CALL FOR BOOK CHAPTERS
Since Hip Hop’s formation, Blackness and Indigeneity have intersected in interesting but previously unacknowledged ways. For instance, the use of the name Pow Wow by a member of the Soul Sonic Force and his wearing a headdress—a stereotype of Indigenous people, produced by Europeans. As Indigenous people have re-emerged in the public consciousness globally, Indigenous Hip Hop artists have been on forefront in asserting Indigenous peoples’ humanity through the cultural power of Hip Hop. And yet, even as Hip Hop Studies scholarship has gone global, or, to paraphrase Jeff Chang’s (2007) proclamation, “It’s a Hip Hop world,” the study of Indigeneity in Hip Hop culture, and how it intersects with blackness, has not been afforded the same attention.
Under contract with Sense Publishers, we would like to invite you to submit an essay for this innovative edited book that analyzes broadly the intersections of Hip-Hop, Blackness and Indigeneity. Here, we are particularly interested in seeing how Hip-Hop has emerged as a site of identification and investment; that is, how and why Indigenous and Black youth are investing so heavily in Hip-Hop.
With this collection, our objective is to compile a book that reimagines a dialogue and conversation through the arts, specifically Hip-Hop, in all it’s creative elements. Hip-Hop has emerged, we are arguing, as both identification and space for engaging in politics, gender, sexuality, class and sociality overall. We are inviting contributors to take Blackness and Hip-Hop separately, Indigeneity and Hip-Hop separately, then look at moments of intersection between the two.
For submissions, we would like you to consider the following questions:
- How did Hip-Hop emerge as a site of identification for Blackness and Indigeneity?
- How/what did it become for different actors?
- What is it that “hailed” (Hall, 2013), Black and Indigenous communities to Hip-Hop?
Topics of interest include but are not limited to:
- Identity and belonging
- Youth studies
- Cultural studies
- Cultural production
- Black Diaspora Studies
- Indigenous Studies
Our audience is a combination of academic, general audience, community activists, and above all, communities. As a result, we will ask people to write in accessible language.
Dr. Awad Ibrahim (University of Ottawa)
Dr. Audrey Hudson (University of Toronto)
Dr. Kyle T. Mays (University of North Carolina)
Abstract submission deadline: June 16th 2016
Proposal acceptance notification: July 16th 2016
Contribution submission deadline: November 15th, 2016
Contributions reviewed and returned to authors: December 1, 2016
Revised contribution submissions deadline: December 20th, 2016
Submit your proposals by June 16th 2016
Include an abstract (250-300 words, attach as a Word document)
Title your contribution
Contact information (first and last name, role, institution and email address)
Submit your proposal via email to firstname.lastname@example.org
Your submission will be evaluated by the editors and acceptance will be sent by July 16th including further procedures. Full contributions are expected to be between 4,000-5,000 words [with exceptions].