::: On this page :::

— Race/Ethnicity & EDM general 

— Music Tourism & Sampling/Collection Cultures

— “Global Ghettotech”

— Afrofuturism

— Race & Performance Theory



::: 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, KaiYou 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.


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 


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 :::


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). (

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. 

Zuberi, Nabeel “Is This the Future? Black Music and Technology Discourse” Science Fiction Studies Vol. 34, No. 2, Afrofuturism (Jul., 2007), pp. 283-300 

::: Race & Performance Theory :::

Muñoz, José Esteban “Disidentifications: Queers of Color and the Performance of Politics” 1999 (intro)

DeFrantz & Gonzalez “Black Performance Theory” 2014 

Johnson, E. Patrick 2003 “Appropriating Blackness: Performance and the Politics of Authenticity” 

Arrizón, Alicia “Queering Mestizaje: Transculturation and Performance” 2006 

Gómez-Peña, Guillermo “Ethno-Techno: Writings on Performance, Activism and Pedagogy” 2005


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