span>to one or more of the following questions:</font></span></p>
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<p class="MsoNormal" style="font-size:10pt;margin-left:36pt">
<font size="3" face="Times New Roman"><span lang="EN"><span>1)<span style="font-style:normal;font-variant:normal;font-weight:normal;line-height:normal">
</span></span></span><span dir="LTR"></span><span lang="EN">Using recent
attempts to diversify cultural institutions in the Global North as a
point of departure, what processual value does the mainstreaming of
marginalised artists/voices add to the cultural
sector as a whole?</span></font></p>
<p class="MsoNormal" style="font-size:10pt;margin-left:36pt">
<font size="3" face="Times New Roman"><span lang="EN"><span>2)<span style="font-style:normal;font-variant:normal;font-weight:normal;line-height:normal">
</span></span></span><span dir="LTR"></span><span lang="EN">How do multiple axes of oppression manifest in creative artistic processes?</span></font></p>
<p class="MsoNormal" style="font-size:10pt;margin-left:36pt">
<font size="3" face="Times New Roman"><span lang="EN"><span>3)<span style="font-style:normal;font-variant:normal;font-weight:normal;line-height:normal">
</span></span></span><span dir="LTR"></span><span lang="EN">What
strategies of survival do marginalised artists/voices use to create and
showcase work in a cultural space dominated by hegemonic institutions?</span></font></p>
<p class="MsoNormal" style="font-size:10pt;margin-left:36pt">
<font size="3" face="Times New Roman"><span lang="EN"><span>4)<span style="font-style:normal;font-variant:normal;font-weight:normal;line-height:normal">
</span></span></span><span dir="LTR"></span><span lang="EN">Through engaging cultural production, how have marginalised artists/voices instigated institutional and structural change?</span></font></p>
<p class="MsoNormal" style="font-size:10pt;margin-left:36pt">
<font size="3" face="Times New Roman"><span lang="EN"><span>5)<span style="font-style:normal;font-variant:normal;font-weight:normal;line-height:normal">
</span></span></span><span dir="LTR"></span><span lang="EN">How do the
recent calls to decolonise culture and public spaces contribute to
imagining alternative cultural spaces, and generating new modes of
cultural production?
</span></font></p>
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<p class="MsoNormal" style="font-size:10pt"><span lang="EN"><font size="3" face="Times New Roman">Abstracts (250 words) with a title and a short bio (100 words) should be sent to the editors: Roaa (<a href="mailto:roaa.ali@manchester.ac.uk" rel="noopener noreferrer" target="_blank"><span style="color:rgb(17,85,204)">roaa.ali@manchester.ac.uk</span></a>)
and Asif (<a href="mailto:asif.majid@manchester.ac.uk" rel="noopener noreferrer" target="_blank"><span style="color:rgb(17,85,204)">asif.majid@manchester.ac.uk</span></a>) by<b> 1st of September 2019</b>. We expect that contributors will submit first drafts
by <b>February 2020</b>, but we are happy to extend this - please let
us know and we can negotiate a new submission date. After receiving
editorial and peer-reviewed feedback, second drafts are due by
<b><span> </span>July</b> <b>2020</b>, with an expected publication date of
<b>September 2020</b>. We may be able to accept submissions in languages
other than English, please contact Roaa for more details or if you have
any questions.</font></span></p>
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<p class="MsoNormal" style="font-size:10pt"><font size="3" face="Times New Roman"><span lang="EN"><a href="http://journals.hw.ac.uk/index.php/IPED/index" rel="noopener noreferrer" target="_blank"><i><span style="color:rgb(17,85,204)">The Interdisciplinary
Perspectives on Equality and Diversity</span></i></a><a href="http://journals.hw.ac.uk/index.php/IPED/index" rel="noopener noreferrer" target="_blank"><span style="color:rgb(17,85,204)"> (IPED)
</span></a>is an open-access, peer-reviewed journal open to academics and practitioners globally.</span><span lang="EN">
</span><span lang="EN"></span></font></p>
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<p class="MsoNormal"><b><span lang="EN"><font size="2" face="Times New Roman">References</font></span></b></p>
<p class="MsoNormal"><span lang="EN"><font size="2" face="Times New Roman">Conquergood, Dwight. 1985. “Performing as a Moral Act: Ethical Dimensions of the Ethnography of Performance.”
<i>Literature in Performance</i> 5 (2): 1–13. <a href="https://doi.org/10.1080/10462938509391578" rel="noopener noreferrer" target="_blank">
https://doi.org/10.1080/10462938509391578</a> </font></span></p>
<p class="MsoNormal"><font size="2"><span style="font-family:"Times New Roman"">Department for Culture Media and Sport (DCMS). 2016. “Creative industries: Focus on Employment”.
</span><a href="https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/534305/Focus_on_Employment_revised_040716.pdf" rel="noopener noreferrer" style="font-family:"Times New Roman"" target="_blank">https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/534305/Focus_on_Employment_revised_040716.pdf</a></font></p>
<p class="MsoNormal"><font size="2"><span lang="EN"><font face="Times New Roman">Hunt, Darnell, Ana-Christina Ramón, and Michael Tran. 2019. “Hollywood Diversity Report.”
<i>UCLA.</i> <a href="https://socialsciences.ucla.edu/wp-content/uploads/2019/02/UCLA-Hollywood-Diversity-Report-2019-2-21-2019.pdf" rel="noopener noreferrer" target="_blank">
https://socialsciences.ucla.edu/wp-content/uploads/2019/02/UCLA-Hollywood-Diversity-Report-2019-2-21-2019.pdf</a></font></span><a href="https://socialsciences.ucla.edu/wp-content/uploads/2019/02/UCLA-Hollywood-Diversity-Report-2019-2-21-2019.pdf" rel="noopener noreferrer" target="_blank">https://socialsciences.ucla.edu/wp-content/uploads/2019/02/UCLA-Hollywood-Diversity-Report-2019-2-21-2019.pdf</a></font></p></div></div></div><br clear="all"><br>-- <br><div dir="ltr" class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div><b>asif majid</b></div><div>scholar | artist | educator</div><div><a href="http://www.asifmajid.com" target="_blank">www.asifmajid.com</a><br></div></div></div></div></div></div>