Hip Hop Museology: Remixing Museum Practices around Black British Popular Culture

无论是作为博物馆参观者、历史和非洲研究专业的学生，还是最近作为博物馆专业人员，博物馆实践中围绕英国黑人流行文化的巨大差距对我来说都是再清楚不过的了。我主要在英格兰长大，我的研究兴趣集中在将黑人流行文化纳入英国政治机构并赋予其权力的冲动。我的作品讲述了加纳高级生活的全球化，Ananse/Anansi The Spider的跨国转变，英国工人阶级黑人女性的自下而上的历史，以及非洲博物馆收藏品的口述历史、来源和归还。该项目呼吁捐款以弥补这一差距，这让我非常感兴趣，并鼓励我申请。虽然这个项目强调了分析博物馆结构和实践的内部认识论基础的重要性，但也应该考虑英国黑人流行文化中博物馆结构的外部看法。因此，我对这个项目的态度将以社区为中心。我提出的问题将集中在一些问题上，比如：‘博物馆’这个词对黑人社区意味着什么/它们是如何(重新)定义的？博物馆是如何用英国黑人流行文化进行插图的？(包括歌词、漫画、社交媒体)谁拥有英国黑人流行文化？为了适应博物馆/博物馆内的权力结构，它为什么/如何“混合”？

The wide gap in museum practice surrounding Black popular culture in the UK has been made all too clear to me, whether as a museum visitor, a student of history and African studies, or most recently as a museum professional. Having grown up mostly in England, my research interests focus on the urge to include and empower Black popular culture in English political institutions. My work has addressed the globalisation of Ghanaian Highlife, transnational transformations of Ananse/Anansi the Spider, bottom-up histories of working-class Black women in Britain, and oral histories, provenance and restitution of African museum collections. The Project's call for contributions to close this gap greatly interested me and encouraged my application. Whilst this Project highlights the importance of analysing the internal epistemological foundations of museum structures and practices, the way in which museum structures are externally viewed in Black British popular culture should also be considered. Therefore, my approaches to this project will be community focused. My refined proposed questions would focus on concerns such as:What does the term 'museum' mean to Black communities/how are they (re)defined? How are museums illustrated in Black British popular culture? (Including within lyrics, comics, social media)Who 'owns' Black British popular culture? Why/How is it 'remixed' in order to adapt to the power structures of/in museums?