::: On this page :::

— Race/Ethnicity & EDM general

— Music Tourism & Sampling/Collection Cultures

— “Global Ghettotech”

— Afrofuturism

— Race & Performance Theory

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::: Race/Ethnicity & EDM general :::

::: Books :::

Bailey, Marlon M. “Butch Queens Up in Pumps: Gender, Performance, and Ballroom Culture in Detroit” 2013 – University of Michigan Press

Born, Georgina & Hesmondhalgh, David (Eds.) “Western Music and Its Others: Difference, Representation, and Appropriation in Music” 2000

Fikentscher, Kai “You better work: Underground Dance Music in New York” 2000

Hedbidge, D. (1987) Cut ‘n’Mix: Culture, Identity and Caribbean Music London: Routledge.

Stokes, Martin (ed). “Ethnicity, Identity and Music: The Musical Construction of Place” Oxford: Berg Publishers, 1994.

::: Articles & Chapters :::

Back, L. (2000) “Voices of Hate, Sounds of Hybridity: Black Music and the Complexities of Racism” Black Music Research Journal 20 (2), Autumn: 127-149

Bailey, Marlon M. “Performance as Intravention: Ballroom Culture and the Politics of HIV/AIDS in Detroit” Souls: A Critical Journal of Black Politics, Culture, and Society Volume 11, Issue 3, 2009

Bakare-Yusuf, B. (1997) “Raregrooves and raregroovers: a matter of taste, difference and identity” in Hirza, M. (ed. ) Black British Feminism: A Reader London: Routledge: 81-96

Bose, M. (2003) “Race and Class in the Post-subcultural Economy” in Muggleton, D& Weinzierl, R. (eds. ) The Post-Subcultures Reader Oxford and New York: Berg Publishers: 167-180.

Böse, Martina “Difference And Exclusion At Work In The Club Culture Economy” International Journal of Cultural Studies December 2005 vol. 8 no. 4 427-444

Connell, J., & Gibson, C. “World music: deterritorializing place and identity” Progress In Human Geography Vol. 28 no. 3, June 2004, 342-361

Garcia,Luis-Manuel “An alternate history of sexuality in club culture” Resident Advisor Jan 2014.

Gottschild, B. D. (1996) Digging the Africanist Perspective: Dance and other Performance Contexts Westport: Praeger Publishers.

Hall, Joanna Louise “HETEROCORPOREALITIES: POPULAR DANCE AND CULTURAL HYBRIDITY IN UK DRUM’N’BASS CLUB CULTURE” 2009 Thesis, Uni. Surrey

Harney, Stefano and Moten, Fred “The Undercommons: Fugitive Planning & Black Study”

Hernandez, Deborah Pacini “Dancing With The Enemy: Cuban Popular Music, Race, Authenticity, and the World-Music Landscape” Latin American Perspectives Vol. 25, No. 3, May, 1998, pp. 110-125

Hooks, Bell. 1992. “Is Paris Burning?” In Black Looks: Race and Representation. Boston: South End Press, pp. 145-56.

Hutnyk, John Critique of Exotica: Music, Politics and the Culture Industry 2000

James, R., M. Huttunen, et al. (2007). “Deconstruction, Fetishism, and the Racial Contract: On the Politics of” Faking It” in Music.” CR: The New Centennial Review 7(1): 45-80.

Jones, S. (1988) “Black Culture, White Youth: the reggae tradition from JA to the UK” Basingstoke: Macmillan

Lawrence, Tim “The Forging of a White Gay Aesthetic at the Saint, 1980–84”

Lawrence, Tim “Life and Death on the Pulse Dance Floor: Transglocal Politics and Erasure of the Latinx in the History of Queer Dance Culture” Dancecult Vol 8, No 1 (2016)

Noble, D. (2000) “Ragga Music: Dis/Respecting Black Women and Dis/Reputable Sexualities” in Hesse, B (ed. ) Unsettled Multiculturalisms: Diasporas, Entanglements and Transruptions London: Zed Books: 148-169.

Parrish, Theo “Moodmat One Question Interview: Theo Parrish” Moodmat 2008

Patton, Cindy 1993. “Embodying Subaltern Memory: Kinesthesia and the Problematics of Gender and Race”. In The Madonna Connection (Ed. Cathy Schwichtenberg). Oxford: Westview Press, pp. 81-105.

Paul Gilroy Essay Collection (race and multiculturalism, production, afrofuturism)

Pern, Kate “Can we really fix music’s diversity problem?” i-d 8 July 2016

Potter, Russell A. “Not the Same: Race, Repetition, and Difference in Hip-Hop and Dance Music.” In Mapping the Beat: Popular Music and Contemporary Theory, ed. Thomas Swiss, John Sloop and Andrew Herman, 31-46. Malden, M.A.: Blackwell, 1998.

Recke & Weheliye “Popular Orientalism(s) #2: Sonic Alterity – Race, Orientalism and Popular Music” Norient 16 May 2014

Roberts, Joe “Nightclubbing: The Spectrum” February 1, 2016 Red Bull music Academy

Scruggs, G. “Techno City: Race, Space and the DEMF” Spannered 2008

Sharma, Sanjay. “Noisy Asians or ‘Asian Noise’?” In Disorienting Rhythms: The Politics of the New Asian Dance Music, ed. Sanjay Sharma, John Hutnyk, and Ashwani Sharma, 32-57. London: Zed Books, 1996.

Sharma, S., Hutnyk, J., & Sharma, A. (Eds). Dis-Orienting Rhythms: The Politics of the New Asian Dance Music. Zed. [Edited book]. Goldsmiths Research Online. 1996.

Skinner, Ryan Thomas “Artists, Music Piracy, and the Crisis of Political Subjectivity in Contemporary Mali” Anthropological Quarterly Vol. 85, Number 3, Summer 2012, pp. 723-754

St John, Graham “Australian (Alter)natives: Cultural Drama and Indigeneity”. Social Analysis: Journal of Cultural and Social Practice, 200145(1): 122-140.

St John, Graham “Counter Tribes, Global Protests and Carnivals of Reclamation”. Peace Review: A Journal of Social Justice 2004. 16(4): 421-428.

St John, Graham 2003. Post-Rave Technotribalism and the Carnival of Protest, pp. 65-82. In David Muggleton and Rupert Weinzierl (eds) The Post-Subcultures Reader. London: Berg.

St John, Graham 2004. Techno Millennium: Dance, Ecology and Future Primitives, pp. 213-235. In Graham St John (ed.) Rave Culture and Religion, London: Routledge.

Steingo, Gavin. “South African Music After Apartheid: Kwaito, the “Party Politic,” and the Appropriation of Gold as a Sign of Success.” Popular Music and Society, July 2005.

Stanley-Niaah, Sonjah. “Mapping of Black Atlantic Performance Geographies: From Slave Ship to Ghetto.” In Black Geographies and the Politics of Place, ed. by Katherine McKittrick and Clyde Woods, 193-217. Cambridge, MA: South End Press, 2007.

Velayutham, S and A. Wise. 2001. “Dancing with Ga(y)nesh: Rethinking Cultural Appropriation in Multicultural Australia.” Postcolonial Studies 4(2), 143-160.

Ware, V& Back, L. (2002) Out of “Whiteness: Colour, Politics and Culture” Chicago: University of Chicago Press.

Williams, Gilbert. 1986. “The Black Disc Jockey as Cultural Hero.” Popular Music and Society 10(3), 79-9

::: Music Tourism & Sampling/Collection Cultures :::

Banneýea, K. (2000) “Sounds of Whose Underground? The Fine Tuning of Diaspora in an Age of Mechanical Reproduction” Theory, Culture & Society 17 (3): 64- 79.

Clayton, Jace “Search and Rescue” Frieze, Issue 117 September 2008

Connell, J., & Gibson, C. “World music: deterritorializing place and identity” Progress In Human Geography Vol. 28 no. 3, June 2004, 342-361

Hutnyk, John Critique of Exotica: Music, Politics and the Culture Industry 2000

Krüger, Simone., & Trandafoiu, Ruxandra (Eds) “The Globalization of Musics in Transit: Music Migration and Tourism” New York: Routledge, 2014.

Théberge, Paul. 2003. “‘Ethnic Sounds’: The Economy and Discourse of World Music Sampling, ” in Music and Technoculture, edited by René T.A. Lysloff and Leslie C. Gay Jr., 93-108. Middletown, CT: Wesleyan University Press.

Loza, Susana “The Politics of Sampling: Digital Dance Music and the (Re)Construction of Race, Sex, and Class ”

Loza, Susana “Global Rhetoric, Transnational Markets: The (Post)Modern Trajectories of Electronic Dance Music” Thesis UC 2004

Melville, Caspar “Mapping the Meanings of Dance Music” (Globalization & South Africa) UNESCO Courier , July 2000

Mendes, Ana Cristina “THE BROWN CULTURE INDUSTRY: THEODOR ADORNO MEETS TALVIN SINGH”

Stokes, Martin, “On Musical Cosmopolitanism”. The Macalester International Roundtable Paper 3, 2007 \

Swedenburg, Ted “The ‘Arab Wave’ in World Music After 9/11” Anthropologica Vol. 46, No. 2, 2004, pp. 177-188

Tucker, Boima “The Scramble for Vinyl” Africa Is A Country September 14th, 2010

Unfashionably Late “Musical Tourism, Ethical Consumption and other blog resonances pinging through my mind” Unfashionably Late: So Far Behind We’re Ahead.

Unfashionably Late “Neocolonialism, Authenticity, and the Ethics of World Music” Unfashionably Late: So Far Behind We’re Ahead.

Watson, Allan “Sound Practice: A Relational Economic Geography Of Music Production In And Beyond The Recording Studio” 2012

::: Global Ghettotech :::

Bailey, Thomas B. W. “WHAT IN THE WORLD IS “GLOBAL GHETTOTECH”: RADICAL RIDDIMS OR NEO-EXOTICA?” Vague Terrain 2010

Goodman, Steve “Sonic Warfare: Sound, Affect, and the Ecology of Fear” 2010

Marshall, Wayne. 2007. “Global Ghettotech vs. Indie Rock: The Contemporary Cartography of Hip, ” wayne & wax, October 24.

Marshall, Wayne. 2007. “Local Ghettotech (vs. Gobbledecrunk)”wayne & wax

Marshall, Wayne. “Nu Planetary Wot-U-Call-It 2.5.5” wayne & wax 2010

Rocha, C. “Global Ghettotech” Norient 13 June 2009

::: Afrofuturism :::

::: Books :::

Goodman, Steve “Sonic Warfare: Sound, Affect, and the Ecology of Fear” 2010

Weheliye, Alexander G. “Phonographies: Grooves in Sonic Afro-Modernity” 2005

Womack, Ytasha L. “Afrofuturism: The World of Black Sci-Fi and Fantasy Culture“ 2012

::: Articles & Chapters :::

Dancecult journal issue on afrofuturism (Vol. 5, No. 2, 2013). (Contents )

Davis, Erik “Roots and Wires Remix: Polyrhythmic tricks and the Black Electronic” in Miller, Paul D. (ED.) Sound Unbound: Sampling Digital Music and Culture

Eglash, R. (2009). “Oppositional Technophilia.” Social Epistemology 23(1): 79-86

Ferrigno, Emily D. “The Dark Side: representing science fiction in drum ‘n’ bass” New Review of Film and Television Studies Volume 9, Issue 1, 2011

Eshun, Kodwo. 2003. “Further Considerations on Afrofuturism”. The Centennial Review 3(2): 287–302.

Fisher, Mark “The Metaphysics of Crackle: Afrofuturism and Hauntology” Dancecult Vol. 5, No. 2, 2013

Gauthier, Francois. 2005. “Orpheus and the Underground: Raves and Implicit Religion, a Critical Analysis”. Journal for the Implicit Study of Religion 8(3): 217–65.

Hobson, J. (2008). “Digital Whiteness, Primitive Blackness.” Feminist Media Studies 8(2): 111-126.

Jonker, J. (2002). “Black Secret Technology (The Whitey on the Moon Dub).” CTheory 25(3).

Kreiss, D. (2008). “Appropriating the Masterís Tools: Sun Ra, The Black Panthers, and Black Consciousness, 1952-1973.” Black Music Research Journal 28(1).

McLeodl, Ken “Space oddities: aliens, futurism and meaning in popular music” Popular Music / Volume 22 / Issue 03 / October 2003, pp 337-355

Medosch, A. (2005). “Roots Culture: Free Software Vibrations Inna Babylon.” Sarai Reader 2005

Reddell, Trace “Ethnoforgery and Outsider Afrofuturism” Dancecult Vol. 5, No. 2, 2013

Reynaldo Anderson “Fabulous: Sylvester James, Black Queer Afrofuturism and the Black Fantastic” Dancecult Vol. 5, No. 2, 2013

Rollefson, J. Griffith “The “Robot Voodoo Power” Thesis: Afrofuturism and Anti-Anti-Essentialism from Sun Ra to Kool Keith” Black Music Research Journal Vol. 28, No. 1, Becoming: Blackness and the Musical Imagination (Spring, 2008), pp. 83-109

Schaub, Christoph “Beyond the Hood? Detroit Techno, Underground Resistance, and African American Metropolitan Identity Politics”

van Veen, tobias c. “Afrofuturism Unbound: tobias c. van Veen in conversation with Paul D. Miller” Dancecult Vol. 5, No. 2, 2013

van Veen, Tobias C. “Vessels of Transfer: Allegories of Afrofuturism in Jeff Mills and Janelle Monáe” Dancecult Vol. 5, No. 2, 2013

Weheliye, A. (2002). “”Feenin”: Posthuman Voices in Contemporary Black Popular Music.” Social Text 20(2): 21.

Weheliye, Alexander G. “The Grooves of Temporality” Public Culture 2005 17(2): 319–38

Williams “Black Secret Technology: Detroit Techno and the Information Age” in Nelson, Allondra et al. Technicolor: Race, Technology, and Everyday Life

Wright, M. (2002). “Racism, Technology, and the Limits of Western Knowledge.” Domain Errors.