Turntable Epistemologies: Queering Sound System Migrations in the Reagan/Thatcher Era

我的项目是跨学科的，涉及表演研究、酷儿研究、批判性民族志、散居海外和黑人女权主义文化研究。我确定了我的工作与之交叉的三个广泛的理论领域。第一个是关于黑人散居海外的音乐和声音研究的一系列学术辩论。将种族政治与声音和技术联系起来的工作大量涌入(Chude-Sokei，2005年；Nelson，2002年；Weheliye，2005年)。这些干预措施解决了黑人散居国外的音乐如何在白人民族音乐学和声音研究中变得难以辨认。科德沃·埃顺(Kodwo Eshun)(1998)和爱德华·乔治(Edward George)(1996)等学者通过对声音化身、科幻小说和非洲未来主义的磨练，提供了对非裔散居者存在的重新想象。这种扩大表明，黑人音乐不仅是生活和制作的，而且实际上产生了独特的想象力和世界，反映了关于谁被理解为人类的更广泛的辩论。Julian Henrique(2011)对牙买加舞厅音响系统的研究提供了严格的人种学描述，并说明了这些系统是如何在听觉的、肉体的和散居的文化领域中运作和回响的。在他学术的基础上，通过跟踪音响系统在美国和英国的来世，我强调了音响系统文化的路线和循环。我的研究询问了更大的理论辩论，即如何在黑人散居和技术进步的背景下研究声音，这些背景偏离了西方进步叙事的方向。在绘制美国和英国黑人酷儿空间音响系统文化的回响图时，这项工作的一个目的是了解酷儿们是如何接受和改革音响系统的。我的第二个重点领域是黑酷儿研究和性能研究。该项目致力于解决关于音乐和酷儿研究之间的关系，关于声音的人种学研究如何可以被酷儿，以及黑人酷儿迁徙是什么样子的争论。在探索这些线索时，我与汇集了种族、性别、阶级和酷儿理论的学者交谈(Holland，2012；Munoz，1996,1999；E.Patrick Johnson 2001,2003)。我的项目解决了我们如何分析黑人酷儿稍纵即逝的表演方式。随着我的研究重新描绘人、想法和声音旅行的方式，我纳入了关于同性恋和移民之间联系的现有辩论。声音在本质上是迁徙的，我通过声波和低音频率等隐喻来探索这一点。在这里，我的项目从Omi‘seke Natasha Tinsley(2008)那里得到了启示，她挑战了Paul Gilroy(1993)有影响力的“黑大西洋”概念，用一个黑人酷儿分析丰富了谁被理解为“黑大西洋”的一部分。我的工作朝着美国黑人和英国黑人女权主义奖学金的方向发展(夏普，2006；哈特曼，2019；胡克斯1994,2003；卡比，1999,2019；刘易斯，2017)，以分析美国和英国黑人同性恋、女性和移民的性别社会政治状况。我计划探索里根和撒切尔时代，以及这两个政权实施的政策如何损害黑人同性恋、女性和移民的生活质量。然而，尽管气候恶劣，黑人同性恋者、妇女和移民帮助建立了另类世界、空间和声音。值得注意的是，黑人女性和同性恋者的贡献被排除在关于音响系统文化的主流叙事之外。我的项目通过结合女性主义文化研究(McRobbie，1999)作为分析框架，调查了一种不同的历史和时间线。在这样做的时候，我强调了从黑人酷儿和女权主义者的角度，在英国黑人文化研究(Hall，1983,1992；Carby 1999,2019；Gilroy 1993,2013)和美国黑人文化研究(Moten，2003；Spillers，2006 Wood，1998)之间建立联系的重要性。

My project is interdisciplinary and engages performance studies, queer studies, critical ethnography, diaspora and Black feminist cultural studies. I identify three broad theoretical areas that my work intersects with. The first are a set of scholarly debates pertaining to Black diasporic music and sound studies. There has been an important influx of work connecting racial politics to sound and technology (Chude-Sokei 2005; Nelson 2002; Weheliye 2005). These interventions address how Black diasporic music is rendered illegible within white ethno-musicology and sound studies. By honing into sonic embodiment, science fiction, and Afrofuturism, scholars such as Kodwo Eshun (1998) and Edward George (1996) offer a re-imagining of an Afrodiasporic presence. This broadening shows that Black music is not just lived and made, but actually produces distinct imaginaries and worlds that reflect broader debates on who is understood to be human. Julian Henriques' (2011) study of the Jamaican dancehall sound system provides a rigorous ethnographic account and illustrates how these systems operate and resound within an auditory, corporeal and diasporic cultural realm. In building on his scholarship, by following the afterlife of the sound system in the U.S. and in the U.K., I highlight the routes and circulations of sound system culture. My research interrogates larger theoretical debates on how sound can be studied within the context of Black diaspora and technological advancement that decentres western progressive narratives. In mapping the reverberations of sound system culture in Black queer spaces in the U.S. and the U.K., one aim of the work is to understand how queer people received and reformed the sound system. My second focus area is Black queer studies and performance studies. The project grapples with debates pertaining to the relationship between music and queer studies, how ethnographic studies on sound can be queered, and what Black queer migration looks like. Exploring these threads, I converse with scholarship that brings together race, gender, class, and queer theory (Holland, 2012; Munoz, 1996,1999; E. Patrick Johnson 2001, 2003). My project addresses how we might analyse the fleeting performative ways of Black queerness. As my research remaps how people, ideas, and sound travel, I incorporate existing debates on the connection between queerness and migration. Sound is migratory in nature, which I explore through metaphors such as sound waves and bass frequencies. Here my project takes cues from Omi'seke Natasha Tinsley (2008), who challenges Paul Gilroy's (1993) influential concept of the "Black Atlantic", with a Black queer analysis that enriches who is understood to be part of the "Black Atlantic". My work moves in the direction of Black American and Black British feminist scholarship (Sharpe, 2006; Hartman, 2019; hooks 1994, 2003; Carby, 1999, 2019; Lewis, 2017) to analyse the gendered socio-political conditions for Black queers, women and migrants in the U.S. and the U.K. I plan to explore the Reagan and Thatcher era and how the policies put in place by both regimes compromised the quality of life for Black queers, women and migrants. Yet, in spite of this hostile climate, Black queers, women and migrants helped to build alternative worlds, spaces and sounds. Noticeably, the contributions of Black women and queers are left out of dominant narratives about sound system culture. My project surveys a different kind of history and timeline by tying in feminist cultural studies (McRobbie, 1999) as an analytical framework. In doing so, I emphasise the importance of drawing connections between Black British cultural studies (Hall, 1983, 1992; Carby 1999, 2019; Gilroy 1993, 2013) and Black American cultural studies (Moten, 2003; Spillers, 2006 Woods, 1998), from a Black queer and feminist perspective.