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

无论是作为一名博物馆参观者、一名历史和非洲研究的学生，还是最近作为一名博物馆专业人员，我都清楚地看到，在英国，围绕黑人流行文化的博物馆实践存在着巨大的差距。我主要在英国长大，我的研究兴趣集中在把黑人流行文化纳入英国政治制度并赋予其权力的冲动上。我的工作涉及加纳海上生活的全球化，阿南西/蜘蛛阿南西的跨国转型，英国工人阶级黑人妇女自下而上的历史，以及口述历史，非洲博物馆藏品的来源和归还。该项目呼吁捐款以弥补这一差距，这使我非常感兴趣，并鼓励我申请。虽然本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，但也应该考虑在英国黑人流行文化中外部看待博物馆结构的方式。因此，我对这个项目的方法将以社区为中心。我提出的精炼问题将集中在以下问题上：“博物馆”一词对黑人社区意味着什么/它们是如何（重新）定义的？博物馆在英国黑人流行文化中是如何体现的？（包括歌词、漫画、社交媒体）谁拥有英国黑人流行文化？为了适应博物馆的权力结构，它为什么/如何“重新混合”？

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?