{"id":1159,"date":"2022-01-15T12:23:01","date_gmt":"2022-01-15T12:23:01","guid":{"rendered":"https:\/\/musicaffectpolitics.zrc-sazu.si\/?p=1159"},"modified":"2022-01-15T12:41:05","modified_gmt":"2022-01-15T12:41:05","slug":"society-for-ethnomusicology-66th-annual-meeting-virtual-28-31-october-2021","status":"publish","type":"post","link":"https:\/\/musicaffectpolitics.zrc-sazu.si\/en\/society-for-ethnomusicology-66th-annual-meeting-virtual-28-31-october-2021\/","title":{"rendered":"Society for Ethnomusicology, 66th Annual Meeting, Virtual, 28\u201331 October 2021"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\"> <style>@font-face {font-family:\"Cambria Math\"; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:variable; mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face {font-family:Calibri; panose-1:2 15 5 2 2 2 4 3 2 4; mso-font-charset:0; mso-generic-font-family:swiss; mso-font-pitch:variable; mso-font-signature:-536859905 -1073697537 9 0 511 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:\"\"; margin:0cm; mso-pagination:widow-orphan; font-size:12.0pt; font-family:\"Calibri\",sans-serif; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Calibri; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:\"Times New Roman\"; mso-bidi-theme-font:minor-bidi; mso-ansi-language:#1000; mso-fareast-language:EN-US;}p {mso-style-noshow:yes; mso-style-priority:99; mso-margin-top-alt:auto; margin-right:0cm; mso-margin-bottom-alt:auto; margin-left:0cm; mso-pagination:widow-orphan; font-size:12.0pt; font-family:\"Times New Roman\",serif; mso-fareast-font-family:\"Times New Roman\"; mso-ansi-language:#1000; mso-fareast-language:EN-GB;}.MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:\"Calibri\",sans-serif; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Calibri; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:\"Times New Roman\"; mso-bidi-theme-font:minor-bidi; mso-ansi-language:#1000;}div.WordSection1 {page:WordSection1;}<\/style><p class=\"MsoNormal\"><b><span style=\"font-family:&quot;Times New Roman&quot;,serif;\nmso-fareast-font-family:&quot;Times New Roman&quot;;color:black;mso-fareast-language:\nEN-GB\">Panel Abstract:<\/span><span style=\"font-family:&quot;Times New Roman&quot;,serif;\nmso-fareast-font-family:&quot;Times New Roman&quot;;mso-ansi-language:SL;mso-fareast-language:\nEN-GB\"> <\/span><span style=\"font-family:&quot;Times New Roman&quot;,serif;\nmso-fareast-font-family:&quot;Times New Roman&quot;;color:black;mso-fareast-language:\nEN-GB\">Complicating \u201cAffective Labor\u201d in Ethnomusicology<\/span><span style=\"font-family:&quot;Times New Roman&quot;,serif;mso-fareast-font-family:&quot;Times New Roman&quot;;\nmso-fareast-language:EN-GB\"><\/span><\/b><span style=\"font-family:&quot;Times New Roman&quot;,serif;mso-fareast-font-family:\n&quot;Times New Roman&quot;;mso-fareast-language:EN-GB\">\u00a0<\/span><\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><p class=\"MsoNormal\"><span style=\"font-family:&quot;Times New Roman&quot;,serif;mso-fareast-font-family:\n&quot;Times New Roman&quot;;color:black;mso-fareast-language:EN-GB\">Ethnomusicologists, increasingly interested in both affects and forms of musical work, use the term \u201caffective labor\u201d to denote the feelingful dimension of what musicians produce, whether or not they\u2019re paid. Work on \u201caffective\u201d or \u201cimmaterial\u201d labor argues that the production of subjectivities, particularly through the consumption of cultural products like music, is key to neoliberal socio-economic organization, where wages are gained through affective performance. This panel offers a productive critique of \u201caffective labor\u201d and the concepts it rests upon. Specifically, in setting affective labor as a unique form of work, the term suggests a division between labor that involves thought and feeling<\/span><span lang=\"SL\" style=\"font-family:&quot;Times New Roman&quot;,serif;mso-fareast-font-family:\n&quot;Times New Roman&quot;;color:black;mso-ansi-language:SL;mso-fareast-language:EN-GB\">,<\/span><span style=\"font-family:&quot;Times New Roman&quot;,serif;mso-fareast-font-family:&quot;Times New Roman&quot;;\ncolor:black;mso-fareast-language:EN-GB\"> and labor that involves \u201conly\u201d bodies, reproducing problematic conceptions of culture as \u201cimmaterial.\u201d Moreover, the term muddies the ability to discuss the relation between acts which produce feelings as part of social meaning, and those which (also) produce profit. Each of these papers addresses the relations between affect, labor, and wage. <\/span><span style=\"font-family:&quot;Times New Roman&quot;,serif;mso-fareast-font-family:\n&quot;Times New Roman&quot;;color:black;mso-fareast-language:EN-GB\">The first examines musical and personal narratives about Punjabi truck drivers\u2019 work ethics and disaffection, which reveal how patterns of circulation of material goods determine patterns of affect; the second focuses on musical leisure as a conceptual framework that questions the affective labor paradigm in the post-socialist context; and the third examines Brazilian Spotify contractors whose ability to curate branded playlists arose from their long involvement in unpaid, yet densely affective music production. The total panel, including a discussant, offers what we hope is a critical extension of an exciting new arena of ethnomusicological research.<\/span><span style=\"font-family:&quot;Times New Roman&quot;,serif;\nmso-fareast-font-family:&quot;Times New Roman&quot;;mso-fareast-language:EN-GB\"><\/span><span lang=\"SL\" style=\"font-family:&quot;Times New Roman&quot;,serif;\ncolor:black;mso-themecolor:text1;mso-ansi-language:SL\">\u00a0<\/span><\/p><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><style>@font-face {font-family:\"Cambria Math\"; panose-1:2 4 5 3 5 4 6 3 2 4; mso-font-charset:0; mso-generic-font-family:roman; mso-font-pitch:variable; mso-font-signature:-536870145 1107305727 0 0 415 0;}@font-face {font-family:Calibri; panose-1:2 15 5 2 2 2 4 3 2 4; mso-font-charset:0; mso-generic-font-family:swiss; mso-font-pitch:variable; mso-font-signature:-536859905 -1073697537 9 0 511 0;}p.MsoNormal, li.MsoNormal, div.MsoNormal {mso-style-unhide:no; mso-style-qformat:yes; mso-style-parent:\"\"; margin:0cm; mso-pagination:widow-orphan; font-size:12.0pt; font-family:\"Calibri\",sans-serif; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Calibri; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:\"Times New Roman\"; mso-bidi-theme-font:minor-bidi; mso-ansi-language:#1000; mso-fareast-language:EN-US;}p {mso-style-noshow:yes; mso-style-priority:99; mso-margin-top-alt:auto; margin-right:0cm; mso-margin-bottom-alt:auto; margin-left:0cm; mso-pagination:widow-orphan; font-size:12.0pt; font-family:\"Times New Roman\",serif; mso-fareast-font-family:\"Times New Roman\"; mso-ansi-language:#1000; mso-fareast-language:EN-GB;}.MsoChpDefault {mso-style-type:export-only; mso-default-props:yes; font-family:\"Calibri\",sans-serif; mso-ascii-font-family:Calibri; mso-ascii-theme-font:minor-latin; mso-fareast-font-family:Calibri; mso-fareast-theme-font:minor-latin; mso-hansi-font-family:Calibri; mso-hansi-theme-font:minor-latin; mso-bidi-font-family:\"Times New Roman\"; mso-bidi-theme-font:minor-bidi; mso-ansi-language:#1000;}div.WordSection1 {page:WordSection1;}<\/style><p style=\"margin:0cm\"><b><span lang=\"SL\" style=\"mso-ansi-language:SL\">Participants: <\/span><\/b><\/p>Ana Hofman, Research Centre of Slovenian Academy of Sciences and Arts<br><em><strong><b><i>B<\/i><\/b>ack to Leisure: Labour, Class and Everyday Singing in a Post-Socialist Town <\/strong><\/em><br>Davindar Singh, Harvard University<br><strong><em>The Drive to Work: Punjabi Truck Songs and the Ethics of \u201cDis-Affected\u201d Labor <\/em><\/strong><br>Garland, Shannon, University of California, Merced<br><em><strong>The Work of Making Moods: The Concrete Labor of Spotify Curation<span style=\"color:black\"><\/span><\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Panel Abstract: Complicating \u201cAffective Labor\u201d in Ethnomusicology\u00a0 Ethnomusicologists, increasingly interested in both affects and forms of musical work, use the term \u201caffective labor\u201d to denote the feelingful dimension of what musicians produce, whether or not they\u2019re paid. Work on \u201caffective\u201d or \u201cimmaterial\u201d labor argues that the production of subjectivities, particularly through the consumption of cultural &hellip; <\/p>\n<p class=\"link-more\"><a href=\"https:\/\/musicaffectpolitics.zrc-sazu.si\/en\/society-for-ethnomusicology-66th-annual-meeting-virtual-28-31-october-2021\/\" class=\"more-link\">Continue reading<span class=\"screen-reader-text\"> &#8220;Society for Ethnomusicology, 66th Annual Meeting, Virtual, 28\u201331 October 2021&#8221;<\/span><\/a><\/p>\n","protected":false},"author":5,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[40,33],"tags":[],"class_list":["post-1159","post","type-post","status-publish","format-standard","hentry","category-conference-presentation-panel","category-news"],"_links":{"self":[{"href":"https:\/\/musicaffectpolitics.zrc-sazu.si\/en\/wp-json\/wp\/v2\/posts\/1159","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicaffectpolitics.zrc-sazu.si\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicaffectpolitics.zrc-sazu.si\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicaffectpolitics.zrc-sazu.si\/en\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicaffectpolitics.zrc-sazu.si\/en\/wp-json\/wp\/v2\/comments?post=1159"}],"version-history":[{"count":1,"href":"https:\/\/musicaffectpolitics.zrc-sazu.si\/en\/wp-json\/wp\/v2\/posts\/1159\/revisions"}],"predecessor-version":[{"id":1160,"href":"https:\/\/musicaffectpolitics.zrc-sazu.si\/en\/wp-json\/wp\/v2\/posts\/1159\/revisions\/1160"}],"wp:attachment":[{"href":"https:\/\/musicaffectpolitics.zrc-sazu.si\/en\/wp-json\/wp\/v2\/media?parent=1159"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicaffectpolitics.zrc-sazu.si\/en\/wp-json\/wp\/v2\/categories?post=1159"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicaffectpolitics.zrc-sazu.si\/en\/wp-json\/wp\/v2\/tags?post=1159"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}