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，批判民族志，散居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。第一个是一系列关于黑人散居音乐和声音研究的学术辩论。有大量的工作将种族政治与声音和技术联系起来（Chude-Sokei 2005;纳尔逊2002; Weheliye 2005）。这些干预措施解决了黑人散居音乐是如何在白色民族音乐学和声音研究中变得难以辨认的。通过对声音化身、科幻小说和非洲未来主义的研究，Kodwo Eshun（1998）和Edward乔治（1996）等学者对非洲裔的存在进行了重新想象。这种扩大表明，黑人音乐不仅是生活和制作的，而且实际上产生了不同的音乐和世界，反映了关于谁被理解为人类的更广泛的辩论。Julian Henriques（2011）对牙买加舞厅音响系统的研究提供了严格的民族志解释，并说明了这些系统如何在听觉，Corpus和散居文化领域内运作和回响。在他的奖学金的基础上，通过跟踪美国和英国音响系统的来世，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，关于如何在黑人散居和技术进步的背景下研究声音，从而使西方进步叙事偏离中心。在绘制美国和英国黑人酷儿空间音响系统文化的反响时，这项工作的目的之一是了解酷儿是如何接受和改革声音系统的。我的第二个重点领域是黑人酷儿研究和表演研究。该项目努力解决有关音乐和酷儿研究之间的关系的辩论，如何对声音进行人种学研究，以及黑人酷儿移民是什么样子。探索这些线索，我与学术匡威，汇集了种族，性别，阶级和酷儿理论（荷兰，2012年;穆尼奥斯，1996年，1999年; E。帕特里克约翰逊2001，2003）。我的项目解决了我们如何分析黑色酷儿的短暂表现方式。当我的研究重新映射人，思想和声音的传播方式时，我结合了关于酷儿和移民之间联系的现有辩论。声音在本质上是迁移的，我通过声波和低音频率等隐喻来探索。在这里，我的项目从Omi'seke Natasha Tinsley（2008）那里得到了线索，他挑战了Paul Gilroy（1993）有影响力的“黑色大西洋”概念，并对黑人酷儿进行了分析，丰富了谁被理解为“黑色大西洋”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年;哈特曼，2019年;钩子1994年，2003年;卡比，1999年，2019年;刘易斯，2017年），以分析黑人同性恋者，妇女和移民的性别社会政治条件在美国和英国。我计划探索里根和撒切尔时代，以及两个政权实施的政策如何损害了黑人同性恋、妇女和移民的生活质量。然而，尽管这种敌对的气氛，黑人同性恋者，妇女和移民帮助建立替代的世界，空间和声音。值得注意的是，黑人妇女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。我的项目调查了一种不同的历史和时间轴，将女性主义文化研究（McRobbie，1999）作为一个分析框架。在这样做的时候，我强调绘制黑色英国文化研究（霍尔，1983年，1992年; Carby 1999年，2019年;吉尔罗伊1993年，2013年）和美国黑人文化研究（Moten，2003年; Spillers，2006年伍兹，1998年）之间的联系的重要性，从黑人酷儿和女权主义者的角度来看。

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.