Scroll down to see the guidelines for guest-editing an issue and our forthcoming issues/concept notes:
General Submission Guidelines:
1. We are ideologically neutral and invite submissions from the perspectives of all ideologies – right, center, left etc. – as long as a piece makes a reasoned argument.
2. While emailing your pieces, please write ‘Magazine Piece: Issue No.’ in the subject line. Send submissions and queries to email ids of individual guest editors listed with concept notes.
3. The pieces should be around 2000-2500 words. We are open to making exceptions to this rule, if a particular piece deserves more space.
4. We are open to audio-visual submissions (in the form of interviews, conversations etc.). The audio-visual files must not be more than 20 minutes in duration. Again, we are open to making exceptions to this rule in some cases.
5. We invite Photo Essays on the given topic of a particular issue. We will include a maximum of 15 photos in a Photo Essay.
6. In case the authors are making submissions to multiple magazines, blogs, and newspapers, they must inform Cafe Dissensus the moment the piece is accepted elsewhere. Once Cafe Dissensus accepts a piece and starts working on it, it cannot be published in another magazine, blog, and newspaper.
7. The materials on Cafe Dissensus are protected under Creative Commons License. Once a piece is published in Cafe Dissensus, we will retain exclusive copyright for a period of 30 days, from the date of publication. Within this period, the piece cannot be re-published elsewhere even in an adapted and modified form.Thereafter, it must be acknowledged that the piece was first published in Cafe Dissensus. Failing to comply with this and any unauthorized republication/reproduction of the piece will invite legal measures and prosecution.
8. We are a completely voluntary endeavor and we are unable to pay our authors.
Guidelines for Guest-Editing an Issue:
We invite our readers, teachers, scholars, students, journalists/media professionals, activists, professionals (practically, anyone who would like to!) to guest-edit an issue of Cafe Dissensus. Here are the guidelines for guest-editing an issue:
1. The Guest-Editor must send in a 150 word concept note/call for papers to the editors (Email: email@example.com) well in advance, describing the theme of the issue (along with raising some questions). We will put up the CFP/concept note on the magazine website and on the magazine social-media pages.
2.There must be at least 15-18 articles plus the guest-editorial.
3. Each article must be between 2000-2500 words. However, the guest-editor might include a few longer essays, if she/he feels necessary.
4. Since the magazine is geared toward non-academic readers, all footnotes and references must be taken out. The citations within the body of the articles must be minimal, in the form of the name of an author or an idea etc. Please keep this readability factor in mind while soliciting articles and editing them.
5. We expect at least some of the pieces to be personal narratives, wherever possible. One of our aims is to weave the personal with the public/political.
6. Audio-visual content is one of our distinctive features. The guest-editors must include at least 3-4 audio-visual interviews, conversations etc. in the edited issue. For example, interviews and conversations recorded as audio-video or audio. We can help with the logistics of recording and editing the content.
7. The guest-editor will be in charge of collecting, selecting, and editing the articles. All articles will go through a final-edit by the Editors of the magazine.
8. The guest-editor must write an 800-1000 word editorial.
2017 Cafe Dissensus Issues:
Issue 41: November 2017: Digital Archiving in the 21st Century: Issues and Challenges [Last date for submission: 30 September, 2017; Date of publication: 1 November, 2017]
Guest-Editor: Md Intaj Ali, Doctoral Candidate, University of Hyderabad, Hyderabad, India.
Concept Note: Archives are the repository of records and information which can help various enthusiasts, cultural historians, oral historians, folklorists, artists, and the participating communities to look back into their past at ease. The Digital Repository is one of the challenging issues for the humanities and social sciences disciplines due to their ever changing approaches towards digital preservation in the light of various and continuously evolving technological aspects. Cultural institutions, libraries, institutions of higher learning, national and private agencies are trying to curate and preserve different types of data in the form of digitized manuscripts, photographs, moving images, and audio-video material. Most of the cultural data has been created and preserved in the digital format that is why they have been called, ‘born digital’. The term ‘born digital’ refers to the materials or objects that were educed in a digital format.
This issue of Café Dissensus aims to explore the current practice and trends of archiving in this digital era. Digital archive attempts to showcase the cultural life and artifacts through different mode of communication. Methodology of archive is changing day by day. Due to different technical advancements, people are coming up with the latest and further enhanced equipment for documentation. In this scenario, this issue is an attempt to bring together digital archivists, researchers, librarians, oral historians, folklorists, photographers, musicologists, and curators to facilitate a discussion on many pertaining issues and challenges that lie before the process of preserving digitally archival materials in the 21st Century.
We invite the contributors to address the following themes, which, however, are not exhaustive:
Role of memory and Storage in Digital Archive
Archives, Multimedia, and the Internet
Standards in file formats and metadata
The Role of Digital Media
Open Access vs. Digital Rights Management
Use of Web 2.0 technologies
Social Networking Sites for Archiving
Family albums archive
Vernacular and the Digital
Conceptualizing 21st-Century Archives
Digital Conservation and Preservation: Tools and Techniques
Digital Archive: Theory and Practice
Oral History and Digital Archive
Last date for submission: 30 September, 2017. Date of publication of the issue: 1 November, 2017. Word-limit: 1500-2000 words. Email your submissions to Md. Intaj Ali: firstname.lastname@example.org
2018 Cafe Dissensus Issues:
Issue 42: February 2018: Anti-semitism among South Asian Muslims [Last date for submission: 30 December, 2017; Date of publication: 1 February, 2018]
Guest-Editor: Navras Jaat Aafreedi, Assistant Professor, Presidency University, Kolkata, West Bengal, India.
Concept Note: Articles and essays are invited to explore Antisemitism among South Asian Muslims, both in South Asia (SAARC countries) and in their diaspora. In terms of sheer numerical strength, South Asian Muslims are the most important section of the global Muslim community. A third of the world’s Muslims live in South Asia and Muslims from this region have a diaspora larger in population and geographical spread than that of Muslims from any other region, making them extremely influential. Before being superseded by the oil rich Arabs, they were the most important section of the world Muslim population also in terms of economic clout. The Mufti of Jerusalem, Haj Amin al Husseini (1897-1974) drew more funds from Muslims in British India than from anywhere else for his cause. The largest funding source for Al-Manār (1898-1935), the most influential journal of the pan-Islamic era, was Muslims from British India. In many other respects too, South Asian Muslims are extremely important. They have produced some of the greatest Islamic thinkers, like Shah Wali Allah (also sometimes spelt Waliullah) (1702-1763), considered one of the originators of pan-Islamism, Rahmatullah Kairanwi (1818-1892), Muhammad Iqbal (1877-1938), Syed Abul A’la Mawdudi (also spelt Maududi) (1903-1979), and Abul Hasan Ali Hasani Nadwi (1914-1999), who have all played a pivotal role in shaping political Islam with global impact. Islamism is intertwined with Muslim antisemitism. Some of the greatest Islamist movements have their bases in South Asia, such as Tablighi Jamā’at – the largest Sunni Muslim revivalist (daw’a) movement in the world and Jamā’at-i-Islāmi – a prototype of political Islam in South Asia. South Asia is home to some of the most important institutions of Islamic theological studies, Darul Uloom Deoband, the alleged source of ideological inspiration to the Taliban, and Nadwatul Ulama and Firangi Mahal, whose curricula are followed by seminaries across the world attended by South Asian Muslims in their diaspora. Some of the most popular Muslim televangelists such as Israr Ahmed (1932-2010) and Zakir Naik (b. 1965) have hailed from South Asia. Many of the most brutal antisemitic attacks in recent history have taken place in South Asia, like the attacks on Karachi Jewry coinciding with the Arab-Israeli Wars of 1948, 1956 and 1967, abduction of Israeli tourists in Kashmir in 1991 and the murder of one of them, the beheading of Daniel Pearl in Pakistan in 2002, the attack on the Chabad Lubawich Centre in Mumbai in 2008 and the murder of all the Jews there, except the child of the rabbi who was saved by their Muslim chef and the child’s Christian nanny, bomb explosion at the German Bakery in Pune (frequented by Israeli tourists and very close to the Lal Deval Synagogue there) and a failed attempt to assassinate an Israeli diplomat in New Delhi in 2012, among a number of foiled Islamist attacks on Jews and their institutions in South Asia. In spite of all this, the region and its Muslims have not received the scholarly attention they deserve when it comes to the study of Muslim antisemitism. Basam Tibi identifies three anti-Jewish phenomena among Muslims: traditional Judeophobia, secular pan-Arab antisemitism (shared also by South Asian Muslims now as a result of strong Arab influence), and, most recently, Islamized antisemitism as established by Sayyid Qutb (1906-1966).
Submissions should be around 2000-2500 words. We also invite audio-visual submissions (in the form of interviews, conversations, etc.) The audio-visual files must not be more than 20 minutes in duration. Photo Essays are also invited with not more than 15 photos in an essay. Please do provide a brief bio at the end of your piece. Since the magazine is geared toward non-academic readers, all footnotes and references must be taken out. The citations within the body of the articles must be minimal, in the form of the name of an author or an idea, etc. The issue is planned for online publication on 1 February, 2018. Submissions will be accepted till 30 December, 2017. Please email your submissions to email@example.com
Issue 43: March 2018: The importance of being a Flâneur today: Impressions, resonance, and the necessity of a pause [Last date for submission: 30 December, 2017; Date of publication: 1 March, 2018]
Guest-Editor: Maitreyee Chowdhury, Author, Bangalore, India.
Concept Note: Beyond every impersonal city lies the personal, but only if you have the time to stand and make it yours. Impersonal times, such as ours, deserve a personal observer, one would say. And who better to realise this than a flâneur – one who can look beyond that chaos and pin down the interesting in painting a picture that acquires dimensions beyond what our busy lives don’t allow us to see. By definition, the flâneur has no specific relationship with any individual or place and yet he/she seeks to establish a seemingly temporary, yet deeply intimate, relationship with all that they pass by, see, and attempt to internalise. A flâneur thus exhibits both abandon and aloofness, while on the streets and paints from memory, a collective kaleidoscope that gives an ordinary sight an extraordinary frame.
A happy twist in this tale comes in the form of organized walks world over. More and more people are discovering the joys of seeing a place on foot. Walks such as heritage walk, food walk, botanical walk, etc. are hot sellers. But what emerges from these walks beyond seeing a place and the sheer love of a relaxed pace? Does the average walker turn into a flâneur then? Beyond a basic understanding of being a flâneur, we would like to engage with some of the following questions (but not limited to them):
Does the job of a flâneur entail aimless observation and end with that?
Assuming that the depth of a flâneur’s connection with what they see on the roads necessitates some sensitivity, is the flâneur a threatened concept?
Can the flâneur of today bridge the gap between ‘aimless walking around’ and the ‘necessity of a pause’?
This issue of Cafe Dissensus seeks thought-provoking essays, audio and audio-visual pieces, and photo-essays that can collate experiences and question the premise set here. We await pieces that carry the resonance of walking around a city or town and are capable of painting a picture that can startle, reveal or make one pause on a thought process, otherwise not obvious.
Submissions should be of roughly 2000-2500 words. Some longer pieces would be considered, if they deserve more space. Submissions will be accepted till 30 December, 2017 and the issue will be published on 1 March, 2018. Please email your submissions to the issue editor, Maitreyee Chowdhury: firstname.lastname@example.org
Issue 44: April 2018: Art and Resistance [Last date for submission: 28 February, 2018; Date of publication: 1 April, 2018]
Guest-Editor: Chandrika Acharya, archivist, Delhi Art Gallery Modern, New Delhi, India.
Concept Note: From processions to pamphlets, vigils and manifestoes, the articulation of dissent could take any form. This issue of Café Dissensus intends to inquire into art-based interventions and their capacity for political movement. Critical art, by being contentious, can disclose alternate and previously subverted perspectives on the world. The past decades with its chronicles of economic and political crisis has seen art intersect as a key element of protest as it playfully or polemically opens up spaces of engagement and action. Through a variety of creative forms: street performances, giant art installations, protest music, dissenting cartoons, videos and images that go viral, it generates new modes of advocacy, interrupting older beliefs and imagining more equitable alternatives to the status quo.
As a demonstration of grievances, the strong performative aspect inherent in social movements allows people to manifest their position through which movements aspire to gain critical attention and form a sense of urgency.
In this regard, how does art-led activism, facilitate a way to mobilize people, perhaps even those previously disinterested?
Articles, poems, short stories, photo essays, and interviews are invited on but not limited to the following sub themes:
Art as a mode of knowledge production: Function of art in shaping public discourse and social meaning.
Inclusionary Art: Does Art have a capacity to provide sensory proximity to the life-world of others thereby manufacturing a sense of solidarity and commonality?
Documentation of specific instances of art led activism
State and culture control: How does the State interact with cultural resistance, whether through censorship or surveillance?
Digital Art and critique of the contemporary: New Media Art and Politics
Reflection of greater socially conscious contemporary art practices as reflected in Art Fairs and Biennales.
Submissions should be of roughly 2000-2500 words. Some longer pieces would be considered, if they deserve more space. Submissions will be accepted till 28 February, 2018 and the issue will be published on 1 April, 2018. Please email your submissions to the issue editor, Chandrika Acharya: email@example.com