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“No black or other non-white musicians will be surprised by this.”
No comment.
Question: do we laugh or cry? https://twitter.com/thewiremagazine/status/1280145285516230656
No comment.
Question: do we laugh or cry? https://twitter.com/thewiremagazine/status/1280145285516230656
Policing the borders of ‘experimental sound and music.’ https://twitter.com/coreymwamba/status/1280298480246849536
“Where the hell is everyone else?”
We’re here.
An alternative question: why is it that adventurers in sound and music can’t find us?
We’re here.
An alternative question: why is it that adventurers in sound and music can’t find us?
“The industry they control wasn’t so powerful and influential…”
What makes them powerful and influential? What roles do publications such as The Wire play in ensuring that power and influence flows through those particular channels?
What makes them powerful and influential? What roles do publications such as The Wire play in ensuring that power and influence flows through those particular channels?
(The phrase possessive investment comes to mind.)
“Are black or other non-white musicians not composing and performing such music…?”
Or are terms such as “experimental music, sound art, electronic composition, field recordings, drones, ambient” defined to exclude?
Or are terms such as “experimental music, sound art, electronic composition, field recordings, drones, ambient” defined to exclude?
Does the repetition of these terms act to police racial borders? And what happens when journalists and publications define their work according to those markers?
“The world of experimental sound and music is more vast and expansive than you know.”
Or perhaps it isn’t.
How is ‘the experimental’ defined? Who maintains these definitions? And how might arts journalists be implicated in perpetuating these definitions?
Or perhaps it isn’t.
How is ‘the experimental’ defined? Who maintains these definitions? And how might arts journalists be implicated in perpetuating these definitions?
An additional questions: why do so many White West European journalists have such a hard time writing about Black and Brown artists who live and work in Europe? Why is it so difficult to question the narrative of White Modernity and European Experimentalism?
And another: why is it so hard for journalists to avoid or question racial tropes (from the lazy shorthands invoking hyper-masculinity and bodies, for example, in describe Black creative musics, to the fetishization of austerity and inscrutability of Asian Noise)?
