Contributors’ Notes

Dr. Janne Rantala is a southern Africa-based memory and hip hop scholar, anthropologist and lecturer. He defended his doctoral dissertation (2017) at the University of Eastern Finland. Currently as a visiting professor at the University College Cork, Ireland, he is expanding his de/postcolonial work, based on insights, methodologies, and epistemologies developed with local hip hop communities to be applied to wider discussions on memory politics examined across a variety of cultural expressions and genres in Zimbabwe, South Africa, Namibia and Mozambique. His EU-funded Marie Skłodowska-Curie Actions project “Performing Political Memory” (2022-2024) was hosted by the University College Cork focusing on hip hop’s performance of liberation histories in three Mozambican cities: Beira, Chimoio and Maputo. He worked as an Andrew Mellon postdoctoral fellow at the University of the Western Cape (2018-2019), Cape Town, and at the Instituto de Estudos Sociais e Económicos (2021), Maputo, leading the EU-funded research towards an inclusive and peaceful society in Mozambique.Carlos Roberto Ramírez (he/él) is a Puerto Rican musicologist and cultural historian whose scholarship explores the intersections of sound, power, and subjectivity. Engaging interdisciplinary methodologies, he examines how music and sound shape social hierarchies and cultural identities. His work focuses on two primary areas: the construction of sonic identities in Early Modern Spain and the Spanish Atlantic, and contemporary representations of gender, class, and race in Puerto Rican musics. He currently serves as assistant professor of musicology at the University of Illinois at Urbana-Champaign, where he also holds appointments in medieval studies, the Center for Caribbean and Latin American Studies, and the Unit for Criticism and Interpretive Theory. His current book project, Sound and Power in Puerto Rico, offers a cultural history of sound’s role in colonization, politics, meaning-making, and identity formation across the archipelago, through historical case studies that span five centuries.Xawery Stańczyk is a researcher, writer, and poet. He is an assistant professor of sociology in the Department of Sociology of Art, Institute of Sociology, University of Lodz. He obtained his Ph.D. in cultural studies (2015) as well as an M.A. (2009) from the Institute of Polish Culture, University of Warsaw, and an M.A. in sociology (2012) from the Institute of Applied Social Sciences, University of Warsaw. He is a member of the research project “HyPaTia. Feminine History of Polish Theatre” at the Institute of Art, the Polish Academy of Sciences (since 2022). In 2017–2019, he participated in the project “Cultural Opposition: Understanding the Cultural Heritage of Dissent in the Former Socialist Countries” at the Institute of Philosophy and Sociology of the Polish Academy of Sciences. His main fields of interest include youth culture, popular music, visual arts, social imagination, and public spaces in socialist and post-socialist Eastern Europe.Rami Toubia Stucky is a scholar of geography, musical culture, and equitable city life. He is currently an NPS Mellon Humanities Postdoctoral Fellow working on a project titled “Documenting Punk and Go-go in the Nation’s Capital.” He previously lectured in music at Washington University in St. Louis.Kyra Gaunt is a prize-winning author and performing artist, as well as a professor. Dr. Gaunt has been a cutting-edge scholar in the field of embodied ethnomusicology for over 20 years. Her book The Games Black Girls Play: Learning the Ropes from Double-Dutch to Hip-Hop (NYU Press), funded by NEH and the Ford Foundation, which won the 2007 Alan Merriam Prize for most outstanding monograph from The Society of Ethnomusicology, along with her subsequent publications contributed to the emergence of hip-hop music studies, black girlhood studies, and hip-hop feminism. Her current research explores the intersections of music, tech, and violence against girls in case studies of tween twerking on YouTube.Hannah Grantham is the director of the Jane and Littleton Mitchell Center for African American Heritage at the Delaware Historical Society. Grantham has a diverse background as a music historian and cultural heritage professional with experience working collaboratively to curate exhibitions, care for mixed media collections, and develop public programming that brings together history, entertainment, and social relationships. As a scholar, Grantham is passionate about sharing the stories of music’s presence in our everyday lives. Her ongoing dissertation research at the University of Delaware re-examines the early decades of the jazz entertainment industry by investigating the collections women assembled that documented their involvement in the art form and influential romantic attachments. It re-examines the social history of jazz through the perspectives of women who preserved, archived, and documented this art form as it evolved.Stephen I. Moore holds a Ph.D. in history from the University of California, Riverside. His dissertation explores the intersections of mid-twentieth-century folk revivalism and Cold War culture in the United States. This work seeks to contextualize the ways that purportedly apolitical entertainment engaged with the politics of the mainstream. His research has taken him to the Woody Guthrie archive in Tulsa, Oklahoma, under the BMI fellowship, and to the Robert Shelton collection at the University of Liverpool. His work also engages with oral history methodology, incorporating interviews with musicians and producers from the folk revival.Sophie Ogilvie-Hanson is a Ph.D. student in the Department of Communication Studies at Concordia University, Montréal, Quebec. Her SSHRC-funded dissertation research focuses on the folk theories that independent musicians in Canada generate about the methods and metrics through which their music is evaluated by both humans and algorithms. Ogilvie-Hanson works at the intersection of popular music studies, critical algorithm studies, critical policy studies, and cultural studies. She is also a musician, and performs and releases music under the name Sophie Ogilvie.Jay Rauch is a Ph.D. student in music composition and theory, pursuing a certificate in film and media studies at the University of Pittsburgh. His sonic and scholarly practice moves through free improvisation, exchanges between science fiction and experimental sound, and the making of counter-archival collaborative art. He is a co-founder and production coordinator of the experimental arts nonprofit Pittsburgh Sound Preserve.

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