Music+and+Racism+in+Europe+ +abstracts

Online Symposium, 20-21 October 2021
Music and Racism in Europe

Programme and BOOK OF Abstracts
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Programme
Wednesday 20 October 2021
09:30-09:45 (London) | 10:30-10:45 (Paris) | 11:30-11:45 (Helsinki)

Opening Words: Jasmine Kelekay & Kim Ramstedt
09:45-11:45 (London) | 10:45–12:45 (Paris) | 11:45-13:45 (Helsinki)

Session 1: Musical exoticism, appropriation, appreciation and adaptation
(Chair: Kim Ramstedt)
• Anna Beatriz Zanine Koslinski: ”Brazilian Inspired Drumming Groups: Dilemmas of

Appropriation and Appreciation”
• Leslie C Gay, Jr: ”Armstrong's Trumpet and Josephine's Dance: A children's jazz
oratorio at the intersection of music and racism in Denmark”
• Marika Kivinen: ”Rarahu (1922) and racializing discourse in Finland in the 1920s”
• Livia Jiménez Sedano: ”Kizomba: dancing racism and anti-racism in Europe”

Lunch

Session 2: Whiteness as a power, an epistemology and an aesthetic in music
(Chair: Inka Rantakallio)
• Anna Ramstedt: “‘A [White] Man is Practically the General Norm’ — a study of how
whiteness and male normativity impact performers in the classical music scene in
Finland”
• Kasturi Chatterjee & Katha Alexi: “‘Let me be your slave’: Power Amnesia and
Presumptuous Self-Positionings in Popular Music”
• Mischa van Kan: “Whiteness and jazz in postwar Sweden”

Break

Keynote Lecture
(Chair: Jasmine Kelekay)
• Kira Thurman: “Singing Brahms, Hearing Race: Black Musicians and the German Lied
in Interwar Germany and Austria”
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IASPM-Norden: General Meeting
(Zoom link sent separately to IASPM-Norden members)
Thursday 21 October 2021

Session 3: Resistance to racism in and through music
(Chair: Livia Jiménez Sedano)
• Dominika Moravčíková: “Enlarged Territory: Alternative Cultural Homes for Slovak

Roma Children and Practices Against Whiteness of Music Education in Slovakia”
• Otávio Raposo: “Rap and anti-racism in Portugal“
• Emma Grove: “(Re)Making Home Through Music: Race, Immigration, and The Politics
of Belonging in Irish Hip Hop”
• Bregje Van Deun: ”Symbolic Boundary Work, Belonging, and Musical Meaning-Making
in the Lives of Youth in Superdiverse Neighborhoods”

Lunch

Session 4: Structures and experiences of racism in local music industries and scenes
• Hakeem Stevens: “Is The UK Music Industry Institutionally Racist?”

• Kwaku: “From John Blanke To George Floyd: Capturing British History, Black Music,
Racism, Afriphobia And The UK Music Industry”
• Elina Westinen: “Racism and discrimination in Finnish hip hop culture”
• Kim Ramstedt: “Research ethics and club autoethnography: How and when to call out
racism”

Break

Music Industry Panel Discussion
• Jason ”Timbuktu” Diakité, Musician, Sweden

• Renaz Ebrahimi, Journalist, Finland
• Lena Midtveit, CEO, Sony Music Norway
• Moderator: Anthony Kwame Harrison, Professor, Virginia Tech
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Online Afterparty
Friday 22 October 2021

Keynote Lecture
• Luis Manuel Garcia-Mispireta: “Bouncers & Multiculturalism, #DJsForPalestine, And

Other Tales”

Session 5: Rivers of Babylon:
The Role of Racism in the Postcolonial Trajectories of Black British Gospel Music
(Chair: Monique M. Ingalls)
• Dulcie Dixon McKenzie: “Migration, Memories and Music: Towards a History of

Black British Gospel Music“
• Pauline Muir: “The Colour of Christian Copyright”
• Monique M. Ingalls: “One in the Spirit?: Examining British Racism and Anti-Racism
through Community Gospel Choirs”

Break

Session 6: Discourses of racism in music media and institutions
(Chair: Mischa van Kan)
• Inka Rantakallio & Susanna Välimäki: “Racism debates in music journalism: Case study
of Finland’s two largest media outlets 2017–2020”
• Rainer Prokop & Rosa Reitsamer: “Racialisation Processes: The Case of Western Art
Music”
• Mikkel Vad: Colorblind Listening: “The Roy Eldridge 1951 Blindfold Test, "Crow Jim,"
and the American-European Racial Imagination”
• Cecilia Ferm Almqvist & Ann Werner: “Conservatory cultures of whiteness”

Final Reflections
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Abstracts
Session 1: Musical exoticism, appropriation, appreciation and adaptation

Wednesday 20 October 2021 (10:45–12:45 CEST)
Anna Beatriz Zanine Koslinski

Brazilian Inspired Drumming Groups: Dilemmas of Appropriation and
Apreciation
As the number of drumming groups performing Afro-Brazilian music in Europe increased, so

did the debate around cultural appropriation. Antiracist activists point that as people on those
groups are supposedly not familiar with the origins and the meanings of the culture
performed, their practice objectifies a whole complex of Afro-Brazilian culture, reinforcing
racial stereotypes rather than challenging them. Besides that, activists believe that those
drummers act like “white saviors” when saying their practice helps giving visibility to the
culture performed encouraging a more tolerant attitude towards diversity. However, black
people from communities that originated those rhythms are usually in favor of European
drumming groups, as they believe their relationship can be mutually beneficial. In fact, as part
of a globalized and hyper-connected world, those communities wish to be part of cultural
exchanges and speak for themselves. Such thing reveals that black citizens in Brazil are not
part of a homogeneous group, but differ in interests, social classes, level of formal education
and even in causes to fight for. So who could speak on behalf of certain Afro -Brazilian cultural
expressions? Considering that, this article aims to use findings of extensive field work around
the performance of some European maracatu drumming groups and their relation to
traditional maracatu groups, to analyze in which senses those practices involve cultural
appropriation and racism. Finally it will evaluate if it is possible to build more meaningful and
egalitarian cultural exchange among people from both kinds of groups.
Dr. Koslinski is Brazilian and has completed her doctoral studies in Anthropology in Universidad
Autónoma Metropolitana (UAM-I) in México City under the supervision of Dr. Néstor García
Canclini. She has been researching maracatu-nação, an Afro-Brazilian cultural expression
since 2008. Her researches focus on popular culture, intangible heritage, globali zation and
racism.
Leslie C Gay, Jr
Armstrong's Trumpet and Josephine's Dance: A children's jazz oratorio at the
intersection of music and racism in Denmark
The children’s jazz oratorio, Trompetkvadet (1935) by Danish composer Bernard Christensen
(1906-2004), offers an important case study on music, race, and racism in Denmark.
Christensen's interests in jazz emerged from an intellectual movement called
kulturradikalisme, cultural radicalism, that legitimized and embraced jazz within Denmark.
This movement included writers, artists, architects, and musicians committed to an
ideological and pedagogical project that offered liberating alternatives, including Black music,
to European modalities.
Trompetkvadet, intended for Danish children’s education and performance,
celebrates Black American performers Louis Armstrong and Josephine Baker as characters,
who become iconic symbols for the cultural radicals: jazz syncopations; dancing bodies; and
social and musical freedoms emerge as central elements, appealing to children while
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signifying meaningful cultural reforms within Denmark. The oratorio frequently parodies
Black performers, even while imbuing them with the potential for generating social change.
My analysis of Trompetkvadet reads this oratorio not only as an example of musical
influence across the Atlantic, but also as a model of how Danish cultural radicals both
challenged and perpetuated aspects of racism. In part, they admired African American
culture, including idealized notions about free expression. Accordingly, Christensen and the
cultural radicals adopted real-world approaches within the arts, public policy, and especially
education to challenge, even dismantle the prevalent whiteness of Denmark and
institutionalized racism. At the same time, perhaps unknowingly, they reinforced structural
systems of oppression and discrimination through their approaches to, and appropriation of,
Black expressive forms, while effectively re-inscribing them within white ideologies and
Danish populations.
Leslie C. Gay Jr, Associate Professor, University of Tennessee, researches U.S. culture, African
diasporic musics, and racial identities. He co-edited Music and Technoculture (Wesleyan, 2003)
and is completing a book on Danish receptions of African American music. While a Fulbright
Scholar (2002) he served on Aarhus University faculty.
Marika Kivinen
Rarahu (1922) and racializing discourse in Finland in the 1920s
The song Rarahu for voice and piano, composed in 1922 by the Finnish composer Sulho Ranta
can be seen as an example of musical exoticism. The song is inspired by the novel Rarahu, also
known as Le mariage de Loti (1880), by Pierre Loti. Using just 5 tones the song evokes images
of Tahiti and plays on colonial images of Polynesian women.
Images of Tahiti and particularly sexualized images of Polynesian women can be
traced to the first Pacific encounters between Europeans and Polynesians in the 18th century.
However, as Patty O’Brien (2006) has argued, the images put forward by Bougainville, Cook
and Diderot built on earlier accounts of colonial sexual encounters in the Americas. Later, the
fiction of Loti, as well as the paintings by Paul Gauguin were influential in creating a specific
narrative of Tahiti, well in place by the 1920s.
Matt K. Matsuda (2005) has argued, that Loti’s fiction was influential in building a ”love”
for empire, and often this love was framed as mutual. In her poem ”Non, je n’aimes pas ’Le
mariage de Loti’” from 2006, the Tahitian feminist poet Chantal Spitz challenges such colonial
attachments and foregrounds the violence of real and imagined encounters.
In this paper, I discuss the song Rarahu in relation to the French imperialist romantic
fiction of Pierre Loti and its racial imaginary, and in relation to Finnish racializing discourses
of the early 20th century.
Marika Kivinen is a historian and mezzosoprano and is currently working on her PhD in
General History at Åbo Akademi University entitled ”Tracing Colonialism in Music: Orientalism
and Exoticism in Finnish Art Songs 1900–1939”. Her research is funded by the project Untold
Stories (Kone Foundation), the Swedish Cultural Foundation of Finland among others.
Livia Jiménez Sedano

Kizomba: dancing racism and anti-racism in Europe
Since the eighties, a form of music and couple dance popular in urban contexts of
Portuguese-speaking Africa was commodified in Lisbon under the label kizomba with great
and unexpected success. In a few years, it became a global phenomenon following on salsa
circuits. As a consequence, nowadays it is posible to find a kizomba dance school in almost
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every corner of the world. Even though the kizomba movement presents itself as an anti-
racist force that expresses “love for Africa”, an in-depth ethnography carried out between
2012 and 2014 shows some contradictions. On the one hand, the kizomba boom fostered a
more positive image of “African” culture and people in Europe. Moreover, some nightclubs
and dance schools turned into contexts where “Black” and “White” people socialized around
a common passion for music and dance, producing some changes in the field of interethnic
relations. On the other hand, most aficionados in Lisbon, instead of visiting the so-called”
African discos” of the city, created their own independent “White” circuit of kizomba clubs.
Moreover, the benefits of this global industry reached mostly “White” professionals involved
in the business, at least during fieldwork. In this context, the debates on the authenticity of
the dance and the legitimacy to teach kizomba depending on the the degree African-ness
adscribed to the dancers turned bitterer. This paper explores these contradictions to trigger
a debate on the possibilities and limitations of music and dance to challenge structural
inequalities based on ethnic and racial categories such as “Black” and “White”.
Livia Jiménez is a lecturer and researcher at the Department of Social and Cultural
Anthropology (Madrid, UNED) since 2018, after working as a Postdoctoral Fellow at INET-md
(Institute of Ethnomusicology-Centre of Studies on Music and Dance, Lisbon) (2013-2018). Her
main research is focused on the ethnopolitics of the postcolonial dancefloor.
Session 2: Whiteness as a power, an epistemology and an aesthetic in music

(Chair: Inka Rantakallio)
Anna Ramstedt
“A [White] Man is Practically the General Norm” — a study of how whiteness
and male normativity impact performers in the classical music scene in
Finland
While the gendered and classed practices within Western classical music culture have been
scrutinized in academic research since the early 1980’s, the racialized constructions and
hierarchies have to date received scant attention by researchers. Meanwhile, authority
figures in the classical music field continue to be dominated by white men. This gives reason
to confront white normativity within the field and scrutinize more closely how gender and
racial construction intersect within classical music culture. In my doctoral research I bring
attention to racialized and gender inequality within the Finnish classical music scene. In this
research based on interviews with fourteen Finnish white women professional musicians, I
ask how whiteness and gendered constructions are conveyed in corporeal performance ideals
and idealized performers. I discuss how ideals of heteronormativity, and femininity through
associated social imaginaries actually reveal imaginaries of whiteness and racial
underpinnings. I suggest that the ‘canon of performers’ has a crucial role in maintaining the
oppressive status quo of classical music by reaffirming and maintaining the aesthetics of
“getting it right” through the very fleshy act of performing Eurocentric, gendered and
racialized social imaginaries. Keywords: classical music, performance practice ideals, social
imaginaries, canon of performers, gender, whiteness.
Anna Ramstedt (M.Mus. and M.A.) is a pianist, piano teacher and PhD student in Musicology in
the University of Helsinki, Finland. In her multidisciplinary dissertation she focuses on
inequality, and gendered and sexual misconduct within the classical music scene in Finland.
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Kasturi Chatterjee and Katha Alexi

“Let me be your slave”: Power Amnesia and Presumptuous Self-Positionings in
Popular Music
When white rap and punk musicians use words such as “slave” in their songs in a self-
affirmative/ironic manner, perhaps comparing neoliberal corporate working environments
or subcultural “underdog” positionalities to slavery, there is something insidious at work.
Amnesiac mechanisms are used to actively repurpose Hip-Hop’s form as a vehicle for
established white normativity in sociocultural discourse. An accumulation of examples from
popular music scenes indicates an implicit denial of power relations and a presumptuous self-
positioning with supposedly harmless use of an “alternative” aesthetics and attitudes. While
rap and punk as music-focused youth cultures have been researched extensively in terms of
their emancipatory potential and nonconformist aesthetics, there is a need for further
research on white normativity from a critical perspective in cultural studies and popular
music studies.
Philip Ewell’s critique of the white racial frame in legitimizing musical expression and
Ina Kerner’s intersectional political theory illuminate the “insidious strategies” evident in
negotiations of social inequality. Methodologically, the two authors combine content analyses
for the evaluation of popular music and its discourse by drawing onto music videos, record
covers, fanzine interviews and articles.
Kasturi Chatterjee is a sociology major and an aspiring PhD candidate after she obtains her
second masters degree in German Studies. She is currently writing her MA Dissertation on the
political philosophy of contemporary German Hip-Hop. Her research interests include Critical
Race Studies, Decolonial Theory and Deleuze Studies.
Katha Alexi is a cultural scientist who explores music and power relations.In 2021 she is set to
finish her PhD project on objections to the feminized character of the rock groupie since the
1960s. Current research approaches the invisibility of black musicians and female music makers
in the historicization of glam rock.
Mischa van Kan

Whiteness and jazz in postwar Sweden
In Sweden, race has historically been regarded as a category relevant to music cultures
outside of the country, referring to racial segregation in countries like South-Africa or the
United States. By considering the discourse surrounding jazz in the 1950s, this paper argues
that race was indeed a highly relevant factor in understanding music in Sweden. By
investigating the ways in which race was considered a relevant social category in the context
of jazz, the paper discusses how musicians’ abilities to play music were connected to physical
characteristics ascribed to them based on their perceived racial classification.
As the normativity of whiteness was turned upside down in the Swedish perception of
jazz, a study of the discourse surrounding the “white” and local production of jazz provides
valuable insights into the subtle ways in which race did shape boundaries between people
that were perceived of as “white” and “black”. Thereby the paper discusses racial normativity
in jazz in Sweden and analyzes the ways in which jazz musicians were racialized.
Mischa van Kan is a musicologist working primarily with popular music with a particular
focus on jazz from the Nordic countries. One of his primary interest entail the ways in which
notions of nationality, ethnicity and race are connected to music.
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KEYNOTE LECTURE
Kira Thurman
Singing Brahms, Hearing Race:
Black Musicians and the German Lied in Interwar Germany and Austria
In this talk, Dr. Kira Thurman will explore the rise in popularity of African American classical
musicians in interwar Germany and Austria. Singing lieder by Schubert, Brahms, and other
German composers, they challenged audiences’ expectations of what a Black performer
looked and sounded like in the Jazz Age. Audiences labeled singers such as Marian Anderson
and Roland Hayes “negroes with white souls,” and marveled at their musical mastery. If the
listener closed his or her eyes and listened, these African American musicians, many
remarked, “sounded like Germans.” How had they managed to accomplish this feat? By
exploring the German reception of Black concert-singers, Thurman’s talk finds a new way to
answer the question, “Can someone be Black and German?” by instead asking another: “What
has it meant to be Black and to perform German music?”
Kira Thurman is an assistant professor of Germanic Languages and Literatures and History at
the University of Michigan. A classically-trained pianist who grew up in Vienna, Thurman
earned her PhD in history from the University of Rochester with a minor field in musicology
from the Eastman School of Music. Her research, which has appeared in German Studies Review,
Journal of the American Musicological Society (JAMS), Opera Quarterly, and Journal of World
History, focuses on two topics that occasionally converge: the relationship between music and
German national identity, and Central Europe's historical and contemporary relationship with
the Black diaspora. Her book Singing Like Germans: Black Musicians in the Land of Bach,
Beethoven, and Brahms will be puslished in October 2021 with Cornell University Press.
SESSION 3: Resistance to racism in and through music

Thursday 21 October 2021 (10:00–12:00 CEST)
(Chair: Livia Jiménez Sedano)
Dominika Moravčíková
Enlarged Territory: Alternative Cultural Homes for Slovak Roma Children and
Practices Against Whiteness of Music Education in Slovakia
In Slovakia, the Roma minority is rarely considered to constitute an actual racial or ethnic
group. Instead, members of the minority are seen as adhering to a social formation that resists
the nation-state and perpetuates disorder in the larger society. This lack of recognition of
racial division in public discourse covers the systemic procreation of racialized practices that
deny Roma people equal opportunities, healthcare, and protection against police violence.
Roma children from excluded communities also often lack access to music education
programs due to gaps in public transportation infrastructure, exclusivist rules, and a very
narrow definition of music literacy and competence. In this paper, I will examine various
strategies of overcoming the epistemic boundaries that music education institutions in
Slovakia perpetuate. Through an outline of my ethnography conducted in the period 2019-
2021, I will describe how the members of localized educational communities devise resistance
against the hegemonic constructions of musical competence and knowledge, and how they
envision alternative "cultural homes" through "low" genres like rap, hip-hop dancing, and
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Roma gospel music. While paying attention to these unconventional education sites and
egalitarian interactions between mentors and apprentices (un-institutionalized older and
younger members of the community), I will compare the multiple channels and "invisible"
forms of "learning into" the particular institutionally unrecognized cultures (Gaunt, 2006),
describe their agencies, localized aesthetic rules and political articulation.
Dominika Moravčíková is a postgraduate researcher in the Institute of Musicology at Charles

University in Prague. She conducts ethnographic research on music education of Roma children
in Slovakia. Her research interests include nationalism, folklore revival movement, urban
soundscapes, voice culture, and racial constructions in listening.
Otávio Raposo
Rap and anti-racism in Portugal
Throughout decades, rap music has been central to the construction of an anti-racist
discourse in Portugal. With songs denouncing police violence, social exclusion, colonial
legacy and racism, black rappers from the peripheries of Lisbon play a vanguard role in the
fight against racial oppression, particularly those who sing in Cape Verdean Creole.
Supported by digital devices and networks, these young people build circuits of sociability
and musical production that promote an insurgent aesthetic capable of challenging their
imposed subordinated status. My presentation will focus on the relevance of rap in making
the problem of racism visible in the Portuguese society. Using different qualitative researches,
I will analyse lifestyles, lyrics, access to digital networks and the engagements of rappers in
the anti-racist movement.
Otávio Raposo holds a PhD in anthropology from the University Institute of Lisbon (ISCTE-IUL).
He is an invited Professor at ISCTE-IUL and researcher at the Centre for Research and Studies
in Sociology (CIES-ISCTE). He carries out research in the fields of urban studies, youth,
segregation, art and migrations in Portugal and Brazil.
Emma Grove
(Re)Making Home Through Music: Race, Immigration, and The Politics of
Belonging in Irish Hip Hop
Research concerning hip hop in Ireland is a relatively recent phenomenon and, as such,
existing literature is sparse. Literature that does exist often centres around white, ethnically
Irish artists and, where non-white artists are concerned, race becomes a qualifier in the
degree of cultural participation granted. This qualification is not limited to musical
consideration, of course. It is one facet of a larger issue concerning the conflation of Irish
ethnicity and the Irish nation, resulting in the notion of an indigenous (white) right to
‘Irishness.’ (Sinha 1999) Such conflation becomes particularly troubling in the case of Ireland,
where ‘Afrophobia’ as well as race-based harassment and violence have seen little
improvement over the past thirty years. In order to combat both qualified identity and racial
persecution, black Irish and black Immigrant Irish artists are turning to hip hop as a means of
voicing frustration, disseminating socio-political critique, and articulating an overarching
hope for inclusion in the entity of ‘Irishness.’ In order to investigate the question ‘Who gets
to be Irish?’ in hip hop, I follow the design of Yuval-Davis’s critical-race framework ‘Belonging
and the Politics of Belonging’ identifying the presence of her assertions is pervasive in
politically-inflected Irish hip hop. This identification takes place through analysis of Denise
Chaila’s ‘Duel Citizenship,’ making note of how Chaila understands her belonging, how her
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politics are reinforced by her musicality, and the role of the visualizer in cementing her
message.
Emma Grove is completing an MMus on ‘(Re)Making Home Through Music: Race, Immigration,
and the Politics of Belonging in Irish Hip Hop’ at University College Dublin. Additionally, she
researches gender and political agency in the Nueva Canción movement of the 1960s -70s.
Bregje Van Deun

Symbolic Boundary Work, Belonging, and Musical Meaning-Making in the
Lives of Youth in Superdiverse Neighborhoods
For this symposium I will present the first findings of my ongoing PhD research exploring the
role of musical practices in the everyday lives of youth living in ‘superdiverse’ neighbourhoods
in Antwerp, Belgium. Antwerp is a good example of a so-called ‘majority-minority’ city where
racial, ethnic, and/or religious minorities make up a majority of the local population. By
investigating the mundane local music practices of diverse youth this research provides
insights into the various ways of how music can help in navigating the complex reality of a
superdiverse city. How do young people create their own spaces of belonging through music
and how and when does music help in 'shifting and blurring' symbolic boundaries? And to
what degree and under what circumstances are racial and ethnic meanings within their
musical practices emphasized or neglected? To answer these questions my paper combines
insights of music sociology, cultural sociology and ethnomusicology. While the initial plan was
to gather empirical data through extensive ethnographic research in two superdiverse
neighbourhoods in Antwerp complimented with in-depth interviews with local youth,
COVID-19 restrictions have postponed this part of the data collection (which will start as soon
as regulations allow it). Therefore, I will present the preliminary findings based on online
interviews conducted in the summer of 2021 with several youthworkers active in the
neighbourhoods of interest. These interviews already give a basic indication of the ordinary
processes in which music becomes a relevant resource for cultural meaning-making in the
daily lives of young people.
Bregje Van Deun is a PhD researcher affiliated with the research group CRESC and Teaching
Assistant at the University of Antwerp (UAntwerp). She specializes in cultural sociology, race
and ethnicity studies and music. Besides her academic work she is also a musician, a DJ and a
passionate music collector.
Session 4: Structures and experiences of racism in local music industries and scenes
Thursday 21 October 2021 (12:45-14:45 CEST)
Hakeem Stevens
Is The UK Music Industry Institutionally Racist?
In this presentation, I investigate if the UK Music industry is institutionally racist and the
challenges surrounding race and diversity within the British music business? I will first
discuss the history of Black music in the UK, drawing on data on the sales of Black music,
demographics on race in the UK and studies surrounding race and diversity within both the
Music and Arts/Cultural industries in the UK and internationally.
This presentation will then highlight some of the sociopolitical issues that affected the
arrival of ethnic minorities and chart the parallels of racism within British society. Another
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area assessed is how race and diversity issues within the UK have affected employment
figures, salaries, and career advancement of BIPOC executives within the music industry. I
will also look at the intersection between race and gender, the intersection of race and
location by highlighting the experiences of BIPOC executives from outside of London,
investigating Black artists recording contracts and finally, highlight the effects of racism on
the Mental Health of BIPOC executives and artists.
My research included a survey of over 100 British music executives, asking them their
views on racism within the UK industry. In addition, I also interviewed seven music industry
professionals to expand the perspective, including Ammo Talwar MBE (UK Music); Kienda Hoji
(University of Westminster / Music lawyer); Jacqueline Springer (Syracuse University and
Fordham University London / Broadcast Journalist); Ngunan Adamu (BBC Radio Merseyside);
Karen Gabay (BBC Manchester / University of Manchester); Franchesca Oliafa (Mental Health
Professional) and David Johnston (Handle Recruitment).
Hakeem Stevens has worked in various roles in the business with positions as Senior Urban A&R
/ Promotions Manager for Warner Music UK; European Marketing & Promotions Manager at
VP Records; New Media & Special Projects Co-Ordinator at Choice FM; Promotions & Marketing
Manager for Trace magazine. Hakeem also spent four years as a music journalist writing for
various publications in the UK & US, including XXL Magazine, Vibe and HHC. He launched a
360 music company USM Media Group covering marketing, promotions, A&R and talent
management. Hakeem has been responsible for promoting almost twenty five Gold and
Platinum-certified albums and over fifty national top 40 hit singles throughout his career.
Hakeem completed his MA in Music Business Management at the University of West London
with a distinction and launched a music education brand in 2020 called Access All Areas. This
monthly seminar, new artist showcase and networking event with Tileyard Impact primarily
targets 15-24-year-old NEET and BAME creatives and executives. Hakeem lectures on the BA
Music Business Management course at UWL and also for Music Business Africa.
Kwaku
From John Blanke To George Floyd: Capturing British History, Black Music,
Racism, Afriphobia And The UK Music Industry
This is a video-assisted presentation mapping out a complex and surprising 500+ year history
of the interaction between black music and African musicians, and racism in Britain. It's based
mainly on documented facts.
It starts from the Tudor courts of Henry VII and VIII, where some 500 years ago, one
of the court musicians, the African trumpeter John Blanke, asked for and received a pay rise
to equal the amount paid to his then recently deceased court musician colleague.
It ends with a 2021 update of how some of the music industry organisations have dealt
with race/ethnicity-facing racial equity programmes one year after making commitments
immediately following the death of George Floyd and industry-wide initiatives, such as
#BlackOutTuesday and #TheShowMustBeStopped.
In between, these extreme ends of British history, the video shows how Africans,
particularly musicians fared from the Georgian period, through the periods of the two World
Wars. How the coming of European American GIs to Britain during World War II and the post-
War migration of African Caribbeans impacted the music scene and the naked show of racism
on British soil.
The trajectory of the 1970s anti-racism movements, such as Rock Against Racism, the
GLC (Greater London Council) anti-racism policy of the 1980s and its funding of music events
to celebrate this stance, through to the Artists Against Apartheid concerts which led to the
massive Mandela concerts at Wembley Stadium, is covered.
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Kwaku is a music industry and history consultant. He's the founder of BBM/BMC
(BritishBlackMusic.com/Black Music Congress) and co-ordinator of RE:IMI (Race Equality: In
Music Industry). A former lecturer at University of Westminster, he delivers African history
programmes within community spaces. He is the author of the 'Look How Far We've Come...?'
DVD and 'Race/Racism Primer'.
Elina Westinen
Racism and discrimination in Finnish hip hop culture
Hip hop culture originated in the Bronx, New York during the 1970s, as a counter-reaction
amongst young African Americans and Latin Americans to the prevailing political and societal
conditions (e.g.
In the aftermath of the globalized Black Lives Matter movement, explicit discussions
around race and racism have also taken place in Finnish society and – lately – also in the
Finnish hip hop scene. In this paper, I discuss racism and discrimination in the predominantly
white Finnish hip hop culture from the perspective of BIPOC rappers. As data, I will draw on
interviews (N=30) I have conducted with the rappers. The topics we have dealt with in these
discussions include (but are not limited to) the development and history of the scene, possible
experiences of racism and discrimination and ‘talk back’ to these (hooks 1989), white
normativity and appropriation of black music / culture and indigenous Sámi culture.
Theoretically and methodologically, I draw on insights from discourse studies,
sociolinguistics, cultural studies and ethnography.
My paper is based on research done in the postdoctoral research project ’New’
ethnicities and (non)belonging in Finnish hip hop culture (Academy of Finland, 2019–2022).
Elina Westinen, PhD, works as a postdoctoral researcher at the Department of Music, Art and
Culture Studies, University of Jyväskylä. Her current project deals with ethnicities and
(non)belonging in Finnish hip hop culture, from the perspectives of artists, fans and media. She
gained her doctorate in 2014 in University of Jyväskylä and Tilburg University.
Kim Ramstedt
Research ethics and club autoethnography: How and when to call out racism
In my current research project, I am studying the “racialness” (Frankenberg) of whiteness with

the aim to discern what properties contribute to discrimination and colorblind racism in the
field of music and music research in Finland. As a strand in this project, I am drawing on
autoethnographic material from my work as a white DJ within the African club scene in
Helsinki. In this paper, I discuss some methodological challenges involved in this work from
the perspective of antiracist activist research.
This involves, first, challenges in using “the everyday as data” (Ahmed) for the purpose
of defining a research project with sequential phases of collecting material, processing and
analysing it. Secondly, although analysing personal experiences has benefits regarding access
to material, autoethnography within the humanities and social sciences always involves
interactions with other people, which makes conventional ethical questions like consent
complex. A particular concern here is how to handle unconsented material that discloses
discriminating practices and (colorblind) racist attitudes.
In navigating these questions, I am drawing on Indigenous research and theories of
decolonization, where formal definitions of research ethics have been seen to emphasise
individuals and individual property at the expense of community or Indigenous rights. Also,
following methods of activist scholarship, ethical choices need to be weighed against the
- 14 -
research goals, which here go beyond thinking about discriminating and racializing practices
and strives doing something about them.
Kim Ramstedt is a postdoctoral researcher affiliated with the University of Helsinki and the
independent research association Suoni. His research has mostly focused on mediation,
movement and race relations in music. Currently, in the Kone Foundation funded research
project Advancing Social Justice Through Activist Music Research, Ramstedt is investigating
how whiteness and colorblind racism informs discourses and scholarship about music in
Finland with the aim to develop new methods for antiracist activist music research.
MUSIC INDUSTRY PANEL DISCUSSION

Thursday 21 October 2021 (15:00-16:00 CEST)
Jason ”Timbuktu” Diakité, Musician, Sweden
Jason Diakité, known under the stage name Timbuktu, is a Swedish musician, author and
media personality. He started his career in the mid-1990s and released his first full length
album in 1999 together with Danish producer Obi as the duo Excel. His debut solo album T2:
Kontrakultur (2000) was a double album; one side with Swedish songs and the other with
English. Since then, Timbuktu has performed mostly in Swedish and released 10 solo studio
albums, as well as three albums with the group Helt Off among several other collaborations.
His latest album, Du Gamla Du Nya, released in August this year, has been dubbed in many
reviews his best album yet. He has hosted several radio shows and actively participated in
political debates in Sweden. In 2016, Timbuktu published the highly acclaimed memoir En
Droppe Midnatt, which took the form of a theatre production the following year and was in
2020 translated to English as A Drop of Midnight. He has won several Grammis awards, the
highest music awards in Sweden, including Lyricist of the Year and best Hip-hop Record of the
Year.
Renaz Ebrahimi, Journalist, Finland
Renaz Ebrahimi is a music journalist and social justice educator specialized in popular music,
equality and cross media. She also works as a social activist, expert and as a speaker for
MySpeaker and SpeakersForum among other companies. Ebrahimi deals in her work with the
societal dimensions of music, such as racism and sexism in the Finnish music industries and
music culture. She appears frequently in the media and for example the Finnish Broadcasting
Company (Yle) as an expert on issues of equality and she has initiated several significant
conversations on the topic in the media. As a journalist and presenter Ebrahimi has worked at
YleX, Yle Kioski and at Radio Helsinki and she also runs her own Random Life media platform.
Ebrahimi has collaborated with several researchers, artists, NGOs and other societal actors.
Lena Midtveit, Managing Director, Sony Music Norway
Lena Midtveit is Managing Director for Sony Music Norway AS. She has worked in the music
industry in Norway since 1993. First at BMG Norway AS where she covered areas from
finance, over to promo and then marketing. She became GM for BMG Norway in 2000 and
later Managing Director. In the merger between BMG and Sony Music in 2005 she was asked
to take the role as Managing Director and has been holding that role ever since. Sony Music
Norway is one of the leading majors in Norway and co-own labels/managements like Nora
Collective AS, Petroleum Records and Popular Demand.
- 15 -
Moderator: Anthony Kwame Harrison, Professor, Virginia Tech
Anthony Kwame Harrison is the Edward S. Diggs Professor in Humanities at Virginia Tech
(USA). He is author of two books—Hip Hop Underground (Temple University Press, 2009) and
Ethnography (Oxford University Press, 2018)—and co-edited Race in the Marketplace: Crossing
Critical Boundaries (Palgrave Macmillan, 2019). Kwame’s work appears widely in many
popular music studies journals and edited volumes. He is on the editorial board of the Journal
of Popular Music Studies and the advisory board of the Race in the Marketplace (RIM) research
network.
KEYNOTE LECTURE
Friday 22 October 2021 (10:00–11:00 CEST)
Luis Manuel Garcia-Misprireta

Bouncers & Multiculturalism, #DJsForPalestine, And Other Tales
This keynote lecture provides a perspective on race/ethnicity and racism in European

electronic dance music scenes through a bundle of vignettes from Luis Manuel Garcia-
Mispireta’s (LMGM) past and current research. This will include a preview of the chapter
“Bouncers & Multiculturalism” from his forthcoming book, Together Somehow: Music, Affect,
and Intimacy on the Dancefloor (Duke UP), as well as ongoing research on the reception of
the #DJsForPalestine campaign (2018) in Germany—including an update on noteworthy
developments in June 2021.
Luis Manuel Garcia-Mispireta is a Lecturer in Ethnomusicology and Popular Music Studies at

the University of Birmingham, with previous appointments at the Max Planck Institute for
Human Development (Berlin) and the University of Groningen (NL). His research focuses on
urban electronic dance music scenes, with a particular focus on affect, intimacy, stranger-
sociability, embodiment, sexuality, creative industries and musical migration. He has written
about “techno tourism” and other forms of musical mobility in Berlin, and he is a member of
Berlin’s queer intersectional rave collective, Room4Resistance. His forthcoming book,
entitled Together Somehow: Music, Affect, and Intimacy on the Dancefloor (Duke UP), draws
upon earlier ethnographic research in Paris, Berlin, and Chicago.
SESSION 5: Rivers of Babylon:

The Role of Racism in the Postcolonial Trajectories of Black British Gospel Music
Friday 22 October 2021 (11:00-12:30 CET)
(Chair: Monique M. Ingalls)
Since African Caribbeans arrived in the UK on the Empire Windrush in 1948 signaling the
beginnings of mass post war immigration, Black Majority Churches (BMCs) have been central
to their social, political and religious lives. It was in these churches that choirs, ensembles,
praise and worship teams and soloists, in dialogue with American gospel, West African gospel,
and various popular music styles, developed a set of distinctive practices we term Black
British Gospel Music. Black British Gospel Music is a diasporic river rooted in the diversity of
Black Majority Churches (BMCs) from which a number of distinct contemporary streams are
flowing.
- 16 -
Three papers examine the ways racism has informed the creation, performance, and
distribution, of these distinct yet intersecting streams of Black British Gospel Music. The first
paper sets the scene for its birth as a movement in Britain, asserting its genesis in Black
Majority Churches (BMC), institutions that developed as refuges from the racism of
mainstream British churches in the post-war years. It argues for a recovery of gospel’s
silenced Caribbean past, in order to identify elements of its colonial history influenced by
racism within Euro-British Christianity. The second paper interrogates Christian Copyright
Licensing International, the dominant system used to assign intellectual property and collect
royalties within church congregational music-making, arguing that this dominant system
occludes and discriminates against the creations of BMCs. The third paper examines
discourses surrounding race and racism within British community gospel choirs,
demonstrating how racial difference affects how gospel’s multi-layered meanings are parsed.
These papers together demonstrate that Black British Gospel Music is a window into
racialization and racism within British society and remains a powerful means of navigating
marginalized identities.
Dulcie Dixon McKenzie

Migration, Memories and Music: Towards a History of Black British Gospel
Music
As a religious musical artform, the origin of Black British gospel music (BBGM) is yet to be
realised in the academy and in wider social consciousness. To date, a body of scholarship
about its history does not exist. Instead, historical details about Black gospel music in
America are often employed as a characterisation of the development of Black gospel music
in Britain. The American account of history correctly foregrounds the experience of African
ancestors in America, however, to employ the same historical description to interpret the
development of BBGM is to overlook the unique circumstances and historical particularities
significant to the experience of African descendants in Britain. Of relevance here is the
Windrush generation, African ancestors who arrived in Britain en masse from the Caribbean
after the Second World War, bringing with them their own cultural and religious expressions.
As migrants, they decisively negotiated social rejection and socio-economic struggles, and
through that experience created a ‘safe space’ to host independent Christian worship. Out of
that situation, African Caribbean Pentecostal (ACP) congregations emerged, giving birth to a
distinct Black British expression of Christianity in Britain. The congregations nurtured the
musical talents and aspirations of its congregants, especially the young people, and using
first-hand narratives of pioneers and leaders of BMCs and BBGM, this paper will highlight the
features of ACP congregations that was key to shaping what was destined to become Black
gospel music as a distinctive religious movement in Britain.
Dulcie Dixon McKenzie (PhD) is the Director of the Centre for Black Theology at Queen’s
Foundation for Ecumenical Theological Education. She is a multiple award-winning pioneer of
Black gospel music in Britain as a radio presenter and producer, with a research interest in
African Caribbean Religious history and music. She completed her PhD in Philosophy, Religion
and Theology at the University of Birmingham, and her seminal research study about the history
of Black gospel music in Britain initiates an alternative historical approach to the discourse of
Black gospel music history, which will feature in her forthcoming book Reclaiming African
Caribbean Roots of Black Gospel Music in Britain. She is also a co-editor with Monique Ingalls
and Pauline Muir to a forthcoming collective that brings together studies about Black British
gospel music.
- 17 -
Pauline Muir
The Colour of Christian Copyright
Can a rights system have a colour? This rather crude question is an attempt to understand
the relationship between Christian Copyright Licensing International (CCLI) and UK Black
Majority Churches (BMCs). CCLI, the collections body for praise and worship music
internationally administers publishers’ rights and provides licenses for churches and schools.
While CCLI has a global reach with operations in Europe, North America, Africa, Australasia
and Asia, their charts reflect a white, western and male monopoly. BMCs signified by their
musical practices and expertise, and the originators of Black British gospel music are deemed
to be the fastest growing churches in the UK. Many of these churches rely heavily on songs
popular within CCLI, nonetheless are invisible in their charts.
CCLI is not a total representation of all congregational singing, however, it is a
mechanism that scholars have used to assess the area. The system reflects a discursive
framework symbolic of power, prestige and economic benefits. Vats critically observes that
frameworks surrounding intellectual property are ‘…racial project(s)…in which people of color
are coded as lacking the capacity to create.’ (Vats: 2000:3) This searing analysis forces us to
interrogate mechanisms that engage in processes of silencing and erasing creative enterprise.
Interview material from industry personnel from BMCs and CCLI will provide insights on how
administrative processes of power and incorporation can discriminate against marginalised
groups in wider society and in so doing will explore some of the complexities in regard to
congregational music and race in the UK.
Pauline Muir is lecturer in Arts Management at Goldsmiths College, University of London.

Awarded a PhD from Birkbeck College, University of London interrogating congregational music
in UK Black Majority Churches, her research interests focus on the politics of ‘race’, identity and
congregational music. She is currently working as a co - editor on a book with Monique Ingalls
and Dulcie Dixon- Mackenzie entitled Black British Gospel Music - From the Windrush
Generation to Black Lives Matter which promises to be the first academic book on this subject.
Monique M. Ingalls
One in the Spirit?: Examining British Racism and Anti-Racism through
Community Gospel Choirs
Gospel music has been nurtured for many decades in Black Majority Churches; however, as
part of a wider resurgence in choral singing, gospel has increasingly found a musical home
outside BMCs in community gospel choirs. While some of these choirs are ethnically and/or
racially diverse, others are homogeneous, with members hailing predominantly from either
Black Caribbean, Black African, or white British backgrounds. The formation of choirs along
racial and ethnic lines attests to the continued marginalization of Black minorities in a
religious musical expression long considered “their own,” and raises complex issues of
cultural ownership, appropriation, and racialization. Drawing from participant-observation
in three choirs before COVID-19, aligned with surveys and Zoom interviews conducted
thereafter, this paper probes the ways that discourses about race and racism operate in
contemporary British gospel community choirs. It demonstrates how the process of
racialization affects the way gospel music’s multi-layered meanings are parsed, and how these
choirs’ performances inform the racial imaginations of participants and audience members
alike. It also underscores the outsized role that choir directors play in encouraging anti-
racism or preserving the status quo. Gospel choirs can thus powerfully illuminate how
participatory music-making contributes to racialization as well as anti-racist efforts in
contemporary British society.
- 18 -
Monique M. Ingalls is Associate Professor of Music at Baylor University in Waco, Texas, USA.
She is the author of Singing the Congregation: How Contemporary Worship Music Shapes
Evangelical Community (Oxford University Press, 2018) and coeditor of four books that set forth
interdisciplinary approaches to congregational music-making. Monique is cofounder of the
biennial conference “Christian Congregational Music: Local and Global Perspectives” and senior
Series Editor for the Congregational Music Studies Series with Routledge Press.
Session 6: Discourses of racism in music media and institutions

Friday 22 October 2021 (13:15-15:15 CEST)
(Chair: Mischa van Kan)
Inka Rantakallio & Susanna Välimäki

Racism debates in music journalism: Case study of Finland’s two largest media
outlets 2017–2020
At the turn of the 2020s, in the aftermath of Me Too and Black Lives Matter, Finnish music
journalism has increasingly taken up issues of discrimination and inclusivity in music culture,
music industry, and higher music education. The debates have concentrated particularly on
racism, sexism, and homophobia. One aspect of these debates have been racism and cultural
appropriation in Finnish music.
In this paper, we present our work in progress, a journal article which explores Finnish
music journalism from a novel perspective addressing larger trajectories of discussions and
debates on discrimination and equality. For this purpose, we have conducted content analysis
of Finland’s two biggest media outlets’ digital print journalism: newspaper Helsingin Sanomat,
which is the largest daily newspaper in Finland, and the Yle.fi website, produced by the
national public service broadcasting company of Finland (Yleisradio / Finnish Broadcasting
Company). While the article in progress maps debates concerning any aspects related to
music, discrimination, and equality in the aforementioned two media between 2017–2020, in
this presentation, we focus on how racism within the Finnish music industry has been
discussed. We present preliminary findings and analysis, reflecting on music journalism as a
site for discussions of racism and how music journalism holds a significant role and thus
responsibility in initiating these debates.
Methodologically, the research draws on feminist and anti-racist media studies,
activist music research, and developmental music journalism research.
Inka Rantakallio is a postdoctoral researcher whose current project focuses on hip hop music,
women rappers, feminism, race, and whiteness (Academy of Finland, 2021–2024). Her
multidisciplinary publications deal with the various intersections of rap music, worldviews, and
identities. She is known for popularizing music research through books, lectures, and journalism.
Susanna Välimäki is an associate professor of art studies (tenured) at the University of Helsinki.
Välimäki’s publications deal with political art and the role of music in society; activist music
research; feminist, queer and transgender studies; ecomusicology; and applied music history.
Välimäki also works as a music journalist and co-operates in developmental projects with music
institutions.
- 19 -
Rainer Prokop & Rosa Reitsamer

Racialisation Processes: The Case of Western Art Music
Only recently, scholars have addressed how processes of racialisation structure the access to
(higher) music education and to the classical music labour market (e.g. Yang 2007). Building
on these studies that demonstrate how Asian classically trained musicians have experienced
diverse forms of exclusion based on their ethnic backgrounds, this paper will explore how
processes of racialisation are articulated by music teachers working at higher music
education institutions in Austria and Germany. In particular, we will explore how these
teachers legitimize these processes by drawing upon what Luc Boltanski and Laurent
Thévenot (2006) have coined as “regimes of justification”. This theoretical framework, that
has only recently been employed in research on the educational sector, shifts the focus away
from Bourdieu’s notion of cultural capital, habitus and field towards the critical capacities of
actors in order to demonstrate how social inequalities and the exclusion of students are
legitimized. Based on interviews with music teachers who teach voice, piano and orchestra
instruments, we will show how differences between Asian students and white students are
constructed and racialisation processes are articulated and legitimized with reference to the
musical performances of students and candidates at admission exams. Our findings
correspond, on the one hand, with the globally circulating racist discourses about classically
trained musicians from Asian countries and, on the other hand, we identified particular
strategies employed by the teachers to legitimize the exclusion but also to challenge these
stereotypes.
Rainer Prokop is researcher in the Department of Music Sociology at the mdw – University of
Music and Performing Arts Vienna, Austria. His current research focuses on higher music
education, career trajectories of classically trained musicians and the (e)valuation of artistic
achievements.
Rosa Reitsamer holds a PhD in sociology and is professor of music sociology at the mdw –
University of Music and Performing Arts Vienna, Austria. Her research interests include career
trajectories of musicians, higher music education, popular music, cultural memory and cultural
heritage, and music and gender.
Mikkel Vad
Colorblind Listening: The Roy Eldridge 1951 Blindfold Test, "Crow Jim," and the
American-European Racial Imagination
“I couldn’t tell who was colored and who was white,” admitted the African American trumpet
player Roy Eldridge after being submitted to a so-called blindfold test by the white, British
émigré critic Leonard Feather in Down Beat in 1951. Feather was happy that the blindfold test
duped a prominent black musician, because it proved his point about the fundamental
colorblindness of music. Critics and scholars have often used this incident as anecdotal
evidence of musical colorblindness or of the misguided racial politics of white jazz critics.
Feather’s blindfold test has, however, not received the full historical attention that
contextualizes it and has yet to be studied from the perspective of whiteness studies that
examine racialized listening practices.
Through close readings of articles in Down Beat magazine and other contemporary
sources, I show that the Eldridge blindfold test was not only tied to a discussion about US
race relations, but directly related to Feather's antagonism towards European (specifically
French) jazz criticism, which he accused of promoting a reverse racism he termed ""Crow
Jim."" This shows us that US debates about racism cannot be separated from transnational
discourses and experiences of racialization. In a critique of Feather, I argue that colorblind
- 20 -
listening is not a neutral, universal, or antiracist position. Rather, I contend that it is a

technique of listening that has been specifically associated with European aesthetics in
combination with white, liberal, mid-century dreams of a post-racial society.
Mikkel Vad is a musicologist, specializing in jazz and popular music history. He is a Ph.D.
candidate in the Department of Cultural Studies & Comparative Literature at the University of
Minnesota, where he is wrapping up a dissertation titled April in Paris, Autumn in New York:
European Jazz in the US, 1945–1970s. He teaches problem-based courses on historiography,
cultural theory, and sound where students learn to think critically about music across genres,
time periods, and cultures. His research and publications focus on the music of his native
Denmark and the Nordic region, music and memory studies, and whiteness studies, including
forthcoming articles in Scandinavian Studies and the Journal of the Society for American Music.
Cecilia Ferm Almqvist & Ann Werner

Conservatory cultures of whiteness
This paper discusses the presentation of three conservatories on their websites. Estonian
Academy of Music and Theatre, University of the Arts in Helsinki: The Sibelius Academy, and
The Liszt Ferenc Academy of Music. The study of the websites is part of a larger project aiming
to explore conservatoire education’s shaping of belonging in terms of nation and gender, in
times of growing nationalism and anti-gender movements in Europe. The project investigates
this aim by interviewing students, teachers and decision makers and analyzing institutional
policies focusing on the classical music education programs of the before mentioned
institutions in Tallinn, Helsinki, and Budapest. The websites are seen as part of the
institutions’ policy in practice where nation and gender hold a place. The questions asked in
this paper are: how is whiteness constructed in images and texts on the websites? How is
whiteness challenged? And how does it intersect with nation and gender? Previous studies
have shown that classical music, and higher music education is dominated by European white
middleclass (Onsrud et al. 2021). Practitioners outside white norms are present in classical
music but experiencing institutional racism (Leppänen 2015). Choice of instruments and
positions within the conservatories have also been shown to be gendered (Hallam et al. 2008).
Also, the wider culture of classical music in Europe is shaped by both whiteness, bourgeoise,
and sexist ideas (Thurman 2012). The paper presents preliminary results with bearing on
institutional policy in practice focusing on intersections of nation, race, and gender in
conservatoires.
PhD Cecilia Ferm Almqvist is a Full professor of education at Södertörn University, and a
professor in music education at Stockholm Institute of Music Education. She graduated in 2004
on a phenomenological thesis about interaction in music classrooms. Her internationally spread
research concerns democracy, inclusion, and equality in arts educational settings.
PhD Ann Werner is an Associate professor in gender studies at Södertörn University. Her
dissertation from 2009 investigates teenage girls’ everyday use of popular music and gender
ethnicity. Her research concerns gender, music and media for example in music streaming,
YouTube dancing and gender equality efforts in the music industries.

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Online Symposium, 20-21 October 2021

Music and Racism in Europe

Wednesday 20 October 2021

09:30-09:45 (London) | 10:30-10:45 (Paris) | 11:30-11:45 (Helsinki)

09:45-11:45 (London) | 10:45–12:45 (Paris) | 11:45-13:45 (Helsinki)

• Anna Beatriz Zanine Koslinski: ”Brazilian Inspired Drumming Groups: Dilemmas of

11:45-12:30 (London) | 12:45–13:30 (Paris) | 13:45-14:30 (Helsinki)

12:30-14:00 (London) | 13:30-15:00 (Paris) | 14:30-16:00 (Helsinki)

14:00-14:15 (London) | 15:00-15:15 (Paris) | 16:00-16:15 (Helsinki)

14:15-15:15 (London) | 15:15-16:15 (Paris) | 16:15-17:15 (Helsinki)

15:15-16:15 (London) | 16:15-17:15 (Paris) | 17:15-18:15 (Helsinki)

Thursday 21 October 2021

09:00-11:00 (London) | 10:00–12:00 (Paris) | 11:00-13:00 (Helsinki)

• Dominika Moravčíková: “Enlarged Territory: Alternative Cultural Homes for Slovak

11:00-11:45 (London) | 12:00–12:45 (Paris) | 13:00-13:45 (Helsinki)

11:45-13:45 (London) | 12:45-14:45 (Paris) | 13:45-15:45 (Helsinki)

• Hakeem Stevens: “Is The UK Music Industry Institutionally Racist?”

13:45-14:00 (London) | 14:45-15:00 (Paris) | 15:45-16:00 (Helsinki)

14:00-15:00 (London) | 15:00-16:00 (Paris) | 16:00-17:00 (Helsinki)

• Jason ”Timbuktu” Diakité, Musician, Sweden

17:00-19:00 (London) | 18:00-20:00 (Paris) | 19:00-22:00 (Helsinki)

Friday 22 October 2021

09:00-10:00 (London) | 10:00-11:00 (Paris) | 11:00-12:00 (Helsinki)

• Luis Manuel Garcia-Mispireta: “Bouncers & Multiculturalism, #DJsForPalestine, And

10:00-11:30 (London) | 11:00-12:30 (Paris) | 12:00-13:30 (Helsinki)

• Dulcie Dixon McKenzie: “Migration, Memories and Music: Towards a History of

11:30-12:15 (London) | 12:30-13:15 (Paris) | 13:30-14:15 (Helsinki)

12:15-14:15 (London) | 13:15-15:15 (Paris) | 14:15-16:15 (Helsinki)

14:15-15:00 (London) | 15:15-16:00 (Paris) | 16:15-17:00 (Helsinki)

Session 1: Musical exoticism, appropriation, appreciation and adaptation

Anna Beatriz Zanine Koslinski

As the number of drumming groups performing Afro-Brazilian music in Europe increased, so

Livia Jiménez Sedano

Session 2: Whiteness as a power, an epistemology and an aesthetic in music

Kasturi Chatterjee and Katha Alexi

Mischa van Kan

SESSION 3: Resistance to racism in and through music

Dominika Moravčíková is a postgraduate researcher in the Institute of Musicology at Charles

Bregje Van Deun

In my current research project, I am studying the “racialness” (Frankenberg) of whiteness with

MUSIC INDUSTRY PANEL DISCUSSION

Jason ”Timbuktu” Diakité, Musician, Sweden

Renaz Ebrahimi, Journalist, Finland

Lena Midtveit, Managing Director, Sony Music Norway

Moderator: Anthony Kwame Harrison, Professor, Virginia Tech

Luis Manuel Garcia-Misprireta

This keynote lecture provides a perspective on race/ethnicity and racism in European

Luis Manuel Garcia-Mispireta is a Lecturer in Ethnomusicology and Popular Music Studies at

SESSION 5: Rivers of Babylon:

Dulcie Dixon McKenzie

Pauline Muir is lecturer in Arts Management at Goldsmiths College, University of London.

Session 6: Discourses of racism in music media and institutions

Inka Rantakallio & Susanna Välimäki

Rainer Prokop & Rosa Reitsamer

listening is not a neutral, universal, or antiracist position. Rather, I contend that it is a

Cecilia Ferm Almqvist & Ann Werner

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