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

该项目将首次对二战结束至1981年间英国散居听众的听力实践进行历史考察，即社会和历史上制定的倾听和参与声音的方式。1981年，英格兰各地的种族主义警察引发了骚乱。战后移民改变了英国的社会结构，但在这一时期，人们很少关注作为种族他者倾听或被倾听的经历。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要的遗漏。将广播作为战后聆听文化的纽带，我将使用Stoever（2016）的“声音颜色线”概念作为起点，该概念认为种族是通过声音构建和体验的。在将斯托弗的美国焦点转移到英国的过程中，我将以英国的声音研究奖学金为基础，包括曼塞尔（2017）和圭达（2022），同时接受斯坦戈和赛克斯（2019）的挑战，从全球南方及其侨民的角度重新思考声音研究。考察英国广播和声音研究中这些未被充分探索的观点，本项目将回答以下问题：广播如何与强化英国/他者性声音的种族化概念有关，广播如何为散居社区提供多模式舞台，以回应种族、移民和国籍？方法：我将分析档案记录，详细介绍英国各地南亚和西印度社区与广播和收听的接触，并在中部地区进行关键案例研究。除了书面资料外，我还将参考声音收藏，以参与该时期的录音广播，并深入了解被认为值得保留的录音。借鉴广播学术，我将采用Lacey（2013）的“另类聆听实践”理论，作为历史分析的框架。在《波特》（2012）和《鳞片》（2018）的基础上，但分散了它们对机构/大都市的关注，我将优先考虑散散的听众如何遇到广播，形成新的听觉表达类型，并将自己想象成（后殖民）国家的一部分。影响这个项目独特的学术贡献是它对种族和侨民对-à-vis在英国背景下的收听和广播参与的分析。在有限的音乐领域之外，类似的研究是有限的。受布莱希特（Brecht, 1932）的热情启发，无线电可以作为一种交流工具，我将利用我的研究所得的知识和我作为声音艺术家的经验，以一种公共声音装置的形式创作我的学术工作的延伸，这种装置使用了来自中部地区南亚和西印度社区的广播收听记录。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，以获得对我的研究和艺术延伸的兴趣和参与。为了向公众展示我的作品，我的目标是与诺丁汉当代艺术学院合作，作为他们“声波连续体”项目的一部分，从而为一个社会环境做出贡献，在这个社会环境中，散散的倾听——在其交际、历史、艺术和政治意义上——被公众观众和创造性从业者给予更多的考虑。

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.