Announcements
Call for Papers
Vol. 24, No. 1, 2024 (Submission Deadline: May 15, 2024)
Special Dossier: Music and Ethnic-Racial Relations: Critical Perspectives
Guest Editors: Eduardo Guedes Pacheco (UERGS) and Felipe Merker Castellani (UFRGS)
The Revista Música is accepting submissions for publication in Vol. 24, No. 1 of 2024. This issue will be dedicated to the Special Dossier on Music and Ethnic-Racial Relations: Critical Perspectives, organized by the guest editors Eduardo Guedes Pacheco (UERGS) and Felipe Merker Castellani (UFRGS). Exceptionally, for this issue, the Journal will not consider submissions that do not relate to the theme of this call. The guidelines for authors, which must be strictly adhered to, are available on the submission instructions page, where other important information for this process can also be found. Templates in Word (.docx) and OpenOffice (.odt) formats are available for download at the link: RM template V23.zip. The deadline for article submissions is May 15, 2024, and the publication of this issue is scheduled for July 2024.
Call for Papers
Special Dossier: Music and Ethnic-Racial Relations: Critical Perspectives
Guest Editors:
Prof. Dr. Eduardo Guedes Pacheco (UERGS) and Prof. Dr. Felipe Merker Castellani (UFRGS)
By racializing the world, European modernity fragments, classifies and hierarchizes bodies and knowledge, producing colonial processes of extractivism and cultural appropriation marked by the extreme violence that sustains racism and anti-Black logics, which remain active to this day, grounded in a fallacious fiction of white superiority. This supposed superiority invalidates worldviews that do not fit into the exclusive standards of white, modern, Western, and cis-hetero-patriarchal cosmology.
The production of musical knowledge is an integral part of this process. On the one hand, it reinforces colonial narratives and the original myths of white superiority, such as the purity of the Greco-Roman heritage or the direct use of enslaved spoils to support musical practices in Europe and colonized territories. On the other hand, the production of musical knowledge has also been a significant factor in the construction of political reorganization processes and the preservation of cultural legacies in the context of the African diaspora and indigenous peoples in the Americas. By keeping their musical traditions alive, inseparable from spiritual, political, ethical, and aesthetic values, these populations have built cultural resistance to the dehumanizing processes of European colonialism.
It is important to note that racial tension is a constitutive element of social relations and historically permeates multiple layers of Brazilian society, and its understanding is fundamental in the construction of educational policies. In recent decades, the implementation of affirmative action policies in Brazil has demonstrated the urgency of building educational institutions focused not on a single universalistic model but on the need to listen to the multiple voices present in educational environments and recognize the plurality of cosmoperceptions that shape our society. Thus, the search for education guided by musical epistemologies built from Afro-diasporic legacies and Brazilian indigenous peoples becomes of fundamental importance.
We invite all to contribute to the dossier "Music and Ethnic-Racial Relations: Critical Perspectives" with works (articles, essays, reviews, and translations) that open dialogues between the field of music and studies of ethnic-racial relations, critical studies of whiteness, decolonial studies, social history, black feminisms, gender and sexuality studies, education, among others. Below are some thematic lines for framing the works, which may relate to more than one presented line.
- Music and Afro-diasporic epistemologies: pedagogical, artistic, and methodological perspectives;
- Music and epistemologies of Brazilian indigenous peoples: pedagogical, artistic, and methodological perspectives;
- Music and processes of racialization: historical and conceptual aspects;
- Music and (de/counter)coloniality: historical and conceptual aspects;
- Music, gender, class, and race: intersectional approaches and methodologies;
- Ethnic-racial relations and sub-areas of music (music education, composition, sonology, ethnomusicology, popular music, musical performance, among others): discussions on curricula, institutional policies, data surveys, pedagogical and methodological propositions.
About the Editors:
Eduardo Guedes Pacheco is a percussionist, researcher, and associate professor at the State University of Rio Grande do Sul (UERGS). His work focuses on the training of teachers interested in problematizing art within the educational context, with research involving ethnic-racial issues, particularly within the context of Blackness. He is a member of the LUTA Research Group (IFCH - UFRGS), a professor in the Graduate Program in Education at UERGS, and Secretary of the Accessibility, Diversity, and Affirmative Actions Commission of the Brazilian Association of Music Education (ABEM). He is also the National Coordinator of the MWANAMUZIK Black Musicians Collective and a member of the musical group AFROENTES.
Felipe Merker Castellani is a multimedia artist, researcher, and associate professor at the Federal University of Rio Grande do Sul (UFRGS). His current research focuses on experimental musical practices and the study of Afro-diasporic epistemologies and their implications in the field of arts, especially in the musical context. From 2018 to 2023, he was a professor at the Center for the Arts of the Federal University of Pelotas (UFPel), where he served as coordinator of the Music Bachelor's degrees and the Ethnomusicology Laboratory (LABET - UFPel). He leads the Research Group on Counter-Hegemonic Epistemologies in the Field of Art (CNPq) and is a permanent faculty member of the Graduate Program in Arts at UFPel.
