2018-2019 Colloquium Series


The Tourism Studies Working Group, EIREST, Paris 1 Panthéon-Sorbonne-Pantheon and the Geography Dept. of the University of Geneva are seeking papers for our 2020 international conference
 
Tourism and Musical Imaginaries

A Conference organized by 
EIREST, Paris 1 Panthéon-Sorbonne-Pantheon, 
TSWG, University of California at Berkeley 
and the Geography Dept. of the University of Geneva 


Thursday 26th to Saturday 28th March 2020, 
at the Department of Music, University of California at Berkeley 

Followed by a Napa Valley Wine Tour on March 29th 




Presentation of the Topic 

The important place of music in world tourism is still not a widely researched topic. The first published volume on the topic was Kanko to Ongaku [Tourism and Music] edited by Prof. Shuzo Ishimori in cooperation with the Department of Musical Research at Japan's National Museum of Ethnology in Osaka (see Lie and Abelmann 1992). As the Japanese scholars could not find enough contributions to complete their book, they included three works by Berkeley anthropology students (graduates Yvonne Daniel and Sandra Smith, and undergraduate Allison Powell, working under the supervision of N. Graburn). Daniel (1995, 2011), went on to be an important leader in this field. 

In the 1990s, the main concerns were: 
  • Tradition, tourist musics and authenticity, with the assumption that tourism may change, simplify or modernize the ethnic, local music or that it may help revive or preserve those which are under threat from modernity in general. Case studies (e.g. Hawaii, Tahiti) exemplified these and more complex processes of hybridization and other influences. 
  • Cultural and regional, Identity, nationalism and the politico-economics of music and tourism. Cuba, Kuna (Panama), 
  • Music as part of the rituals of hospitality, modified to welcome tourist-strangers, Bali, many European folk traditions. 
  • Travel as a theme in or inspired by music, such as both Japanese and American pop music in the 1950s-70s, and the emergence of global music expanding imaginary horizons. 
Since that time, a number of important musicologists have pointed out that as the discipline has changed, the influence of tourism, music camps, itinerant musicians have become regular subjects of research. However, the relation of tourism and music is still a scarce subject within contemporary ethnomusicology1 and anthropology, and this conference intends to remedy and focus on avant-garde topics. 


The conference "Tourism and Musical Imaginaries 2020" is particularly interested in research which shows the power of music in tourism imaginaries shaping their identity of places as destinations, and the tourist experience, performance and re-imagination at the destination. And, of course, the memory, re-experience and "re-broadcast" of that musical imaginary after the return home. We expect that like some serious tourists or pilgrims, there will be those who wish to keep alive the musical experience by belonging to an organization or frequenting venues where they can experience the music and meet with like-minded tourists afterwards (e.g., Japanese women tourists to Cuba frequent Rumba dance studios back in Tokyo). We also expect that, like lifestyle migrants in Europe (Benson and Osbaldiston 2014), Asia and the Americas, some of the tourists may wish to move and live in the musically attractive venues for some years or even for the rest of their lives. 



Themes

The following themes do not mean to be exhaustive. They aim at orienting the papers submission. 

  • Music and tourist imagination 
  • Tourism and music events/festivals 
  • Tourism visits in "music meccas" (Memphis, Liverpool, Tobago...). 
  • Tourism in music dedicated museums, heritage sites, birth/death/home places of artists, composers or iconic personages. 
  • Dance related tourism practices (tango, flamenco, samba...) 
  • Tourism and local music cultures 
  • Music induced tourism 
  • Touristic songs and musics 
  • Music performed for/by tourists 
  • Music, soundscape and tourism 
  • Tourist gaze vs. music 
  • Music and tourist's memories 
  • Music, tourism, and political economy 
  • Music, tourism, and sound technologies 
  • Music, employment and tourism 
  • Music, tourism, and globalization 
  • Music, tourism, and UNESCO 

Submission Procedure 

Please send abstracts (approx. 500 words) and a one-page CV to Maria Gravari-Barbas (maria.gravari-barbas@wanadoo.fr),Nelson Graburn (graburn@berkeley.edu), Jocelyne Guilbault (guilbault@berkeley.edu) and Jean-François Staszak (Jean-Francois.Staszak@unige.ch) by September 30th, 2019. We will notify contributors of acceptance by November 15th, 2019


Organizing Committee 

Nelson Graburn, Department of Anthropology, University of California at Berkeley 
Maria Gravari-Barbas, Tourism Studies (IREST), Paris 1 Panthéon-Sorbonne University 
Jocelyne Guilbault, Department of Ethnomusicology, University of California at Berkeley 
Jean-François Staszak, Department of Geography, Geneva University 
 
Conference Schedule 
Thursday, March 26th, Opening Banquet, Plenary Address 
Friday, March 27th, Concurrent Sessions, morning and afternoon 
Saturday, March 28th, Concurrent Sessions, morning and afternoon 
Evening: Closing Reception 
Sunday, March 29th, Excursion at Napa Valley 


Selected References 
  • Benson, M., Osbaldiston, N. (Eds.) 2014. Understanding Lifestyle Migration: Theoretical Approaches to Migration and the Quest for a Better Way of Life. London: Palgrave MacMillan. 
  • Daniel, Y. P. 2010."The Economic Vitamins of Cuba: Sacred and Other Dance Performance" IN Rhythms of the Atlantic World, Ifeoma Nwankwo and Mamadou Diouf, eds., Ann Arbor: University of Michigan Press, 19-40. 
  • Daniel, Y. P. 1996. "Dance in Tourist Settings: Authenticity and Creativity", Annals of Tourism Research, Deirdre Evans-Prichard, ed., 23 (4):780-797. 
  • Daniel, Y. P. 1990. (in Japanese): "Economic Vitamins from the Cuban Aesthetic System or Commoditization and Cultural Conservation in Cuban Tourism", Tourism and Music, The World of Music, Tomoaki Fujii, ed., Nobukiyo Eguchi, trans., Osaka, Japan: Museum of Ethnology and Tokyo Shoseki Press, 10: 126-152. 
  • Dirksen, R. 2012. "Reconsidering Theory and Practice in Ethnomusicology: Applying, Advocating, and Engaging Beyond Academia." Ethnomusicology Review 17. 
  • Graburn, N. ed. 1989. Anthropological Research on Contemporary Tourism: Student Papers from Berkeley. Special issue of Kroeber Anthropological Society Journal 67-68. 
  • Guilbault, J. 2014. Afterword, in Sun, Sea, and Sound: Music and Tourism in the Circum-Caribbean, edited by Timothy Roman and Daniel Neely. New York: Oxford University Press, pp. 306-315. 
  • Guilbault, Jocelyne and Timothy Rommen (Eds). 2019. Sounds of Vacation: Political Economies of Caribbean Tourism. Durham, NC: Duke University Press. 
  • Hayward, Philip. 2001. Tide Lines: Music, Tourism and Cultural transition in the Whitsunday Islands (and adjacent Coast). Sydney: Centatime, Rosebery, NSW, Australia. 
  • Ishimori, S. (ed.) 1991. Kanko to Ongaku [Tourism and Music] Tokyo: Shoseki. 
  • Kierkegaard, Annette. 2001. Tourism Industry and Local Music Culture in Contemporary Zanzibar. In Same and Other: Negotiating African Identity in Cultural Production, edited by Maria Eriksson Baaz and Mai Palmberg, 59-78. Stockholm: Nordiska Afrikainsitutet. 
  • Kruger, S. and R. Trandafoiu (Eds.) 2014 The Globalization of Musics in Transit: Music Migration and Tourism. New York: Routledge. 
  • Lie, J. and N. Abelmann, N. 1992. Review of Kanko to Ongaku. Annals of Tourism Research 19: 609-612. 
  • Macy, E. M. 2010. "Music Tourism in New Orleans and Bali: A Comparative Study of Cultural Tourism Development." Ph.D. Dissertation in Ethnomusicology, University of California, Los Angeles. 
  • Macy, E. M. 2013. "Balinese Music and Cultural Tourism: Struggling into the 21st. 
  • Century." Proceedings of the 2nd Symposium of the ICTM Study Group of the Performing Arts of Southeast Asia, Mohd Anis (Ed.) Md Nor, 26-31. Manila, Philippines: Philippine Women's University. 
  • Nettl, B. 1983. The Study of Ethnomusicology: Twenty-Nine Issues and Concepts, 1st ed., Urbana: University of Illinois Press, 1983. 
  • Post, C. J. ed. 2006/2018. Ethnomusicology: a Contemporary Reader. NY: Routledge 
  • Powell A. 1988. "Like a Rolling Stone: Notions of Youth Travel and Tourism in Pop Music of the Sixties, Seventies, and Eighties" 67-68: 28-34. 
  • Roda, J. and M. Desroches (eds.) 2017. Music and Tourism, a Special issue of MUSICultures 43-2 
  • http://journals.hil.unb.ca/index.php/MC/index 
  • Smith, S. 1984 Panpipes for power, panpipes for play: the social management of cultural expression in Kuna society. Berkeley: PhD Dissertation in Anthropology. 
  • Smith, S. "Traveling in the Realms of Gold [Kuna of Panama]." (In Ishimori 1991). 
  • Stone R. M. n.d. "Ethnomusicology at the Bend in the Road." [Tourism, Music Camps]. 
  • Titon, J. T. 2013. "Music is not a cultural asset (1)." Sustainable Music [Blog] March 8. 
  • Titon, J. T. and Fenn J. 2003. "A Conversation with Jeff Todd Titon."[Interviewed by John Fenn via e-mail] 34(1-2): 119-131. 
  • Tuohy, S. 1997-1998. "Keywords, Theories, and Debates: A Course on Popular Music Studies." Journal of Popular Music Studies 9-10: 276-92. 
  • Yang. S. 2014 "Music Tourism: Music Performance and the Tourism Industry in the Contemporary Old Town of Lijiang, Yunnan." MPhil Thesis, Ethnomusicology, Chinese University of Hong Kong. 

 

 
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