Resonant Frequencies: Radio, Race, and Diasporic Listening in Britain, 1945 - 1981

该项目将提供第一次历史性的听力实践检查-社会和历史上建立的听力和与声音互动的方式-从第二次世界大战结束到1981年，英国各地种族主义警察引发骚乱的一年。战后移民改变了英国的社会结构，但在这一时期，作为种族他者的倾听或被倾听的经历受到了有限的关注。考虑到广播在这一时期的重要性，在这一时期缺乏关于散居者与广播接触的学术研究是一个重大的遗漏。以收音机作为战后倾听文化的纽带，我将使用Stoever（2016）的“声音颜色线”概念，即种族是通过声音构建和体验的想法，作为起点。在将Stoever的美国重点转移到英国时，我将建立在英国声音研究奖学金的基础上，包括Mansell（2017年）和Guida（2022年），同时接受Steingo和Sykes（2019年）的挑战，从全球南方及其侨民的角度重新思考声音研究。检查这些unexplored英国广播和声音研究的角度来看，这个项目将回答thesquestions：如何无线电牵连在加强种族化的概念，声音英国/英国，以及，无线电如何提供多模式的舞台散居社区，以应对种族，移民和国籍？MethodsI将分析档案记录，详细介绍了在英国各地的南亚和西印度群岛社区与广播和收听的遭遇，在中部地区的关键案例研究。除了书面资料外，我还将查阅声音收藏，以了解这一时期的录音广播，并深入了解被认为值得保留的录音。借鉴无线电奖学金，我将适应莱西（2013）的理论“另类听力实践”，作为脚手架的历史分析。在Potter（2012）和Scales（2018）的基础上，但分散了他们的机构/大都市焦点，我将优先考虑散居听众如何遇到广播，形成新的听觉表达类型，并想象自己是（后殖民）nation.ImpactThis项目的独特学术贡献的一部分是种族和散居维斯维斯收听和英国背景下的广播参与的分析。在音乐领域之外，类似的研究是有限的。灵感来自布雷希特的热情（1932年），无线电可以作为一种通信设备的功能，我将使用我的研究和我作为一个声音艺术家的经验所产生的知识，以创建一个公共声音装置的形式，从南亚和西印度群岛中部社区的无线电收听使用记录的回忆创建我的学术工作的延伸。我的目标是与东米德兰兹口述历史档案馆和诺丁汉黑人档案馆合作，以获得兴趣和参与我的研究和艺术延伸。对于作品的公开展示，我的目标是与诺丁汉当代艺术中心合作，作为他们“声波连续体”计划的一部分，从而为社会环境做出贡献，在这种环境中，散居的倾听-在其交流，历史，艺术和政治意义上-得到公众和创意从业者更多的考虑。

ContextThis project will deliver the first historical examination of the listening practices - the socially and historically instituted ways of listening and engaging with sound - of diasporic listeners in Britain from the end of the Second World War to 1981, a year when racist policing across England sparked unrest. Postwar migration changed the social fabric of Britain, but limited attention has been given to experiences of listening or being listened to as a racial Other in this period. Considering radio's importance during this period, the lack of scholarship on diasporic engagements with radio during this period is a significant elision. Taking radio as a nexus of postwar listening culture, I will use Stoever (2016)'s notion of the 'sonic color line,' the idea that race is constructed and experienced via sound, as a starting point. In transposing Stoever's US focus to Britain, I will build upon British sound studies scholarship including Mansell (2017) and Guida (2022), while taking up Steingo and Sykes (2019)'s challenge to rethink sound studies from the perspective of the global south and its diasporas. Examining these underexplored perspectives in British radio and sound studies, this project will answer thequestions: how was radio implicated in reinforcing racialised notions of sonic Britishness/Otherness, and, how did radio provide multimodal arenas for diasporic communities to respond to race, migration, and nationality?MethodsI will analyse archival records detailing encounters with radio and listening by South Asian and West Indian communities throughout Britain, with key case studies in the Midlands. Alongside written sources, I will consult sound collections to engage with recorded broadcasts from the period and gain insights into the recordings deemed worthy of retention. Drawing on radio scholarship, I will adapt Lacey (2013)'s theory of 'alternative listening practices', as scaffolding for historical analysis. Building on Potter (2012) and Scales (2018), but decentring their institutional/metropolitan focus, I will prioritise how diasporic listeners encountered radio, formed new types of auditory expression, and imagined themselves as part of the (post-colonial) nation.ImpactThis project's unique academic contribution is its analyses of race and diaspora vis-à-vis listening and radio engagement within a British context. Beyond the circumscribed domain of music, similar research is limited. Inspired by Brecht's enthusiasm (1932) that radio may function as a communicative apparatus, I will use knowledge generated by my research and my experience as a sound artist to create an extension of my academic work in the form of a public sound installation created using recorded recollections of radio listening from South Asian and West Indian communities in the Midlands. I aim to partner with East Midlands Oral History Archive and Nottingham Black Archive to garner interest and participation in both my research and the artistic extension. For public presentation of the work, I aim to collaborate with Nottingham Contemporary as part of their 'Sonic Continuum' programme, thus contributing to a social environment where diasporic listening - in its communicative, historical, artistic, and political senses - is given greater consideration by public audiences and creative practitioners.