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

背景这个项目将首次对二战结束至1981年英国散居海外的听众的倾听实践--社会和历史上建立的倾听和接触声音的方式--进行历史考察，这一年，整个英格兰的种族主义警察引发了动乱。战后移民改变了英国的社会结构，但在这一时期，人们对作为种族他者倾听或被倾听的经历给予的关注很少。考虑到电台在这一时期的重要性，在这一时期缺乏关于散居国外的电台参与的学术研究是一个重大的省略。将广播视为战后收听文化的纽带，我将以斯托弗(2016)S的“音色线”概念为起点，这一概念认为种族是通过声音构建和体验的。将Stoever的美国重点转移到英国，我将在包括曼塞尔(2017年)和Guida(2022年)在内的英国声音研究奖学金的基础上，接受斯坦戈和赛克斯(2019年)的S挑战，从全球南方及其侨民的角度重新思考声音研究。这个项目考察了英国广播和声音研究中这些未被探索的观点，将回答以下问题：广播如何涉及到强化种族主义的不列颠/他者概念，以及广播如何为散居海外的社区提供多模式的舞台，以应对种族、移民和国籍？方法我将分析档案记录，详细描述英国各地南亚和西印度社区与广播和收听的接触，并以中部地区的关键案例研究为例。除了书面资料，我还将查阅声音收藏，参与那个时期的录音广播，并深入了解那些被认为值得保留的录音。借助无线电学术知识，我将采用莱西(2013年)S的‘另类听力练习’理论，作为历史分析的脚手架。在波特(2012)和Scales(2018)的基础上，但偏离他们的机构/大都市的重点，我将优先讲述散居海外的听众如何遇到广播，形成新类型的听觉表达，并将自己想象为(后殖民)国家的一部分。影响这个项目的独特学术贡献是它分析了种族和散居海外与英国背景下的收听和广播参与的对比。在有限的音乐领域之外，类似的研究是有限的。受到布莱希特(1932)对无线电可以作为一种交流工具的热情的启发，我将利用我的研究产生的知识和我作为声音艺术家的经验，以公共声音装置的形式来扩展我的学术工作，该装置使用来自中部地区南亚和西印度群岛社区的无线电收听录音。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。对于作品的公开展示，我的目标是与诺丁汉当代大学合作，作为他们的“音速连续”计划的一部分，从而为社会环境做出贡献，在这种社会环境中，散居海外的倾听--在其传播、历史、艺术和政治意义上--得到公众观众和创作实践者的更多考虑。

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.