A 'decolonial green' aesthetic: how roots reggae reflects and constructs Caribbean and Caribbean diasporic listeners' practices and attitudes towards

该研究项目将集中在非洲-加勒比根雷鬼的地方，自然和环境正义的叙述。虽然关于拟议研究的不同要素的文献正在迅速增长，但这些要素相交的领域尚未得到重大探索。更深入地了解我们对气候紧急情况有时是抽象的理解是如何与文化相互作用的，这在我们的日常生活中是显而易见的，是至关重要的。正如联合国最近关于COP10设定的生物多样性目标进展情况的报告所述，全球各国政府未能重视传统知识系统，并将其整合到保护自然环境的战略中（2020年生物多样性公约秘书处，112）。我认为，这些与环境相关的另类知识体系中，有一些嵌入在加勒比音乐中，在历史上一直在日常生活中发挥着重要作用。最终，该项目将主要通过音乐分析，与牙买加和英国各地的雷鬼社区的对话，以及大量加勒比移民定居的城镇，以及在研究领域建立一个可访问的档案，来确定雷鬼范式中的“非殖民化绿色”美学。它将探讨雷鬼的根源，对于表演者和听众来说，如何构建和调解与周围环境的关系。毕竟，草根雷鬼歌手拥有一种“预言的声音，在荒野中呼喊的声音，对社会说话的格里奥的声音，诗人的声音”（Dawes 1999,121）。本研究不会将全球雷鬼音乐社区描绘成同质化的，也不会争论根雷鬼音乐风格在其对自然世界的表现上是一致的，而是将其分析集中在一个范例的根雷鬼风格上，同时仍然研究了一些流派的微妙之处。

The research project will focus on the narratives of place, nature and environmental justice in African-Caribbean roots reggae. Whilst the literature on the distinct elements of the proposed research is growing rapidly, the field where these elements intersect is yet to be explored significantly. A deeper understanding of how our sometimes abstract understanding of the climate emergency interacts with culture, which features overtly in our everyday lives, is vital. As stated in the UN's recent report on the progress of the biodiversity goals set at COP10, governments across the globe have failed in placing value on, and integrating, traditional knowledge systems into strategies to protect the natural environment (Secretariat of the Convention on Biological Diversity 2020, 112). I argue that some of these alternative knowledge systems related to the environment are embedded within Caribbean music which has historically played an important role in the everyday.Ultimately the project will identify a 'decolonial green' aesthetic in the reggae paradigm principally through musical analysis, conversations with the reggae community in Jamaica and in cities and towns throughout theUK where significant numbers of the Caribbean Diaspora have settled, and the creation of an accessible archive on the research area. It will explore how roots reggae, for both performers and listeners, constructs and mediates the relationship with the surrounding environment. After all, the roots reggae singer possesses a "prophetic voice, the voice crying out in the wilderness, the griot voice speaking to society, the psalmist's voice" (Dawes 1999, 121). The research will not portray the global reggae community as homogenous, nor argue that roots reggae musical style is consistent in its representation of the natural world, but focus its analysis on a paradigmatic roots reggae style, whilst still examining some of the genre's subtleties.