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Song, Stage and Screen XIII: The Musical and Its Others, Then and Now

May 31 - June 3, 2018

University of California, Los Angeles


Hotel Accommodations

Hotel Angeleno
170 N. Church Lane, Los Angeles, CA 90049

Book your reservation by clicking here or call the Reservations Line at (866) 264-3536. Be sure to mention the  “Song Stage and Screen XII The Musical” room block in order to receive a discounted rate.
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Block cutoff date: May 9, 2018


Call for papers
Song, Stage and Screen XIII: The Musical and Its Others, Then and Now
University of California, Los Angeles
May 31 - June 3, 2018

We invite papers that centrally address the conference’s theme, considered broadly. We are especially interested in papers that bring a diversity of disciplinary perspectives to bear on musicals, whether on stage or screen, representing not only performance based disciplines (Theatre Studies, Cinema Studies, Musicology, Dance Studies, Performance Studies), but also disciplines centred around issues of diversity, such as (but not limited to) Ethnic Studies (including African American Studies, Chicana/o Studies, Latinx Studies, Asian American Studies, among others), Cultural Studies, Gender Studies, LGBTQ Studies, and Disability Studies.

We encourage papers that advance discussions of diversity, inclusivity, and intersectionality across the range of practices that inform the production and performance of musicals on stage and screen, including but not limited to the following kinds of questions:

1.       How have diverse populations—including those historically marginalized because of race, ethnicity, nationality, cultural background, beliefs, gender, orientation, disability, age, body type, etc.—been represented in musicals on stage and screen, and how has that changed (or not) over time?

2.       How and when have such populations been active participants, or been denied that opportunity, in the creation, development, production, and performance of musicals on stage and screen?

3.       How and when have musicals sought to be more inclusive regarding such populations, regarding both what is most visible (audience, marketing, and casting demographics) and those less so? How (when and why) have such efforts been embraced or resisted?

4.       When and why have musicals adopted styles of performance that have been understood as representative of specific marginalized populations, and how has that been managed regarding issues of inclusion and appropriation?

Abstracts of no more than 200 words (PDF files, without your name or affiliation) should be sent by December 8, 2017 to CMH@schoolofmusic.ucla.edu (subject line: SSS XIII) for blind review by our international program committee. We hope to notify prospective participants by the end of January.

This conference and its associated events (of which, more later!) is co-sponsored by “Song, Stage and Screen” and the Center for Musical Humanities in the UCLA Herb Alpert School of Music. “Song, Stage and Screen” is the official conference of Studies in Musical Theatre (https://www.intellectbooks.co.uk/journals/view-Journal,id=119/), and has been held annually in international locations since 2006. The UCLA Center for Musical Humanities was established in 2017 and is in its inaugural year (https://cmh.schoolofmusic.ucla.edu).