Spasticus: Popular Music and Disability

痉挛：流行音乐与残疾

• 批准号: AH/H005021/1
• 负责人: George McKay
• 金额: $ 4.77万
• 依托单位: University of Salford
• 依托单位国家: 英国
• 项目类别: Research Grant
• 财政年份: 2010
• 资助国家: 英国
• 起止时间: 2010 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FH005021%2F1
• 关键词: Spasticus; Popular; Music; Disability

Hello to you out there in Normal Land You may not comprehend my tale or understand As I crawl past your window give me lucky looks You can read my body but you'll never read my books. I'm Spasticus, I'm Spasticus, I'm Spasticus Autisticus! Ian Dury, 'Spasticus Autisticus' (1981) The uncontrollability of the pop body has been a persistent feature since its earliest days. From Elvis Presley's 'All shook up' (1956) or Johnny Kidd and the Pirates' 'Shaking all over' (1960), songs about uncontrollable neurological tremors, as physical symptoms conflating the ecstasy of sexual attraction and of dance, are heard from rock and roll on. The opening argument is that popular music has always been about corporeal transformation or excess and the display of those -- there has always been 'a whole lot of shaking going on' -- and reading that shakiness in the context of the disabled body is the starting point for fresh insights into both popular music studies and cultural disability studies.My aims are to widen the scope of cultural disability studies by looking at the arena of popular music, and to contribute to our understanding of popular music studies via a sustained analysis of the place of disability within it. I seek to understand pop, rock and jazz through disability performance studies, but I also want to find out what the trashy, ephemeral, superficial aesthetic of pop can bring to the understanding of the cultural and social performance of disability. Colin Barnes reminds us that an 'element in the development of disability culture and the arts that should not be overlooked is the relationship between disabled people and the 'entertainment' industry. Historically, people with perceived impairments or 'abnormalities' have provided an important source of entertainment for the non-disabled majority'. Such entertainment ranges from 19th century freakshows to 21st century performance art, and there are now extended academic studies of each of these. So cultural disability studies has indeed begun to develop. What there still is not though is detailed critical, historical or theoretical work on disability and popular music studies. The project takes its title from a single released by the chart-topping English singer Ian Dury (a polio survivor and visibly disabled performer) in 1981, to mark the UN International Year of Disabled Persons. 'Spasticus Autisticus' remains debatably the highest profile and most controversial direct intervention from a major pop artist to disability culture. Yet -- as disability cultural studies has taught us more generally -- the moment we begin to look for disability in popular music, we find it everywhere; pop is a profoundly dismodern cultural formation and practice. Chapters explore the extraordinary cluster of musicians who were polio survivors, visibly disabled performers, musicians with hearing impairments and the place of deafness as an occupational hazard, blind musicians, and cognitive impairment. With the AHRC's support, the aim is for this monograph to appear in 2011, in part to mark the 30th anniversary of Dury's single.

你好，在正常的土地上你可能无法理解我的故事或理解当我爬过你的窗户时给我幸运的眼神你可以阅读我的身体，但你永远不会阅读我的书。我是痉挛症，我是痉挛症，我是痉挛自闭症！伊恩·杜里 (Ian Dury)，《痉挛自闭症》(1981) 流行音乐从诞生之初起，身体的无法控制就一直是一个持续存在的特征。从猫王埃尔维斯·普雷斯利的《All shake up》（1956）或约翰尼·基德和海盗乐队的《Shaking all over》（1960）中，摇滚乐中充斥着关于无法控制的神经震颤的歌曲，这种震颤是身体症状，将性吸引力和舞蹈的狂喜混为一谈。开篇的论点是，流行音乐一直是关于肉体的转变或过度以及这些的展示——总是有“大量的震动发生”——而阅读残疾身体背景下的震动是对流行音乐研究和文化残疾研究新见解的起点。我的目标是通过观察流行音乐的领域来扩大文化残疾研究的范围，并通过对这个地方的持续分析来促进我们对流行音乐研究的理解。 其中的残疾。我试图通过残疾表演研究来理解流行音乐、摇滚乐和爵士乐，但我也想找出流行音乐的无用的、短暂的、肤浅的美学可以给理解残疾的文化和社会表现带来什么。科林·巴恩斯提醒我们，“残疾人文化和艺术发展中不可忽视的一个因素是残疾人与‘娱乐’产业之间的关系。”从历史上看，有感知障碍或“异常”的人为大多数非残疾人提供了重要的娱乐来源。此类娱乐活动的范围从 19 世纪的怪诞表演到 21 世纪的表演艺术，现在对每一种都进行了广泛的学术研究。所以文化障碍研究确实已经开始发展。但仍然缺乏关于残疾和流行音乐研究的详细批判性、历史性或理论性工作。该项目的名称取自英国排行榜冠军歌手伊恩·杜里（Ian Dury）（小儿麻痹症幸存者和明显残疾的表演者）于 1981 年发行的单曲，以纪念联合国国际残疾人年。 《痉挛自闭症》无疑仍然是一位主要流行艺术家对残疾文化的最引人注目和最具争议的直接干预。然而，正如残疾文化研究更普遍地告诉我们的那样，一旦我们开始在流行音乐中寻找残疾，我们就会发现它无处不在；流行音乐是一种极其不现代的文化形式和实践。章节探讨了一群非凡的音乐家，他们是脊髓灰质炎幸存者、明显残疾的表演者、有听力障碍的音乐家以及耳聋作为职业危害的地位、盲人音乐家和认知障碍。在 AHRC 的支持下，这本专着的目标是在 2011 年出版，部分原因是为了纪念 Dury 单曲诞生 30 周年。

项目成果

Oxford Handbook of Music and Disability Studies

牛津音乐与残疾研究手册

• 发表时间: 2016
• 作者: McKay, G

The Routledge Companion to Jazz Studies

• DOI: 10.4324/9781315315805
• 发表时间: 2018-12
• 期刊: Music Reference Services Quarterly
• 作者: Haley Strassburger

Shakin' All Over: Popular Music and Disability

全身颤抖：流行音乐与残疾

• 发表时间: 2013
• 作者: McKay George

Resonances: Noise and Contemporary Music

共鸣：噪音与当代音乐

• 发表时间: 2013
• 作者: Goddard, Michael;Halligan, Benjamin;Spelman, Nicola
• 通讯作者: Spelman, Nicola