40th World Conference of the ICTM



You are invited to attend the 40th World Conference of the ICTM which will beheld from 1-8 July 2009 in Durban, hosted by the University of KwaZulu-Natal. For more information please see the conference website: http://ICTM2009.ac.za .

School of Music

ICTM 2009 will be hosted by the College of Humanities, Development and Social Science at the University of KwaZulu-Natal, which is the home of the School of Music. The School of Music is a centre of music scholarship and creativity incorporating the African Music Project (AMP), Centre for Jazz and Popular Music (CJPM) and Opera Studios and Choral Academy (OSCA). The School also prides itself with a first-class Electro Acoustic Studio and houses a variety of research and outreach programmes. The School offers a range of undergraduate and postgraduate degrees and diplomas with a choice of specialising in the following areas of performance and research among others: African Music and Dance, Jazz Studies, Orchestral Performance, Opera and Choral Studies, Popular Music Studies, Music Education etc.

The School’s programmes are delivered by staff who are active musicians in their respective fields of study. These include recognised researchers, composers and performers. The School’s music library is second to none in the area, offering a variety of text and music collections for reference to resident and visiting scholars.

The School welcomes visiting artists and scholars, creating a vibrant atmosphere for scholarly and professional exchange. The current School population is a fine mix of local and international staff and students creating a rich multicultural base for engagement in music study, creation and performance.

Isicathamiya Competition

Delegates will have the opportunity to experience a truly Durban tradition – an all night isicathamiya competition. These competitions run every Saturday night when Beatrice and Alice streets are crowded with men and women from all over the Durban hostels and surrounding informal residences and settlements. The streets come to life with the sounds of choirs warming up for the night’s performance, and the various choirs entertain their followers until dawn. For this unique South African musical experiences and much more, join us in the Zulu Kingdom for the 40th World Conference of the ICTM.

“Ithaka ibekelwe Amazolo”

“Everything is provided for you!”

For more information please see the conference website: http://ICTM2009.ac.za


Chair Prof. Ntombfikile Mazibuko
Dr. Patricia A. Opondo
Prof. Sihawukele Ngubane
Prof. Donal McCracken
Prof. Emily A. Akuno
Prof. Dasarath Chetty
Ms. Lliane Loots
Mr. Mageshan Naidoo
Mr. Phelelani Mnomiya
Ms. Debbie Mari
Ms. Normah Zondo
Mr. Bruno van Dyk
Mr. Nkwenkwenzi Languza
Mr. Dennis Maake
Mrs. Glynis Malcolm-Smith


Interaction Conferencing
Graduate School Building
Francios Road
Durban 4041
South Africa

Email: This email address is being protected from spam bots, you need Javascript enabled to view it
Tel: +27312601584
Fax: +27312601606


Chair: Jonathan Stock (UK)
Members: Samuel Araujo (Brazil)
Christiane Fennesz-Juhasz (Austria)
Patricia Opondo (South Africa – ex officio)
Diane Thram (South Africa)
Stephen Wild (Australia – ex officio)
Louise Wrazen (Canada)
Xiao Mei (China)
Wim van Zanten (the Netherlands)


1. Postcolonialism(s) and the Future for Our Disciplines What challenges, and what opportunities, do the rise of new schools of postcolonial thought offer?

Examples include that known in South Africa under the term Indigenous Knowledge Systems but other new approaches are being formulated elsewhere, not least by scholars located in newly emerging multi-ethnic and multiracial societies? What special roles are open to researchers of music and dance in postcolonial societies? How can we interpret these societies as we look across former disciplinary boundaries? How can we comment on cultural translation and mistranslation in these locales, and on new phases in the objectification and subjectification of dance and music?

2. Reapproaching the “Popular” and the “Traditional” in the Contemporary World

How are terms like these and their equivalents in languages other than English used in relation to particular instances of dance and music, and what public arguments or hidden assumptions do these usages point to? How are musicians and dancers handling the fact that these forms are both rooted in communities of use and yet must be newly made in the contemporary world? How is technology refiguring the relationship between the performances of previous generations and those of the present moment? And how are contemporary artists and representatives of the communities concerned drawing on the resources offered by inherited material and expressive culture, such as instruments and the recordings preserved in archives and digital collections worldwide? As stereotypical sources of the “traditional”, how do agricultural and herding societies configure both traditional and contemporary forms of music and dance and the relationships between them, for example in reference to productive cycles, reproduction and the articulation of relations between humans and the powers thought to bring abundance and fertility.

3. Festivals, Contests and Competitions

This theme groups research questions such as, how are the multi-performance events that comprise festival and contests structured in order to lead to particular kinds of outcome? What does winning mean for musicians, dancers and others participating, and how does stardom work at these temporary occasions, whether in the past or in the present? What diasporic and transnational networks channel artists and audiences into and out of international festivals and competitions, and what constraints shape these channels? What is the role of such intangible aspects as spirituality and ideology in performance in such venues and what is the impact of festivals and contests on music and dance expressions of systems of belief? How do music and dance function at festivals and contests that are not themselves primarily about the performing arts, for example sports contests? And how completely are festivals and competitions replacing former enculturative settings for the performing arts?

4. Emotion, Spirituality and Experience

Music and dance are special ways of feeling, privileged means of sensing the worlds around us. How do such performed experiences allow people to access other spiritual realms? Or, to reverse the emphasis, what kind of creature is a human being, that music and dance can do this for us? How do we study the tacit knowledge embodied in such experiences and the contrasting experiences held by those in different subject positions? How do such performed experiences lead to a sense of reconciliation or healing in the real world beyond the moment of dance or music-making? New research of the linkages between the senses, aesthetics, ethics and function in music and dance will be welcomed under this theme.

5. Masculinities in Music and Dance

How musical is man? What does it mean to become a man through dance? How is male personhood developed and explored in the individual imagining or collective experience of performance, now, in fiction and in the past? What values and experiences in music and dance are tied to those of male identity and visibility in diverse cultural situations. What options are opened up for artistic or personal expression in music and dance through the veiling acts of fictional performance and transvestism? And how about the musical choices and positions opened to men in the disembodiment of virtual online communities or in male-only professions such as Catholic priesthood?

6. New Research

Current and ongoing research that the author wishes to bring to international attention but does not fall into one of the main themes of the conference may be submitted.


1. Deadline for Online Proposal Submissions

For this conference there is an online submission form showing the information
required in order to submit a full abstract. The Proposal Submission Pages can be ocated by following links from the main conference website:
Members who wish to make a presentation are asked to send their proposal before  the deadline of 1 November 2008. We anticipate being able to contact you with a ecision on your inclusion in the programme around 1 February 2009.

2. Early Acceptance of Proposals

To facilitate the travel planning of prospective conference participants, and especially the coordination of panels, the Programme Committee will consider, upon request, proposals for “early acceptance” which fit clearly into the scheme of the conference. Submissions for which “early acceptance” is required must be made by 1 July 2008. In that case the Programme Committee will aim to inform you of its decision before 1 October 2008.

3. Language

English is the official language for the conference, and only presentations to be delivered in that language can be accepted. All abstracts must be submitted in English. Abstracts will be published in the book of the conference abstracts, which is printed prior to the conference (where they may be edited for consistency).

4. Membership

Please note that the Programme Committee will only consider proposals whose authors are members of the ICTM in good standing for 2008. Presenters are also expected to remain members of ICTM during 2009. New members may join and submit a proposal at the same time. Membership applications are available at the ICTM website (http://www.ictmusic.org). For membership questions, contact the ICTM Secretariat: ICTM Secretariat, School of Music, Australian National University, ANU College of Arts and Social Sciences Building 100, Canberra, A.C.T. 0200, Australia; email: This email address is being protected from spam bots, you need Javascript enabled to view it .

5. Presentation Formats

We encourage presentations in the form of panels and roundtables that are entirely planned, coordinated, and prepared by a group of people, one of whom is the responsible coordinator. The parameters are: 90 minutes total time slot; three or more participants; exact structure at the discretion of the organizer, but always with plenty of discussion time available for the audience. When carefully planned, such panels and roundtables are very useful to the attending colleagues, whether new to the topic or existing experts. The proposal submitted must explain the overall purpose, the role of the individual participants, and signal the planned structure.

Naturally, panel proposers should gain confirmation from all participants prior to submitting the collective proposal (see also 4 above). Each panel proposal will be accepted or rejected as a whole. Members not involved in panels may propose individual presentations, roundtables, workshops, and audiovisual presentations with commentary. If accepted, these will be grouped by the Programme Committee into sessions as usual. Each presentation will be allotted 20 minutes, plus 10 minutes for questions and discussion. If members have any questions about programme-related matters, please contact the Programme Chair Jonathan Stock ( This email address is being protected from spam bots, you need Javascript enabled to view it ) or another member of the Programme Committee and ask for assistance.

6. Student Proposals

Proposals from research students are welcomed. The best student papers  contain much that is fresh and significant, overturning established orthodoxies with new discoveries and critiques. On the other hand, a big international conference like this is the wrong place for an MA student simply to present a routine term paper to gain experience of public speaking. Prior to submitting an abstract, students should consult with their tutors on whether or not their research has reached a point where it can be made public to an audience of professional researchers from around the world.

7. Restriction on Number of Presentations by a Single Individual

In order to open the programme to the maximum number of researchers without extending the duration of the conference itself, speakers should limit themselves to a single appearance, whether in an individual presentation, in a panel, or on a roundtable.  Those attending may also be invited by the Programme Committee to chair a session. If you do not plan to offer a paper but plan to attend and would like to be considered as a potential session chair, contact Jonathan Stock ( This email address is being protected from spam bots, you need Javascript enabled to view it ) to make your availability known by 1 November 2008.

8. Audiovisual Information

Members are invited to present, with short commentary, video recordings of music and dance. The conference will provide VHS (PAL & NTSC, no longplay) in each conference room. Speakers from areas using other systems are encouraged to dub their videos to these systems before attending the conference. Each conference room will be equipped with a PC and data projector for power point as well as a DVD/CD player and audiocassette player. Also available; MiniDV tape players (PAL and NTSC) and BETACAM (PAL only). Attendees planning to use DVD are advised to bring their own laptop and connection leads (cables) for MACs to circumvent blocks on the conference PCs. Updates will be provided on the conference website.


9. Barbara Barnard Smith Travel Award

A fund has been established to provide an award to a person whose participation in an ICTM World Conference would contribute significantly to both the conference programme and to the recipient’s professional career but who, for financial reasons, would otherwise be unable to participate. The Award is intended to provide funds for transportation to a World Conference site and lodging and food during the conference. In addition, ICTM will pay the registration fee for the Conference.

An applicant for the Award may be:

(a) An emerging scholar (advanced graduate student or young scholar with recently awarded doctorate)
(b) A practicing musician without advanced scholarly credentials from a countrywithout an appropriate institution of higher education for such study or without resources for such study in a foreign country
(c) A senior scholar whose institution does not support conference participation or a retiree who continues to contribute actively to the field.
Applicants for the 2009 World Conference should send a brief written statement indicating why they wish to be considered for the Award to the Chair of the Programme Committee: Jonathan Stock ( This email address is being protected from spam bots, you need Javascript enabled to view it ) at the same time as they submit an abstract, and by 1 November 2008 at the very latest. A practicing musician who is not a member of ICTM may be nominated by a member who should also send a supporting statement, including mention of the nominee’s potential contribution to the Conference. The Award will be made by the Programme Committee in consultation with the President.

NOTE: This Award has been made possible by a substantial donation. The original donor has agreed that the Board may invite members to contribute to the fund to ensure its continuation in the future. Donations should be made to the “Barbara Barnard Smith Travel Award Fund” and sent to the Secretariat.

LOCAL ARRANGEMENTS ICTM 2009: Conference Venue and University Accommodation:

The University of KwaZulu-Natal aims to be a truly South African university that reflects the society in which it is situated – not only in terms of race, gender and class – but in terms of how it structures its values and priorities and how it responds to social needs. As an institution of higher learning, it is committed to academic excellence, innovation in research and critical engagement with society. With its vision to be the Premier University of African Scholarship, the University of KwaZulu-Natal draws inspiration from and African identity and takes seriously its responsibilities to the development of the African continent. The conference will be hosted at the University of KwaZulu-Natal, Howard College Campus.

University Accommodation
University Residences in close proximity to the conference venue have been secured for delegates. The residence accommodation is to be booked directly with the conference secretariat on the following email: This email address is being protected from spam bots, you need Javascript enabled to view it

The rates are as follows: Single Room, per person per night, including breakfast: R 220.00.

Residence Accommodation booking forms will be posted on the website shortly.

Reservation Bookings at other Star Category Hotels and Bed & Breakfast


A list of various other category hotels will be displayed on the Conference Website, together with a comprehensive list of reputable Bed and Breakfast Establishments.

Reservation bookings of B&Bs and hotels must be done directly by you. Please note that no transportation will be provided by the conference organisers from these Hotels and B&Bs to and from the conference venue.

Airport Transportation
Airport Transportation will be available and you can book with InterAction Conferencing using the conference email address: This email address is being protected from spam bots, you need Javascript enabled to view it Please note that there will be a separate charge for this service.

Exhibitors / Trade
Should you wish to sponsor or exhibit at this Conference, please contact the Congress Secretariat: InterAction Conferencing, on the following email: This email address is being protected from spam bots, you need Javascript enabled to view it who will furnish you with possibilities to best market your products/services.

We look forward to welcoming you to Durban


“Ithaka ibekelwe Amazolo”

“Everything is provided for you!”

Information on ICTM membership can be obtained from the ICTM Website: http://www.ictmusic.org/ICTM/ or by email This email address is being protected from spam bots, you need Javascript enabled to view it


Tel: +27 (0) 31 260 1584 / 1607
Fax: +27 (0) 11 260 1606
E-mail: This email address is being protected from spam bots, you need Javascript enabled to view it

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