Afro-Colombin fusion music in Montreal

Says (Bogotano) Roberto López: "This year, when I attend­ed WOMEX in Copenhagen, the word around was that Colombian music is the next great wave in world music.”

http://www.montrealmirror.com/wp/2011/01/06/music/the-most-from-the-coast/

CFP: IASPM Canada: "Music and Environment: Place, Context, Conjuncture"

Musique et environnement: lieu, contexte et conjoncture

Conférence annuelle de la branche canadienne de l'IASPM

Schulich School of Music, Université McGill, Montréal

16 au 19 juin 2011

La musique tient lieu d'agent dans différents types de transformations environnementales, qu'elles soient

sociales, économiques ou technologiques, et à l'inverse, les changements environnementaux peuvent être

entendus dans les sons et les musiques d'aujourd'hui. On observe depuis peu dans le discours académique

un tournant vers l'écologie du son, ce qui peut impliquer un plaidoyer politique en faveur de la

préservation de la sonorité d'un environnement. Dans la même veine, l'environnement a été utilisé dans

plusieurs formes artistiques tel que des sculptures et des installations sonores. Ce tournant a

également pavé la voie à de nouveaux champs d'exploration en musique populaire marqués, notamment,

par un intérêt particulier pour la notion de lieu (place). Par exemple, nous pouvons penser aux manières

dont des lieux spécifiques ont un impact sur les significations culturelles de la musique. De plus, les

musiques populaires créent des étiquettes sonores telles que (le son de) « Liverpool » ou « Montréal »

qui fonctionnent à la manière des genres musicaux. Mais que signifie l'attribution de telles étiquettes?

Influencées par des facteurs comme la circulation des personnes, l'immigration et la proximité virtuelle

que procure depuis peu l'Internet, les musiques populaires sont marquées du sceau de l'hybridité

musicale et sociale par le biais de techniques telles que l'échantillonnage, la citation et l'imitation.

L'enchevêtrement des éléments musicaux, sociaux et technologiques est à son tour affecté par

l'environnement économique, façonné par les transformations des industries culturelles et de la crise

financière globale qui sévit actuellement. Nos conceptions de l'espace et de l'environnement ne sont ni

simples ni statiques et leurs relations à la musique sont riches et complexes.

Nous vous invitons à soumettre des propositions de présentations individuelles, de panels, d'ateliers ou

de performances concernant un vaste éventail de sujets reliés au thème de la conférence, incluant sans s'y

limiter :

* L'échantillonnage comme recyclage et recontextualisation;

* Musique et activisme environnemental;

* Le cycle de vie des technologies musicales;

* Le tournant vers les formes urbaines de composition musicale dans le domaine de l'acoustique

écologique et des études en environnements sonores (soundscapes studies);

* Les enregistrements ethnographiques comme sources matérielles musicales;

* Les « experts » des différents milieux musicaux (critiques, musiciens, journalistes, scientifiques,

industriels, politiciens, etc.), leurs rôles, leurs interventions, leurs apports;

* La création d'ambiances et d'atmosphères dans/par la musique;

* Mettre en musique son environnement, chanter/composer son milieu (sounding the scape;

* Les alliances, les affinités et les réseaux permettant la constitution et le développement de différents

milieux et environnements musicaux;

* Musique et paysage, architecture et design;

* Mouvement, mobilité et trajectoires d'acteurs, de produits, de groupes de catalogues, etc.;

* Musique, temps, durée et mémoire;

* Catastrophes naturelles et crises en chansons et musiques.

Les résumés pour les communications individuelles, les ateliers et les performances ne doivent pas

dépasser 300 mots. Les propositions de panels doivent inclure un résumé ne dépassant pas 300 mots pour

le panel en entier, ainsi que des résumés ne dépassant pas 300 mots pour chacune des présentations

individuelles du panel. Le comité de programmation se réserve le droit d'accepter un panel mais de

refuser une conférence proposée pour ce panel, ou encore d'accepter une présentation alors que le panel

est refusé.

Tous les résumés doivent inclure une courte biographie (100 mots) de chaque auteur, auteure incluant

l'affiliation institutionnelle et l'adresse de courriel. Chaque résumé doit également inclure cinq mots-clés

identifiant l'objet de la présentation.

Les propositions de communication doivent être soumises en français ou anglais par courriel avant le 21

octobre 2010 (pour être considérées pour le remboursement des frais de déplacement) ou le 15 novembre

2010 à l'adresse suivante : IASPMMontreal@gmail.com.

Toutes les propositions seront lues à l’aveugle et évaluées par le comité de programmation.

Les membres du comité de programmation sont :

▪ Dr. David Brackett, Professeur, Musicology, Université McGill

▪ Dr. Owen Chapman, Professeur adjoint, Communication Studies, Université Concordia

▪ Dr. Line Grenier, Professeure agrégée, Départment de communication, Université de Montréal

▪ Mimi Haddon, doctorante, Popular Music Studies/ Musicology, McGill University

▪ Hélène Laurin, doctorante, Études en communication, Université McGill

▪ Dr. Martin Lussier, chercheur postdoctoral, Faculty of Information and Media Studies, University of

Western Ontario

▪ Dr. Charity Marsh, CRC in Interactive Media and Performance, University of Montreal

▪ Dr. Will Straw, Professeur, Department of Art History and Communications Studies, McGill University

Les conférences seront limitées aux 20 minutes habituelles, suivies de 10 minutes de questions et

commentaires, alors que les autres présentations seront de 60 minutes.

Pour les questions au sujet du colloque, veuillez contacter le responsable du colloque, Will Straw, à

william.straw(at)mcgill.ca

Dates limites pour les soumissions :

21 octobre 2010 (pour être admissible à un remboursement de voyagement)

15 novembre 2010 (date limite ultime)

Tous les postulants seront avertis de la décision du comité de programmation au maximum le 15

décembre 2010.

______________________________________________________________________

Music and Environment: Place, Context, Conjuncture

IASPM-Canada Annual Conference

Schulich School of Music, McGill University, Montreal

June 16-19 2011

Music functions as an agent for different types of environmental transformations whether they be social,

economic or technological, with the reverse also being true: environmental changes can be heard in the

music and sounds of our day. In recent academic discourse we have observed a turn towards the ecology

of sound, which can imply political advocacy of the preservation of an environment's sonority. In a

parallel gesture, use has been made of the environment in many artistic forums, such as sound sculptures

and installations. This recent turn has opened up new areas of exploration for popular music as well,

with the notion of place being of particular interest. We may consider, for example, the way in which

specific places have an impact on the cultural meaning of music. Furthermore, popular music creates

labels such as the “Liverpool” or “Montreal” sound which function as genre-like distinctions. But what

does it mean to attribute such a label? Popular music also embraces musical and social hybridity via

techniques such as sampling, quotation or imitation, influenced by factors such as travel, immigration

and the recent virtual proximity of the Internet. The interrelationship of these musical, social, and

technological elements is in turn affected by the economic environment, shaped by both changes in the

cultural industries, such as the record industry meltdown, and the current global financial crisis. Our

understanding of space and environment is neither simple nor static, and the relationship of these to

music is extensive and complex.

We invite suggestions for individual presentations, panels, workshops or performances on a broad range

of topics related to the theme of the conference, including, but not limited to, the following:

* Sampling as recycling and recontextualisation;

* Music and environmental activism;

* The life-cycles of musical technologies

* The turn towards urban forms of musical composition within the domain of acoustic ecology and

soundscape studies;

* Ethnographic and "field" recordings as musical source material;

* "Expert" musical environments (critical, musical, journalistic, scientific, industrial, political, etc.), their

roles, their interventions, their provisions;

* The creation of moods and of atmospheres in/by the music;

* Putting music in its environment, singing/composing its environment (sounding the scape);

* The alliances, affinities and networks allowing the constitution and development of different musical

environments;

* Music and landscape, architecture and design;

* Movements, mobilities and trajectories of actors, of products, of groups, of catalogs, etc.;

* Music, time, duration, and memories;

* Natural catastrophes in songs and music

Abstracts for individual presentations, workshops, and performances must not surpass 300 words.

Abstracts for panels must include a summary of 300 words or less for the panel as a whole, as well as

abstracts not surpassing 300 words for each of the incorporated presentations. The programme

committee reserves the right to accept a panel while refusing one of the proposed presentations or, on the

other hand, to accept an individual presentation but to refuse the panel.

All abstracts must include a short biography (100 words or less) of the author(s), including institutional

affiliation, and e-mail address. Every submission must equally include five words keys identifying the

subject of the paper.

Please submit your abstract in French or English, depending on the language in which the paper will be

presented by October 21, 2010 (for consideration for travel reimbursement) or November 15, 2010 (final

deadline for all others) to IASPMMontreal@gmail.com

All proposals will be read blind and evaluated by the program committee.

The program committee consists of the following individuals:

▪ Dr. David Brackett, Professor, Musicology, McGill University

▪ Dr. Owen Chapman, Assistant Professor, Communication Studies, Concordia University

▪ Dr. Line Grenier, Associate Professor, Communication Studies, University of Montreal

▪ Mimi Haddon, Ph.D. Candidate, Popular Music Studies/ Musicology, McGill University

▪ Hélène Laurin, Ph.D. Candidate, Communication Studies, McGill University

▪ Dr. Martin Lussier, Postdoctoral Fellow, Faculty of Information and Media Studies, University of

Western Ontario

▪ Dr. Charity Marsh, Canada Research Chair in Interactive Media and Performance, University of

Montreal

▪ Dr. Will Straw, Professor, Department of Art History and Communications Studies, McGill University

Papers will be limited to a standard 20-minute length followed by 10 minutes of questions, whereas other presentations will be limited to 60 minutes. All participants must be members of IASPM-Canada. Membership information is available on the following website:
www.iaspm.ca


For questions about the conference, contact conference chair Will Straw, at william.straw(at)mcgill.ca

Submission deadlines:

October 21, 2010 (for consideration for travel reimbursement)

November 15, 2010 (final deadline for all others)

Applicants will be notified of the program committee’s final decisions by December 15, 2010.

CFP: Society for American Music

Call for Submissions
Society for American Music

March 17-21, 2010

Vale la pena mencionar que esta sociedad esta abierta a ponencias sobre todas las musicas de America -- norte/sur/central/Caribe/etc -- y sus manifestaciones en otras partes del mundo. En el pasado se ha aceptado unas ponencias en espanol -- aunque mejor presentar en ingles para que la otra gente entienda. Los mexicanos, y de pronto otros latinoamericanos no requieren visa para entrar en Canada

2010 Program Committee: Michael Pisani, chair; Drew Edward Davies, Robin Elliott, Larry D. Hamberlin, Mary Ingraham, Felicia M. Miyakawa, and Gillian M. Rodger

The Society for American Music invites proposals for papers, papers on one of two seminar topics (see “New Seminar Format” below), additional panels of 2-3 papers, concerts, lecture-performances, and scholarly posters for its 36th Annual Conference. The conference will be held in Ottawa, Ontario (Canada) March 17-21, 2010. The submission deadline for all proposals is Monday, 15 June 2009.

In addition to proposals on the topics of the seminar panels, we welcome proposals involving all facets of musical life in the Americas and manifestations of these cultures anywhere in the world. For this conference we especially welcome proposals addressing:

• Cultural politics and the nation: the role of federal policies, government institutions, and public organizations in the creation, performance, and reception of music
• The role of French culture in shaping North American musical life, with a focus on Quebec, but also including Acadian and Creole cultures.
• “The Idea of North” (to cite Glenn Gould). [Are there measurable aspects of an identifiable “Northern culture” in music, comparable to the U.S.’s “Western” or “Southern” traditions?]
• Cross-border musical relations in the Americas (affecting musicians, institutions, organizations, cultural policies, etc.)
• The impact of immigration on musical life in the United States and Canada
• Music in Canada, including classical, popular, aboriginal, and traditional music (considered either in isolation or in contact with each other)

Guidelines
Presenters are required to register for the entire conference. The committee encourages proposals from those who did not present at the 2009 Denver meeting, but all proposals will be judged primarily on merit. With the exception of concerts or lecture-performances with accompanying audio-visual materials, all proposals must be submitted electronically using the online submission form (see below).

Proposers for all except lecture-recitals must specify whether the proposal is for 1) paper, 2) poster, or 3) either presentation format, the latter to be determined by the Program Committee as it builds sessions. Individual or joint papers should be no longer than twenty minutes. Lecture-performances should be no longer than thirty minutes. For complete session proposals, the organizer should include an additional statement explaining the rationale for the session, in addition to abstracts for each paper.

New Seminar Format
Of the proposals submitted in January, 2009, the two selected by the program committee for the 2010 conference in Ottawa will be: 1) “ ‘The Art of Association’: Exploring Institutions as Agents of American Music in Theory and Practice” and 2) “Nineteenth-Century American Music Studies: The State of the Field in 2010”. Unlike regular SAM sessions, in which papers are read, papers for the conference seminars will be posted at a password-protected location in advance of the conference, where they may be read by all interested SAM members. The bulk of the conference session will be devoted to discussion of the papers as they relate to the general theme. Since papers will be posted electronically on the web, we would like to encourage materials that are recently published or "in press" as one kind of submission that would be appropriate for the seminar structure. These papers may be full articles, up to 20 pages, and should include notes, examples (where relevant), and bibliography. All proposals should be submitted in the usual way by the regular SAM deadline, except that the specific seminar topic should be clearly specified. Unless the author specifies otherwise, abstracts not accepted for either of the two seminars will be considered by the program committee for one of the regular sessions.

Although papers for the seminars will not be “read” in the traditional sense, the act of participating in the seminar as a presenter and defending the ideas of one's paper constitutes the same level of participation in an academic conference as would a normal paper. For this reason, those submitting abstracts toward a seminar cannot also submit toward a regular session.

Research Poster Sessions
The poster format provides an opportunity for SAM members to meet informally with authors and discuss research. Each author attends his/her respective 90-minute session, distributes abstracts, and answers questions. Supporting sound and/or video examples (on personal computers and utilizing battery, rather than AC power) will be coordinated with other presenters once sessions have been formed by the Program Committee. Further poster guidelines may be found at www.american-music.org.

Interest Groups — Interest Groups with a guaranteed slot for 2010 are requested to convey a brief description of their plans to the Program Committee using the online submission system by June 15, if possible. To ensure proper scheduling and room assignments, Groups should indicate by this date whether they would prefer a lunchtime slot (12:45-1:45) or a longer evening session. Please note that all the information that will appear in the conference program book (participant names, titles, 100-word abstract) must be submitted not later than August 5. Interest Groups without a guaranteed slot for 2010 may submit panel proposals via the online submission system if they wish, but acceptance or rejection of these proposals will be at the discretion of the Program Committee. All Interest Group submissions (guaranteed or not) should use the "Panel" option below.

Include the following for all submissions:

1. 250-word proposal
2. 100-word abstract suitable for publication in the conference program (.txt or .rtf format)
3. Audio and visual needs selected from the following list only: CD and audiocassette player, overhead projector, VHS/DVD player, LCD projector. Due to logistics and the high cost of renting this equipment, we cannot accommodate AV changes once a proposal is accepted.
4. Proposer’s name, address, phone number(s), e-mail address, and institutional affiliation or city of residence
5. Specify whether you are a student (and therefore eligible for certain student grants or awards)

For Lecture-Performances please include the above-mentioned materials, plus:

1. Seven copies of a recording (CD and DVD preferred, but cassette or VHS tapes also accepted)
2. An addressed, stamped mailer if you would like the recordings returned
3. A list of special needs (e.g., piano, music stand, space for dance demonstration, choral risers)

All materials must be electronically date-stamped (online submission) or postmarked (mail submission) by 15 June 2009. Questions about the submission process may be sent to Michael Pisani at mipisani@vassar.edu. Postal submissions should be addressed to: Michael Pisani, SAM 2010 Program Committee Chair, Vassar College, Box 595, Poughkeepsie, New York, 12604-0595

CFP: Musical Heritage: Movement and Contacts, in Montréal

Chers collègues,
Au nom du comité scientifique du colloque international, Patrimoines musicaux : circulation et contacts, qui aura lieu à Montréal (Canada) du 29 octobre au 1er novembre 2009, je vous rappelle que nous acceptons les propositions de communications, d'ateliers et de concerts jusqu'au 18 février 2009.Je vous invite à consulter le site Internet du colloque pour les détails de l'appel à communications.lrmm.musique.umontreal.ca/activites/Colloque2009/Pour tout renseignement supplémentaire, n'hésitez pas à communiquer avec moi.Bien à vous,Marie-Hélène PichetteCoordonnatrice du colloqueLaboratoire de recherche sur les musiques du mondeFaculté de musique - Université de MontréalC.P. 6128, succ. Centre-villeMontréal (Québec)Canada H3C 3J7Téléphone: (514) 343-6921Télécopieur: (514) 343-5727lrmm.musique.umontreal.ca/activites/Colloque2009/

Dear colleagues,
On behalf of the Programme Committee of the international conference, Musical Heritage: Movement and Contacts, in Montréal (Canada) from October 29th to November 1st 2009, I remind you that we are accepting abstract submissions for papers, workshops and concerts until February 18th 2009.Detailed information on the call for papers are available on the conference website.lrmm.musique.umontreal.ca/activites/Colloque2009/ <http://lrmm.musique.umontreal.ca:16080/activites/Colloque2009/>For additionnal information, do not hesitate to contact me.Regards,Marie-Hélène PichetteConference CoordinatorLaboratoire de recherche sur les musiques du mondeFaculté de musique - Université de MontréalC.P. 6128, succ. Centre-villeMontréal (Québec)Canada H3C 3J7Telephone: (514) 343-6921Fax: (514) 343-5727lrmm.musique.umontreal.ca/activites/Colloque2009

CFP: Musical Heritage: Movement and Contacts, in Montréal

The Laboratoire de recherche sur les musiques du monde (LRMM - OICCM) in association with the Canadian Society for Traditional Music (CSTM) invites you to its international conference, Musical Heritage: Movement and Contacts, in Montréal (Canada) from October 29th to November 1st 2009. Abstract submissions are now accepted. Please find attached to this message the French and English call for papers as well as a poster. Please pass on this information to anyone wishing to submit a proposal.

lrmm.musique.umontreal.ca

CFP: IASPM Canada - "Peripheries and Centres in Popular Music"

Call for Papers
International Association for the Study of Popular Music (IASPM) Canada
Presents:
Going Coastal: Peripheries and Centres in Popular Music
Dalhousie University, Halifax
June 12-14, 2009

IASPM-CA is pleased to call for proposals, panels and roundtables for this
special interdisciplinary conference on the theme of "Peripheries and
Centres." We also welcome submissions on any aspect of popular music.

We are aiming for as broad a representation of disciplinary and
interdisciplinary perspectives as possible and hope for a conference that
will provide perspectives on and (re)evaluations of the periphery/centre
relationship as it relates to popular music. What changes are affecting the
concepts of centre and periphery and related notions like mainstream and
fringe, heartland and hinterland, privileged and marginal, mass culture and
subculture? How should they be rethought? Is there still a "centre"
(generically, geographically, economically, ideologically) in popular music
in the 21st century? We would be especially interested in proposals that
deal with issues such as:

*Questioning centre-periphery models
*Shifting centres (in terms of styles, genres, markets, geographies, social
identities)
*Centres and peripheries as they structure artistic labour (stars vs. backup
performers; engineers; producers; videographers; road personnel, etc.)
*Centres and peripheries in digital and web-based music cultures
*Ways in which centre-periphery models entrench or challenge dominant
formations of popular music canons, histories, genres, pedagogies
*Centres and peripheries in our academic work (in our choices of
methodologies, research topics, ideologies)
*Centres and peripheries in the ways of disseminating our work (journals,
books, on-line publishing, blogs, etc.), and in the communication between
'scholarly' and 'non-scholarly' audiences
*The excluded middle: how well have we gotten over the taboo of studying
"mainstream music?"
*How fringes become centres (country, reggae, punk, rap, etc.); how centres
become fringes (heavy metal, disco, kitsch/camp, etc.)

We would especially encourage papers, panels and roundtables dealing with
Canadian popular music scenes that are regionally specific, including those
of Atlantic Canada, Quebec, Ontario, the Prairies, the West Coast and
Northern regions.

Proposals may be submitted by email to iaspm-halifax@hotmail.com
iaspm-halifax@hotmail.com> . They will be read blind by the program
committee. Abstracts for individual papers and roundtables should be no
longer than 300 words; proposals for panels should include an abstract of
no more than 300 words for the panel as a whole, as well as abstracts of no
more than 300 words for each paper proposed for the panel. The program
committee reserves the right to accept a panel but reject an individual
paper on that panel.

For questions about the conference, contact conference chair Jacqueline
Warwick at jwarwick@dal.ca jwarwick@dal.ca> or programme chair
Chris McDonald at chris_mcdonald@cbu.ca chris_mcdonald@cbu.ca> .

Submission deadlines:
October 8, 2008 (for consideration for travel reimbursement)
November 15, 2008 (final deadline for all others)

Beca Pos-Doctoral en Canadá / Postdoc in Canada

Improvisation, Community, and Social Practice: A SSHRC MCRI Research Project

Postdoctoral Fellowship Program 2007-2008

We are pleased to launch our newly awarded MCRI research project with a postdoctoral fellowship program for 2007-2008. We invite applications of postdoctoral researchers for residential fellowships at the University of Guelph, McGill University, or Université de Montréal (in association with the Centre de recherche en éthique).

Improvisation, Community, and Social Practice

This research project plays a leading role in defining a new field of interdisciplinary inquiry. It brings together a dynamic international research team with a demonstrated track record in grant management and student training, and it fosters innovative partnerships with community-based organizations. Outcomes will range across a wide spectrum of electronic, broadcast, and print media, with a focus on policy-oriented and community-facing impacts. The project will have a significant effect on how research is done and how its results are implemented and disseminated, both within and beyond the academy. In addition to public discourse and scholarly publication, our work highlights collaboration with arts presenters, educators, and policy makers to ensure the broadest possible impact on Canadian society.

The project’s core hypothesis is that musical improvisation is a crucial model for political, cultural, and ethical dialogue and action. Taking as a point of departure performance practices from post-1960s jazz and creative improvised music that cannot readily be scripted, predicted, or compelled into orthodoxy, we argue that the innovative working models of improvisation developed by creative practitioners have helped to promote a dynamic exchange of cultural forms, and to encourage new, socially responsive forms of community building across national, cultural, and artistic boundaries. Improvisation, in short, has much to tell us about the ways in which communities based on such forms are politically and materially pertinent to envisioning and sounding alternative ways of knowing and being in the world. Improvisation demands shared responsibility for participation in community, an ability to negotiate differences, and a willingness to accept the challenges of risk and contingency. Furthermore, in an era when diverse peoples and communities of interest struggle to forge historically new forms of affiliation across cultural divides, the participatory and civic virtues of engagement, dialogue, respect, and community-building inculcated through improvisatory practices take on a particular urgency.

Objectives

Our postdoctoral fellowships, funded through the Major Collaborative Research Initiatives (MCRI) program at the Social Sciences and Humanities Research Council of Canada (SSHRC), support the most promising new scholars in the emerging interdisciplinary field of critical studies in improvisation, and assist them in establishing a research base at an important time in their research careers.

Our project seeks to contribute to interdisciplinary research and graduate training in this emerging field. We encourage applications from researchers working in the principal research areas related to our project: music, cultural studies, political studies, sociology and anthropology, English studies, theatre and performance studies, French studies, law, philosophy, and communications. We also welcome applications from different research areas, inasmuch as their research has a direct link with the social, cultural, or political implications of improvised musical practices.

We are particularly interested in critically informed interdisciplinary research proposals that are prompted by the theory and practice of contemporary improvised music and its related social implications. Our research program seeks to create a climate of genuine intellectual excitement where scholars pursue research projects and participate in collaborative research activities as part of a broader network of critical practice. Postdoctoral fellows will be expected to participate in project seminars, institutes, and annual colloquia, and will benefit from the stimulating intellectual environment provided by both our extensive and inter-institutional research network and our wide range of community partners. Postdoctoral fellows will play an active role in planning the activities and research of the project.

Description

Our postdoctoral fellowships provide stipendiary support to recent Ph.D. graduates who are undertaking original research, publishing research findings, and developing and expanding personal research networks.

Fellowships will normally be awarded to candidates affiliated with a university other than that which awarded the Ph.D.

Value and Duration

Our SSHRC funded MCRI Postdoctoral Fellowships are valued at $31,500 CDN per year. These are non-renewable fellowships, tenable for a 12 month period beginning in September 2007.

Eligibility, Application, and Deadline

Applicants are invited to submit a research proposal focusing on the social implications (broadly construed) of improvised musical practices. Successful candidates will be chosen on the basis of a rigorous and open nation-wide process of application, with our project's management team serving as the selection committee. Criteria for selection are the quality and originality of the proposed research, the fit with our project's overall mandate and objectives, the candidate's record of scholarly achievement, and his/her ability to benefit from the activities associated with our project. Postdoctoral fellows will receive competitive research stipends, logistical assistance for relocation, office space equipped with state-of-the-art computers, access to the services of the host institution (library, etc), and administrative, placement, and research assistance as needed. In return, fellows are expected to pursue the research project submitted in their application, to participate in our project’s research activities (colloquia, seminars, institutes), and to present their work in progress in the context of our project’s seminars and workshops.

Applicants should have completed a Ph.D. at the time of application (to be conferred by 1 November 2007). The completed application package should be received by no later than April 30, 2007.

Electronic applications are welcome, provided that original hard copies of transcripts and reference letters are submitted. Notification date: June 2007.

Applicants must submit all of the following by April 30th, 2007:

Curriculum vitae;

One scholarly paper or publication written in the course of the last three years;

A statement (1,500 words or less) describing the proposed research project;

Two confidential letters of reference (sent directly to us before the deadline);

Graduate Transcript(s).

Postmark deadline is April 30th, 2007. Send applications to:

Dr. Ajay Heble, Project Director

Improvisation, Community, and Social Practice

School of English and Theatre Studies

University of Guelph

Guelph, Ontario

N1G 2W1

CANADA

Email: improv@uoguelph.ca