by Keith Howard, ICTM UK Liaison Officer, BFE Committee Member
Last week Rachel Beckles Willson (Royal Holloway) travelled to Calais. The visit was an extension of her work with refugees in London (a non-musical concern); but it connected with her earlier research on musical missions to Palestine, as well as her current research on the oud.
For the second year running, the BFE is delighted to announce joint winners of the prize for the best BFE student paper, which this year were delivered at the BFE/SFE Conference in Paris (2–5 July 2015). From the submissions received, the panel felt that two were particularly deserving winners.
Dear BFE members,
Following the call for nominations for election to the BFE Committee, I would like to update you on the new membership of the Committee.
Dear BFE friends,
Dear BFE members,
The British Forum for Ethnomusicology is delighted to welcome Barley Norton (Goldsmiths College) as our new Chair. Barley was co-opted on 30 June 2014 in the role of BFE Chair Elect and will take on his new role from April 2015.
On behalf of the BFE committee, I extend my warm congratulations to Jennifer McCallum (PhD candidate, King's College, London), winner of the BFE Student Paper Prize for our 2014 annual conference at SOAS (held jointly with AAWM).
The prize committee stated:
This year there were several outstanding papers by BFE student members. For the first time, therefore, we are giving two honourable mentions in addition to the winning paper. All three papers draw on a good range of theoretical and background sources, often a challenge in short conference papers.
The Société Française d’Ethnomusicologie (SFE) and the British Forum for Ethnomusicology (BFE) invite abstracts for our joint conference in Paris, 2-5 July 2015.
In recognition that this will be the first joint meeting of the two institutions (and the first time the BFE will be holding its annual meeting outside the United Kingdom) we have chosen the theme
Border Crossings/Boundary Maintenance
The theme identifies several areas of scholarly reflection and inquiry to be undertaken. For contemporary ethnomusicologists, ‘boundaries’ invoke a myriad of solid, porous and imagined lines to be negotiated, crossed, or dissolved. On the one hand, they suggest the national, legal and political borders – and the cultural and linguistic differences – that once largely determined our notions of Self and Other. On the other hand, they bring to mind the abstract binaries that shaped comparative musicology and early ethnomusicology, such as Western/non-Western, past/present, sacred/secular, rural/urban, traditional/modern, oral/written, and female/male.