- Opposition and crossing from the underground to the mainstream
- Listening, dancing and singing together in contemporary China
- Political uses of popular music
- Music and the construction of identities
- Gender in popular music
- Musical influences and local adaptations
- Music, the public sphere and uses of the past
- Metamorphosis, structures and actors of the Chinese musical industry
- Censorship and its circumvention, uses of propaganda
- Music medium (radio, TV, internet, magazines, music schools)
Format of abstracts and articles
Abstracts (written in English or in French) should be 300-500 words long, submitted by 31 October 2018.
Research articles (written in English or in French) should be 8,000 words long, and follow the format of articles guidelines available here. They will follow a double blind academic peer-review process.
“Current Affairs” articles, based on the latest developments in the Chinese music scenes, should be 4,000 words long.
Schedule of publication: full articles should be submitted by 15 February 2019 for publication of the special issue in the winter 2019.
About the journal China Perspectives / Perspectives chinoises
China Perspectives / Perspectives chinoises is an interdisciplinary academic journal, established in 1995, which focuses on the political, social, economic and cultural evolutions of contemporary China (PRC, Hong Kong, Macao, and Taiwan). It is endowed with an Editorial Board of internationally recognized experts in all areas of the social sciences; All submissions are blindly reviewed by two anonymous external referees; Indexed in the Emerging Sources Citation Index (Web of Science); Indexed in 8 international databases (including SCOPUS); Ranked by the French Council for the Evaluation of Research (HCERES) in Political Science, Sociology/demography and Anthropology.
BARANOVITCH Nimrod, China′s New Voices. Popular Music, Ethnicity, Gender, & Politics, 1978 – 1997, University of California Press, 2003.
BARME Geremie, Seeds of Fire: Chinese Voices of Conscience, Hill and Wang.
BECKER Howard, Art Worlds, University of California Press, 2008.
CHU Yiu-Wai, Hong Kong Cantopop: A Concise History, HKU Press, 2017.
CONDRY Ian, Hip-hop Japan. Rap and the paths of cultural globalization, Duke University Press, 2006.
DE KLOET Jeroen, China with a Cut. Globalisation, Urban Youth and Popular Music, Amsterdam University Press, 2010.
DE KLOET Jeroen, CHOW Yiu Fai, Sonic Multiplicities. Hong Kong Pop and the Global Circulation of Sound and Image, Intellect, 2013.
FUNG Anthony, “Consuming Karaoke in China. Modernities and Cultural Contradiction”, in Chinese Sociology and Anthropology, Vol. 42, no. 2, 2010, pp. 39-55.
HALL Stuart, JEFFERSON Tony (eds.), Resistance Through Rituals. Youth Subcultures in Post-War Britain, Routledge, 2006.
HARRIS Rachel, “Reggae on the Silk Road: The Globalization of Uyghur Pop” in The China Quarterly, No. 183, 2005-2, pp. 627- 643.
HEBDIGE Dick, Subcultures. The Meaning of Style, Routledge, 1979.
JONES, Andrew F. Like a Knife. Ideology and Genre In Contemporary Chinese Popular Music. Cornell East Asia Series, 1997.
LINK Perry and MADSEN Richard P. (eds.), Unofficial China: Popular Culture and Thoughts in the People’s Republic, Westview Press, 1990.
LINK Perry and MADSEN Richard P. (eds.), Popular China. Unofficial Culture in a Globalizing Society, Rowman & Littlefield, 2002.
SHIH Shu-mei, Visuality and Identity. Sinophone Articulations Across the Pacific, University of California Press, 2007.
SHIH Shu-mei (ed.), Sinophone Studies. A Critical Reader, Columbia University Press, 2013.
WONG Chuen-Fung, “Singing Muqam in Uyghur Pop: Minority Modernity and Popular Music in China” in Popular Music and Society, Vol. 36, n°1, 2013, pp. 98-118.