International Council for Traditions of Music and Dance

A Non-Governmental Organization in Formal Consultative Relations with UNESCO


Happy New Year!


The MEA 2022 Local Organizing Committee has decided to extend the deadline for abstract submission until January 15, 2022. We also encourage those who applied for MEA 2020 to re-submit. For the detailed information, please see the new CFP below.

Thank you!


MEA 2022 Key dates

  1. Extended Deadline for Abstracts: January 15, 2022
  2. Notification of Review Result: First Week of February, 2022
  3. Official MEA 2022 Website Open: January, 2022
  4. Registration (for presenters) opens (no payment required): March 1, 2022
  5. Registration (for presenters) closes: April 30, 2022
  6. MEA 2022 Online Symposium: May 13~15, 2022




Call for Papers

7th Symposium of the Study Group on Musics of East Asia


Dates: 13-15 May, 2022

Venue: Online

Co-Organized and hosted by the School of Languages (Monash University), Royal Holloway University of London, Graduate Institute of Ethnomusicology (National Taiwan Normal University), Department of Music Education (Nara University of Education), Department of Music (University of Hong Kong), College of General Education (Kookmin University), World Music Center Cultural Foundation Korea

Sponsored by the Association for Asian Studies


East Asian Performing Arts at the Vanguard of Global Expressivities


The 2018 Conference in Seoul proved our biggest, most diverse conference to date. Thanks to our host institutions, The National Gugak Center and the Korean Musicological Society, participants experienced the beauty of Korean hospitality and the joys of forming new and lasting professional networks.

In 2022, the MEA conference builds on the 2018 theme of transitions in East Asia by exploring the role of music in societal upheavals and paradigm shifts. At the heart of sociocultural and political change is expressive culture; harnessing angst, giving voice to the marginal, and empowering those brave enough to face uncomfortable truths and seek equitable and robust futures for themselves and those around them. Over the past 50 years, East Asia has moved from the periphery to the center of global culture. From K-Pop successes and controversies to East Asian identities harnessed in the name of diversity amidst concerns of appropriation, issues surrounding East Asian performing arts and artists continue to shape and re-shape global performing arts. We seek papers that examine the diversity of genres relevant to ‘East Asian performing Arts’ and, in particular, topics which explore the role of performing arts in shaping and resisting the status quo, forging new musical directions and/or sociopolitical paths as well as the role of performing arts in social upheaval. In addition, we seek papers that cover a variety of eras and genres; from historical research to the most recent trends in the popular music industry, from classical music traditions to hybrid genres and experimental music. We welcome papers that concern East Asian performance of music and trance and that break from the paradigm of ‘tradition’ contrasted with ‘modernity.’ We welcome papers that consider new ways to discuss musical heritages and their roles in the East Asia—and the world—of today.

Suggested Themes

  1. The Music Industry and Asian Identities:

The global music industry has become a powerful force in shaping perceptions regarding racial, cultural and national identities. We encourage presentations that explore the role of the music industry in both engaging current trends and inspiring shifts in perceptions regarding masculinity and female empowerment and break genre barriers.

  1. Re-considerations of Hybridity:

Hybridity is a common topic in discussions of East Asian performing arts. Hybridity assumes, however, a real divide separates genre and artist identities as well as obscures long histories of blended and shifting artistic creation. We encourage papers, workshops and discussions, which work towards breaking assumed de facto categories of performance and propose new ideas of discussing artistry in the world today.

  1. Inspiration or Appropriation?

Cultural appropriation has taken center stage over the past few years in discussions regarding who has the right to perform particular genres and/or invoking particular identities. The issue of historic and contemporary power inequities form the nucleus of discussions of appropriation. We encourage presentations that dive deeply into issues of artistic inspiration, and explore the lines sometimes crossed between inspiration and appropriation.

  1. Performance and the Environment

Acoustemology framed the study of sound’s place in the environment and the environment’s role as influencer of sound. Studies of performance and the environment examine the function of music and dance in shaping physical surroundings, and vice versa.

  1. Performance and Re-Conceptualizing Gender

The performing arts have proven crucial to expression of sexual and gender identities. In what ways do the mediums of music and dance re-configure gender and conventional gender roles in society? What role do the performing arts play in shaping and altering perceptions regarding sexual and gender identities? Presentations that examine these and related issues are encouraged.

  1. Transcultural Artists and Performance Genres

In the digital age, our worlds have become smaller and our networks have widened. More and more, artists work with multiple sound canvases to create works that bridge aesthetic worlds and with other artists stemming from traditions far removed from their own. We encourage presentations that demonstrate the increased significance of the transcultural presence of East Asian music as well as the complexities of such collaborations and creations.

  1. New Research:

We encourage the submission of scholarly work that aims to deepen discussions of the main theme and supports a greater understanding of East Asian musical cultures.



English is the official language of the Music of East Asia Conference. Students are very welcome to present. Consider this an opportunity in a student-friendly, kind presentation environment.



1. Individual Presentations:

Papers will be 20 minutes long and followed by 10 minutes for discussion. A 20-minute paper is about 7 to 8 typewritten pages, double-spaced using 12-point font.


 2. Organized panel: these may be presented in ONE of the following formats:

    - 120 minutes long, 4 presenters

    - 120 minutes long, 3 presenters and a discussant

Each presentation is 20 minutes with 10 minutes for Q and A; Discussant can present for 10-20 minutes, but must make sure to open the floor for discussion, as well. 30 minutes for summary.



Please submit an abstract for a paper presentation in one of the above listed formats (300 words max) and a biographical note (no more than 50 words). Organizers of panels/roundtables/workshops must submit a statement on the focus and central concern of the panel/ roundtable/workshop along with an abstract from each presenter on their presentation (each abstract is limited to 300 words and biographical notes are strictly limited to 50 words). Please note that you can only submit ONE type of format submission for the conference.


Deadline: January 15, 2022


Submit Abstracts to:


All proposals must be submitted in English

All proposals will undergo an anonymised peer review, and the decision on proposals will be announced in the first week of February 2022. Local Arrangements and Programme Co-Chair Shzr Ee Tan (who will have no initial voting privileges) will coordinate the review process.


 You should receive an email within 7 days of your submission. If you have failed to receive a response, please contact the new Co-Chairs of the Programme Committee, Shzr Ee Tan ( and Alison Tokita ( We would like to thank the outgoing Programme Chair Hilary Finchum-Sung for all her dedication and work in bringing the conference back online.



All presenters are encouraged to register as a member of the International Council of Traditional Music directly with the ICTM Secretariat before attending the Study Group Symposium. The email contact is: Students will have a special registration fee for ICTM. Participation in the Symposium is free. However, we will require all participants to register separately for the Symposium, in addition to registration as an ICTM member.



The Executive Committee for 2022 MEA is:

KIM Hee-sun (Chair)

YANG Yuanzheng (Vice-Chair)

QI Kun (Secretary)

LIOU Lin-yu

TAN Shzr Ee



HSU Hsin-wen


The Local Organizing Committee for 2022 MEA is:

TOKITA Alison (Co-Chair)

TAN Shzr Ee (Co-Chair)

HSU Hsin-wen (Co-Chair)

KIM Hee-sun (Co-Chair)

Qi Kun

LIOU Lin-yu

PARK Jonghyun

CHANG Yoon-hee


The New Program Committee  for 2022 MEA is:

TOKITA Alison (Co-Chair)

TAN Shzr Ee (Co-Chair)


CHEN Chun-bin陳俊斌


NG, Kolly