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Summer School Programme[This is a preliminary version. Content may be added or hours slightly changed. Please consult&#160;our website&#160;for updates.]&#160;09h00 Official Opening of Summer School&#160;09h30 The Big Science &#8216;Queen&#8217; Is Dead: Insider ethnography, embodiment and ethics, Mary Fogarty, Department of Dance, School of the Arts, Media, Performance &#38; Design, York University, Canada.10h30 Strangeways, Here We Come: Introduction to ethnographic filmmaking for digital cinema, Michael MacDonald, Department of Music, Faculty of Fine Arts and Communications, MacEwan University, Canada.&#160;11h30 Coffee-break&#160;12h00 How Soon Is Now: Music streaming, live music, festivals and the &#8216;eventisation&#8217; of music, Claire Hodgson, Industry Development Officer, West Australian Music (WAM), Australia.&#160;13h00 Lunch&#160;14h30 Does It Matter If They Dance? Ethnomethodology and analyzing movement, Mary Fogarty, Department of Dance, School of the Arts, Media, Performance &#38; Design, York University, Canada.15h30 CineMusicking: an approach to film ethnomusicology, Michael MacDonald, Department of Music, Faculty of Fine Arts and Communications, MacEwan University, Canada.&#160;16h30 Coffee-break&#160;17h00 This Night Has Opened My Eyes: to be a musician today, careers, creation, creative challenges, Claire Hodgson, Industry Development Officer, West Australian Music (WAM), Australia.&#160;18h00 Closing Remarks&#160;21h00 Social and cultural programme to be confirmed&#160;Description of the thematic workshopsThe Big Science &#8216;Queen&#8217; Is Dead: Insider ethnography, embodiment and ethics,&#160;Mary Fogarty, Department of Dance, School of the Arts, Media, Performance &#38; Design, York University, Canada.In this workshop, students will be challenged to hold a discussion about the ethics involved in doing research as an &#8216;insider&#8217; to the community that is being studied. We will speak about &#8216;reflexivity,&#8217; and get a bit phenomenological addressing the question of what it means to be an insider (in a variety of contexts). By that, we will question how we can even determine our status as an insider and what it means to compare our embodied experiences to those of others. We will reflect on the boundaries of communities and/or scenes (without getting too technical in this workshop about the distinctions drawn between those definitions in scholarship) and reflect on the boundaries of our own embodied experiences when accounting for the experiences of others in research.&#160;Strangeways, Here We Come: Introduction to ethnographic filmmaking for digital cinema,&#160;Michael MacDonald, Department of Music, Faculty of Fine Arts and Communications, MacEwan University, Canada.The advent of digital cinema radically decentralized filmmaking and provides an important opportunity for academic filmmakers to get our stories out. For those of us working with DIY cultures, digital cinema allows us to share research stories globally. Perhaps the only thing in the way is the confidence to make a film. This workshop will help absolute beginners and intermediate filmmakers learn how to make ethnographic film in the digital context. This workshop will begin with a discussion of ethnographic filmmaking (filmmaking about culture) and the story of its development from anthropology, observational documentary, and cinema&#160;v&#233;rit&#233;. We will also discuss the impacts of music documentary, docudrama, biopics of famous musicians, mockumentary, music videos, music label, and MTV. With this context provided we will focus on telling research based film stories. The majority of the workshop will be hands on activities that will explain the mechanics of filmmaking.How Soon Is Now: Music streaming, live music, festivals and the &#8216;eventisation&#8217; of music,&#160;Claire Hodgson, Industry Development Officer, West Australian Music (WAM), Australia.The recent expansion and commodification of youthful, hedonistic lifestyles in Western post-industrial societies is not without multifaceted implication for music festivals. A growing number of authors have recently noted music festivals have increasingly become highly-commodified arenas of production and consumption simultaneously, affecting a range of musical (sub)genres within the global pop-music palette in times of multiculturalism and post-colonialism. As result of this, music festivals emerge as a response to the processes of cultural pluralization, mobilization and globalization, aiming to give individuals a vehicle for communicating something about identity, community, locality and allegiance. In this workshop, we will discuss the urgency (and intensity) of live music and its transformation into an event as a touchstone of today&#8217;s music. This trend points to the importance of DIY ethos and praxis. Here, we will discuss the operationalization of concerts, festivals and events. How to make a DIY festival? The answer will be given by the discussion and operationalization of contents linked to Social Media &#38; Marketing, touring / getting shows / festivals, and distribution.Does It Matter If They Dance? Ethnomethodology and analyzing movement,&#160;Mary Fogarty, Department of Dance, School of the Arts, Media, Performance &#38; Design, York University, Canada.In this workshop, I will present a brief overview of the scholarship about subcultures, scenes and DIY cultural practices that consider dance. We will discuss some possible ways to think about the meaning of people dancing to music in a club, on the street, at a concert, or in their homes, and I will provide some strategies for analyzing movement from the field of dance studies. The next part of the workshop will involve an approach called &#8216;ethnomethodology.&#8217; As a group, will watch videos of people dancing (bring examples from your research if you would like to) and we will discuss how we might interpret the meaning of their movements for research about DIY music practices.CineMusicking: an approach to film ethnomusicology,&#160;Michael MacDonald, Department of Music, Faculty of Fine Arts and Communications, MacEwan University, Canada.In September, 2017,&#160;Popular Mechanics&#160;dedicated an entire issue to digital video, calling it &#8217;technology of our times&#8217;. And while the success of do-it-yourself video, video blogging, and video sharing apps have made video widely accessible, there are currently no digital ethnomusicological filmmaking methods developed to take advantage of this unprecedented access. CineMusicking is an approach that has a strong commitment to working with people to tell their stories, transcending the object-ness of observational documentary, to cultivate a feeling of &#8216;being there&#8217; for the viewer, while incorporating as subject matter the research process and its aims. This workshop will introduce three approaches to CineMusicking: cineportrait, ethnographic film, and ethnofiction film. With examples of Michael MacDonald&#8217;s movies, he will discuss project development, shooting, audio recording, and editing approaches.This Night Has Opened My Eyes: to be a musician today, careers, creation, creative challenges,&#160;Claire Hodgson, Industry Development Officer, West Australian Music (WAM), Australia.In this workshop, we will put on the table the context of accelerated change we live in and the challenges this poses to the profession and career of DIY music. Does DIY mean &#8216;poverty&#8217;? A return to the past? Or an approach to the future? Space and place have long been important topics of inquiry for scholars of popular music but also artists and musicians. They are core to understandings of scenes, communities, and identities, on the one hand, economics, policy, and logistics, on the other&#8212;and interactions between the two. &#8216;Nothing will be as before&#8217;: but what does it mean? It means thinking about songwriting, radio servicing, publishing &#38; recording, legal and tax basics for musicians, and music grant funding? &#8211; Are all these areas of interest for artists? Considerations, tips, and information are the means we will use to address such complex issues. Music streaming services encompass features that enable the organization of music into playlists. And does that mean the end of the musician or the advent of music everywhere?&#160;Important DatesWarm Up: 2 July 2018KISMIF Summer School: 3 July 2018KISMIF Conference: 4-7 July 2018Submission of applications:&#160;from&#160;01 October 2017 to 10 February 2018Notification of applications approval:&#160;28 February 2018Deadline for early registration:&#160;31 March 2018Deadline for late registration:&#160;15 April 2018On-site registration:&#160;03-07 July 2018&#160;Submission of abstractsThe submission of applications for KISMIF Summer School is open (click here)&#160;for&#160;all interested persons, including those participating in KISMIF conference 2018.Instructions for participation in Summer School:&#160;&#160;All the interested persons must complete and submit a form available&#160;in the KISMIF Conference website:&#160;www.kismifconference.com.&#160;The forms must be submitted no later than&#160;10 February 2018.&#160;The information requested includes:(1)&#160;the name of the participant;(2)&#160;the area of expertise (sociology, economy, etc.);(3)&#160;the institutional affiliation (department, university, country);(4)&#160;email;(5)&#160;biographical note with approximately 150 words.&#160;Registrationhttps://www.kismifconference.com/en/registrations-kismif-conference-2018/KISMIF ConvenorsAndy Bennett and Paula Guerra.KISMIF Scientific CommitteeAlastair Gordon,Andy Bennett,Augusto Santos Silva,Carles Feixa,Dick Hebdige,George McKay,Gina Arnold,Guilherme Blanc,Heitor Alvelos,Jo&#227;o Queir&#243;s,Jos&#233; Machado Pais,J&#250;lio Dolbeth,Manuel Loff,Mark Percival,Matthew Worley,Mike Dines,Nick Crossley,Paul Hodkinson,Paula Abreu,Paula Guerra,Pedro Costa,Ross Haenfler,Samantha BennettWill Straw.KISMIF Organising CommitteeAna Oliveira,Esgar Acelerado,Catherine Strong,Celeste Reis,Giacomo Botta,Gil Fesch, H&#233;lder Ferreira,Jo&#227;o Queir&#243;s, Lisa Nikulinsky,Mary Fogarty,Matt Worley,Paula Abreu,Paula Guerra,Pauwke Berkers,Pedro Costa,Pedro Quintela,Rapha&#235;l A. Nowak,Robin Kuchar,Samantha Bennett,Susana Janu&#225;rioT&#226;nia Moreira.KISMIF Dissemination CommitteeAiri-Alina Allaste,Andr&#233; Rottgeri,Asya Draganova,Charity Slobod,Christina Ballico,Cihan Ertan,Dulce Mazer,Evi Sampanikou,Fern&#225;n del Val,Gabriela Gelain,Gina Arnold,Hector Fouce,Hernando Cepeda S&#225;nchez,Jonathan Crossley,Katie Rochow,Lo&#239;c Riom,Luiza Bittencourt,Mara Persello,Margarita Kuleva,Mark Percival,Martin Hus&#225;k,Patrick Williams,Peter Webb,Piotr Zańko,Rodrigo N. Almeida,Simone Luci Pereira,Simone Tosoni,Sonja Žakula,Victor de Almeida,Voica PuscasiuZ&#243;simo L&#243;pez.&#160;