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

该研究项目将侧重于非洲裔加勒比树根雷鬼对地方、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的有时抽象的理解如何与我们日常生活中公开存在的文化相互作用，这是至关重要的。正如联合国最近在第十届缔约方会议上关于生物多样性目标进展情况的报告中指出的那样，全球各国政府未能重视传统知识体系并将其纳入保护自然环境的战略(《生物多样性公约秘书处2020》，第112页)。我认为，其中一些与环境相关的替代知识系统嵌入了加勒比海音乐，在历史上，加勒比音乐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、与牙买加的雷鬼社区以及在大量加勒比海侨民定居的英国各地的城镇进行对话，以及在研究区域建立一个可访问的档案，来确定雷鬼范例中的一种‘非殖民主义绿色’美学。它将探索根雷鬼，对于表演者和听众来说，是如何构建和调解与周围环境的关系。毕竟，根雷鬼歌手拥有“预言性的声音，在荒野中呼喊的声音，向社会说话的严峻声音，诗篇作者的声音”(Dawes 1999,121)。这项研究不会将全球雷鬼社区描绘成同质的，也不会争辩根雷鬼音乐风格在代表自然世界方面是一致的，而是将其分析集中在典型的根雷鬼风格上，同时仍然检查该流派的一些微妙之处。

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.