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: firstname.lastname@example.org) 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.
2018 Cafe Dissensus Issues:
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: email@example.com
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: firstname.lastname@example.org
Issue 45: May 2018: Women as the ‘displaced’: The context of South Asia [Last date for submission: 30 March, 2018; Date of publication: 1 May, 2018]
Guest-Editors: Dr. Suranjana Choudhury, Assistant Professor, Dept. of English, NEHU and Dr. Nabanita Sengupta, Assistant Professor, Dept. of English, Sarsuna College, Calcutta University.
Concept Note: A major feature of contemporary world is its concern and engagement with various tropes of displacement. Simone Weil, the author of The Need for Roots, had remarked, “To be rooted is perhaps the most important and the least recognised need of human soul.” This view is very important keeping in mind the on-going debates on the subject of displacement, rootlessness, and quest for home. Different forms of dislocation, such as exile, diaspora, and migration have been productively and extensively explored in theoretical discourses and cultural texts. Women’s experiences of displacement assume centrality in this context. The terrain of displacement studies in relation to women’s experiences has dramatically expanded, especially with more sustained engagement with issues on canonicity, representational politics, and multiple marginalities. In the cases of collective displacement, inhabiting “a territory of not belonging” (Said) induces changes in the matrix of social, cultural, and gender relations.
South Asia has been particularly prone to mass displacement and relocations, owing to its varied geographical settings as well as socio-political factors.The partition exodus of India, Pakistan, and East Bengal,the migration of Rohingyas of Burma,the Sri LankanTamils, and many more such displaced religious and ethnic communities on one hand and victims of tsunami,earthquakes or of the natural calamities on the other have led to a growing population of refugees as well as IDPs. Their stories of homelessness and forced migration are often laced with narratives of violence, exploitation, government, and social apathy and their precariously vulnerable existence in the margins of society. Yet there are stray examples of incidental and inadvertent empowerment that challenge this ubiquitous acceptance of displacement as disempowered existence both of the individual or of a community. Indian cabaret queen, Helen’s successful migrationfromBurma to Bombay is a curious example here. Similarly, inthefictional world, Deeti’s marginal existence in the first part of Ghosh’s Ibis trilogy ascends into a more central existence in the River of Smoke.
Women’s experiences of displacement in the context of South Asian socio-political realities would be a fascinating area to explore and investigate. How do South Asian writings and cultural representations by and about women map a history of discursive and gendered displacement? What is the quantum of representation of such women in flux? Do these narratives offer counter-hegemonic manners of representation or do they provide a conformist strand of depiction? In the proposed issue of Cafe Dissensus,we invite papers, photo- essays, audio-visual narrations or interviews, memoirs, non-fiction, etc, that explore the chequered contours of women’s displacement and its cultural and literary representations in South Asia in the 20th century and onwards while, at the same time, problematise and challenge the universalist notion of displacement as loss, and explore displacement as a form of ’em’placement. We welcome papers that also explore the representations of suchcommunities or individuals in various media such as movies,music, dance, theatre or any otherart forms.
Papers are invited on but not restricted to:
Displacement as community movement
‘Displacement aggression’ in modern developmental society
Ecological, geopolitical, socio-political, rehabilitation displacements
Displacement as empowerment
Partition and displacement
Women in Exile
First person narratives of displacement -individual or community perspective
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 March, 2018 and the issue will be published on 1 May, 2018. Please email your submissions to the issue editors: email@example.com
Issue 46: June 2018: Travel: Cities, Places, People [Last date for submission: 30 April, 2018; Date of publication: 1 June, 2018]
Guest-Editor: Dr. Nishi Pulugurtha, Head and Associate Professor, Dept. of English, Brahmananda Keshab Chandra College, West Bengal State University, West Bengal, India.
Concept Note: Travel is about negotiating with the known and the unknown, the familiar and the unfamiliar. It brings in ideas of negotiation, urban planning, history, architecture, space, food, memory, exile, emigration, and colonialism. As a free, voluntary, spontaneous movement, travel could be contrasted to ideas of displacement. This brings into contention as to who can and who cannot travel, an important idea in today’s world, where violence has caused forced displacement of people. There are places where one cannot travel to because of restrictions. This counters the basic idea of travel as a free, spontaneous movement. There is also the travel of certain people that is necessitated by work – for instance, journalists travelling to war ravaged zones.
In this issue of Café Dissensus, we would like to invite essays on various aspects of travel. What makes people travel? How does the idea of travel work to re-present one’s lived place? How do the familiar and well-known take on a charm so very different? How do people and places seem to interact to create a sense of lived experience? What role do memory and nostalgia play in travel? Does writing about travel bring about a re-living of the whole experience? How do bad experiences while travelling colour one’s experience of the place visited? Who travels, for what purpose, and how does the purpose or nature of travel determine itineraries? Do images/ narratives/ descriptions produced by travellers influence or present constructions of identity? What is the role of travel writing in colonialism? How does travel writing work to present the little known or almost forgotten places and people? At a time when more and more women are beginning to travel alone or in women-only groups for pleasure, how do their experiences of travel add to the genre of travel narratives? Could travel writing be gendered? We look to generate debates and discussions surrounding the multi-faceted nature of travel, beginning with its colonial history to its present-day incarnations of voluntary and forced migrations.
Submissions to this issue of Café Dissensus could be personal accounts of travel, critical essays (with academic jargon) that address issues relating to travel writing, travel in popular culture, photo-essays, book reviews, among others genres.
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 April, 2018 and the issue will be published on 1 June, 2018. Please email your submissions to the issue editor, Nishi Pulugurtha: firstname.lastname@example.org
Issue 47: July 2018: Nuclear Deterrence: An Instrument of World Peace or Instability? [Last date for submission: 30 May, 2018; Date of publication: 1 July, 2018]
Guest-Editor: Rameez Raja, Doctoral Candidate, Dept. of Political Science, Jamia Millia Islamia, New Delhi, India.
Concept Note: The nuclear deterrence theory has been championed by realists as well as by neo-realists as an instrument of peace and security between the potential rivals across the globe. The defensive realists argue that nuclear proliferation will bring stability in the conflict zones by manufacturing few nuclear warheads for deterrence. Nevertheless, the nuclear deterrence theory has come under scathing challenge from several academic quarters for varied reasons. The international community is worried about the nuclear instability in South Asia, while North Korea’s growing nuclear arsenal is a source of alarm.
Several peace initiatives have been organized by nuclear states for nuclear disarmament unilaterally, bilaterally, and multilaterally but without a fruitful result. Similarly, anti-nuclear movements have played an important role for nuclear disarmament. However, despite nukes failing to provide a comprehensive security net to the states, both qualitative and quantitative increase in nuclear arsenals continues unabated. The issue of Café Dissensus intends to engage with a multi-perspective debate on questions of nuclear deterrence.
Contributors are requested to address the following questions while writing their pieces. However, these questions are merely indicative and by no means exhaustive:
Is nuclear deterrence an appropriate solution for avoiding major wars or will it be creating more instability?
Is there any suitable and acceptable-to-all way to stop nuclear-proliferation?
Will anti-nuclear movements succeed in their mission to save the world from nuclear winter?
Can we conceive of a future where all nuclear weapons would be dismantled?
Is there any chance of nuclear exchange between the belligerent states?
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 May, 2018 and the issue will be published on 1 July, 2018. Please email your submissions to the issue editor, Rameez Raja: email@example.com