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2022 International Conference

Tourism and Musical Imaginaries

Revised Call for Papers

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

24-26 March 2022

Department of Music, University of California at Berkeley

Followed by a Napa Valley Wine Tour on March 27th

[pdf version available here]

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 ethnomusicology and anthropology. This conference intends not only to promote this important field of inquiry, but also to chart ways forward for new research.”

For the conference “Tourism and Musical Imaginaries 2022” we are particularly interested in research which shows the power of music in tourism imaginaries shaping identities 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.


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, Ibiza, 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
- Tourism and local agency
- Tourism and the Economics of Culture
- Music induced tourism
- Touristic songs and musics
- Tourism, dancing bodies, and identity imaginaries
- Tourism and Climate Change
- Tourist imaginaries and films,
- Tourism and sound environment
- 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

Additional information

Keynote speakers for our conference will include Prof. Emerita Yvonne Daniel, Smith College, anthropologist of Dance, Prof. Philip Hayward, University of Technology, Sydney, music, tourism and island culture, and Dr. John-Carlos Perea, San Francisco State University and Prof Jessica Bissett-Perea, Native-American Studies, U C Davis, music, tourism and indigenous identity. In addition we are very happy to have other world renowned participants from Europe, North America and China.

This conference will benefit from personal interactions and it will not be hybrid. The Berkeley area has a relatively low incidence of COVID, but the University requires proof of vaccination to enter buildings and masks will be required indoors at all times, except at meals. Only in the case of a major change in the pandemic status, will other arrangements will be considered.

The registration fee will cover the opening reception and dinner at the Faculty Club on the Thursday, and lunches and between-session coffee and snacks on Friday and Saturday. Accommodations are available and have been reserved at the Faculty Club on Campus, but a large array of other places are available close to the campus. We have been successful in raising considerable support for our conference, so the Registration fee for student presenters without full time employment will be $0 and for academics and professionals it will be $200. Some support for accommodations or travel may be available for needy students.

We look forward to hearing from you!

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 November 30th, 2021. We will notify contributors of acceptance by December 20th, 2021.

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 24th, Reception, Opening Banquet, Plenary Address
Friday, March 25th, Concurrent Sessions, morning and afternoon
Saturday, March 26th, Concurrent Sessions, morning and afternoon
Evening: Closing Reception
Sunday, March 27th, 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 MacMilln

Castelo-Branco, S. E. & Fernandez, S. M., 2018, Music in Portugal and Spain: Experiencing Music, Expressing Culture. Oxford University Press.

Daniel, Y. P.  1990 (in Japanese): “Economic Vitamins from the Cuban Aesthetic System or Commoditization and Cultural Conservation in Cuban Tourism” IN Tourism and Music, The World of Music, T. Fujii and S. Ishimori, eds., N. Eguchi, trans., Osaka, Japan: Museum of Ethnology and Tokyo Shoseki Press, 10: 126-152.

Daniel, Y. P. 1996    “Dance in Tourist Settings: Authenticity and Creativity” IN Annals of Tourism Research, Deirdre Evans-Prichard, ed., 23 (4):780-797.

Daniel, Y. P. 1995. Rumba: dance and social change in contemporary Cuba. Bloomington: Indiana University Press,

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.  2011. Caribbean and Atlantic diaspora dance: igniting citizenship. Urbana, Ill.: University of Illinois Press,

Dirksen, R. 2012. “Reconsidering Theory and Practice in Ethnomusicology: Applying, Advocating, and Engaging Beyond Academia.” Ethnomusicology Review 17

Gibson, C. and J. Connell. 2005 Music and tourism: on the road again. Clevedon: Channel View.

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

Larrarotti, O. 2021. Vivent les Vacances: Tourisme et Chansons. Presses Universitaires du Septentrion.

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, MohdAnis (Ed.) Md Nor, 26-31. Manila, Philippines: Philippine Women’sUniversity.

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     


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.

For instance at the 2018 SEM 2018 Annual Meeting in Albuquerque, NM November 15-18, 2018, not a single paper touched on tourism or travel!

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