Abstract
Abstract
Chapter 4, “Who Stole the Soul? Rhythm and Race in the Digital Age,” asks: What is the relationship between rhythm and race in the digital age, when mastery of rhythm is no longer necessarily tied to ritual, to manual drumming, and to the physical, bodily re-creation of rhythm? When electronic and digital media allow virtually anyone the ability to “drum,” what happens to the long-standing association between blackness and rhythm, perhaps one of the most enduring tropes of Caribbean sound cultures? The chapter draws connections between the apparent redundancy of revolutionary, anticolonial thinking in the present and the perhaps less apparent decoupling of rhythm and race in contemporary musical styles. If the teleologies of anticolonial politics no longer hold true, has rhythm as a marker of time, and an integral element in the poetics of resistance, lost its association with radical blackness, and become a deracialized, dehistoricized commodity?
Publisher
Oxford University PressNew York
Reference218 articles.
1. Image and Silence.;Diacritics,2012
2. Altman, Rick. “Introduction: Four and a Half Film Fallacies.” Sound Theory/Sound Practice. Ed. Rick Altman. New York: Routledge, 1992: 35–45.
3. The Silence of the Silents.;The Musical Quarterly,1996
4. Attali, Jacques. “Listening.” Hearing History: A Reader. Ed. Mark M. Smith. Athens and London: University of Georgia Press, 2004: 10–22.