Tamworth, Australia's ‘country music capital’: place marketing, rurality, and resident reactions

Since the 1970s, Tamworth has become well known as Australia's ‘country music capital’. Its annual Country and Western Music Festival has become the leading event of its type in Australia, attracting over 60,000 visitors every year. The festival, and country music more generally, have become central to the town's identity and tourism marketing strategies. This article discusses the social constructions that have surrounded Tamworth's transition to ‘country music capital’—of the ‘rural’, and of ‘country’—within the context of debates about the politics of place marketing. Textual analysis of promotional material and built landscapes reveals representations of rurality (or ‘senses of the rural’). In their most commercial form, representations of rurality converge on a dominant notion of ‘country’, quite different from the ‘countryside’ and ‘rural idyll’ in England. This dominant, or normative ‘country’ forms the basis of imagery for the festival, the Town's marketing strategy, and associated advertising campaigns by major sponsors. It is predominantly masculine, white, working class and nationalist. But links between musical style and discourses of place are complex. Colonial British histories, Celtic musical traditions and North American popular culture all inform ‘country’ in Tamworth, dissipating nationalist interpretations. Normative constructions also contrast with other, heterogeneous ruralities in Australia, that include the lived experiences of rural Australians, and on stage—in country music—where multiple ‘ruralised’ identities are performed. Even those who stand to benefit from place promotion have been uncertain about country music and ‘the country’, because of associated discourses of Tamworth as ‘hick’ and ‘redneck’. In the final section of the paper, reactions of residents to constructions of Tamworth as country music capital are discussed, via the results of a simple resident survey. In contrast to previous studies of the disempowering politics of place marketing, Tamworth residents were on the whole supportive of the new associations and images for the town, despite ‘hick’ connotations, as it has become a centre for ‘country’, and for country music. Reasons for this are explored, and resistances discussed. The result is a complex and entangled politics of national identity, gender, race and class, where meanings for place are variously interpreted and negotiated.     

“Brown girls can’t be gay”: Racism experienced by queer South Asian women in the Toronto LGBTQ community

Abstract

The absence of scholarship on South Asian discrimination in Western queer discourse contributes to a narrative that South Asians are not subjected to racially charged forms of discrimination in the LGBTQ community, which is fundamentally untrue. This article presents narrative-based accounts of nine queer South Asian women in Toronto, Canada, to examine the ways in which they experience racial discrimination in the LGBTQ community, and the impact that this mistreatment has on identity formation and connectivity to queer spheres. It finds that queer South Asian women experience racial discrimination in the form of racially charged microaggressions, which are evidenced through expectations of assimilation to Western-normative performances of queer identity and erasure of South Asian culture in the LGBTQ community. Further, it reveals that Toronto’s LGBTQ community perpetuates a culture of White privilege that discredits the intersectional identity of queer South Asian women, and consequently invisibilizes, alienates, and revokes agency from these women who do not fit the majority’s conceptualizations about what a queer woman looks like.     

Another Kind of Rainbow Politics

Abstract

Race has been a particularly troublesome concept in the United States. It is especially problematic as it is applied to Latinos. While several perspectives are presented to examine race, race relations, and racial dynamics regarding Latinos in the U.S., this essay primarily relies on Omi and Winant's racial formation theory as a means for understanding the position of Latinos in the racial hierarchy of the United States. The authors argue that the experience of Latinos in the U.S. has taken place within a “racial” context, and as a result, have been involved in a racialization process throughout their history in this country. More specifically, the authors identify several contradictory racial projects that have shaped our current views of Latinos as a “racial group”: Latinos as a panethnic group, a rainbow race and a race towards whiteness. These Latino racial projects are discussed within a racial formation framework. Furthermore, the role that the state plays in shaping the contours of race relations regarding Latinos is examined.     

Home of the Brave,Frantz Fanon and cultural pluralism

Abstract

This article examines Mark Robson's Home of the Brave (1949, USA), a Hollywood social problem drama about anti-black racism, and the brief but vivid response to the film presented in Frantz Fanon's Black Skin, White Masks (1952). Fanon enables a rethinking of some of the film's most central assumptions and the discourses upon which the story relies. At the same time, Fanon's response conveys information about his own biography and his perspectives on cultural representation generally. The article examines the film as a document that reveals competing claims about anti-black racism and, through Fanon's commentary, revisits the relationship between cultural pluralism and racial ideologies in the mid-20th century USA. The article explores the nature of Fanon's anti-racist commentary on the film as a form of 'cultural studies' that offers transnational historical insight and simultaneously provides ways of re-examining the national specificity of race thinking.     

INTIMACY,QUEERNESS, RACE

‘What do we see when we look at ourselves?’ asked South African visual activist/artist Zanele Muholi in her 2006 photographic collection Only Half the Picture. The question, a deeply challenging introspection, required black women in particular to reflect on the ways in which history has made us not look at ourselves, but be looked at. The images Muholi presented were viewed as both troubling and liberating. This article, using a queer framework, is concerned with recoding the ways in which black women's bodies and female sexuality have been represented in post-colonial contexts. Using Zanele Muholi's photography, the article opens possibilities for claiming an erotic position for the black female's ‘queer’ body. This is further complicated by racial dynamics. The article argues that such representations work against painful colonial histories of black female torture while also desexualizing the black female.     

The Meaning of Queer Home

Abstract

This article positions two proto-queer texts together in order to demonstrate how the development of American “queer subjectivity” arose as a discernible discursive and embodied notion related to “home.” Written before the arrival of the queer category, Audre Lorde’s Zami: A New Spelling of My Name (The Crossing Press, Freedom, CA, 1982) and Leslie Feinberg’s Stone Butch Blues (Alyson Press, Los Angeles, CA, 2003, original work published 1993) concentrate upon the home as a site conditioned by twin concerns that would become central to queer politics: “the home” as narrative metaphor and homes as real-world shelters. Queering the home stretches and scrambles the home category (“dyke bar as home,” “Black lesbian sisterhood as home,” “body as home”) while insisting upon self-defined, material structures of protection and comfort for queers. The article performs a “reading through skin” of queer scholarship and of sociological data. It argues that these queer-emergent texts helped establish notions of “queer home” via exploring metaphoric and empirical axes related to domestic space.     

Between butch/femme: On the performance of race,gender, and sexuality in a YouTube web series

Drawing on a legacy of Black television and film production, Black web series remediate earlier media forms in order to usher in a twenty-first-century revival of indie Black cultural production. Specifically, video sharing and social media platforms operate as a sphere in which content creators and users are afforded unique opportunities to engage with video content and each other on a variety of levels. Focusing on the YouTube media sphere, one can also observe the myriad ways in which the performance of race, gender, and sexuality influences the types of discourse that circulate within these sites. In watching and analyzing Black queer web series on YouTube, I examine how the performance of gender and sexuality by Black queer women within and outside of web series are policed and protected by both community insiders and outsiders. Utilizing an ethnographic framework, which includes a critical discourse analysis of the YouTube comments for the series Between Women, as well as a textual analysis of series content, this project draws conclusions about the role that the politics of pleasure, performance, and the public sphere play in the recognition and/or refusal of queer sexuality within Black communities.     

African American Gay Men and Lesbians: Examining the Complexity of Gay Identity Development

Abstract

This article addresses the concept of gay and lesbian identity development with respect to African American gay men and lesbians. The authors suggest that the integration of one's gay identity and the coming out process are uniquely constructed for African American gay men and lesbians, who may be multiply challenged by racial prejudice, limited acceptance by the African American community, and a lack of integration into the larger, White gay community. Race, African American culture, a continuum of gay cultures, gender, and individual characteristics are suggested as salient variables that distinguish the gay identity experience of African American gays from that proposed by most gay identity models.     

The Dangerous Real: Queer Solo Performance in/as Active Disruption

Abstract

Like all radical community endeavours, queer performance in the United States has been shaped through resistance to restrictive ideologies. National insecurity over ‘indecent’ (read: queer) artistic expression in the US has been aimed at artists working in a variety of genres, and here I focus specifically on queer solo performance artists. This essay explores the dangerous realities that queer artists present to an imagined unified US national identity. I argue that queer solo performers operate as artistic activists, challenging homogenous fantasies about US culture through the queering of experience. Aesthetically disparate, their work is connected by common threads of vulnerability and precarity. The article asks how their work disrupts U.S. insecurities concerning intersections of sexuality, gender identity, race and religion.     

Contemporary South African Jazz and the Politics of Place

Abstract

Drawing on popular music scholarship on music and place, as well as interviews with jazz musicians, scholars, and journalists active on the jazz scenes in Durban and Johannesburg, this article considers how locales are perceived to uniquely influence music-making. Extending Bakhtin's notion of “utterance” to music, it argues that the musical character of recent South African jazz subtly registers demographic, political, economic, and environmental specificities peculiar to contemporary Durban and Johannesburg. It is argued that contemporary South African jazz, as it is experienced by its performers and listeners, may be profitably conceptualised as speaker and addressee of locale.     

“Her Mouth is Medicine”: Beth Brant and Paula Gunn Allen's Decolonizing Queer Erotics

This article asserts the need to recognize the complexity of the theoretical work of more lesbian Native American writers, focusing specifically Beth Brant (Bay of Quinte Mohawk) and Paula Gunn Allen (Laguna Pueblo). Their poetry and short stories provide a theoretically nuanced analysis of how heteronormativity is intertwined in and dependent on colonialism, and thus a methodology for Queer Theory that requires an understanding of it in relation to colonialism. They reject heteronormative Pocahontas fantasies about Native women, offering a lesbian-based tactic for decolonization through the expression of erotic desire. This article demonstrates the endless possibilities for fierce queer resistance, revolutionary change, and healing from the trauma of genocide and the accompanying colonialist heteropatriarchal disciplining of Native women's bodies.     

Loving transgressions: Queer of color bodies,affective ties,transformative community

ABSTRACT

This introductory article considers the importance of queer woman of color theorizations of affect in thinking more fully the recent interdisciplinary turn to affect. The affective turn has vitally invited culture and feminist critics to interrogate emotion beyond the individual to examine the political and cultural production of emotion. Even as women of color are often associated with excessive affect, the theoretical contributions women of color make to the field of affect studies are often overlooked. Our introduction and this special issue more broadly examine how this solipsism shapes projects invested in critical knowledge production, as well as the stakes of centering a queer woman of color genealogy. For instance, we argue for the importance of retaining U.S. third-world feminist concepts—like interpellation, oppositional consciousness, and the generative force of negative affects—even as they fall out of favor within affect studies. Centering theory that emerges from the vexed spaces of queer women of color lived experiences generates a vital interdisciplinary conversation that contributes to the ongoing political task of mobilizing affect for social action as a critical praxis. In the articles that follow we see this critical praxis at work in the form of community organizing, music, poetry, and performance art.     

The Role of Perceived Racial Discrimination in the Marriage Gap Between Black and White People

Abstract

Many explanations offered for the gap in marriage rates between Black and White people are economic and cultural. Less often considered are how racial social psychological factors influence marriage rates. In this study, we use critical race theory and the life course perspective to investigate how perceived racial discrimination impacts the likelihood of marriage for Black and White people. Data for the study are taken from the Portraits of American Life Study (N?=?678). The results of logistic regression analyses show that among people who report perceived racial discrimination, White people generally have a higher probability of being married compared to Black people. Analyses by age demonstrate that among younger adults, Black people who perceive racial discrimination are equally likely to be married as White people and have a higher probability of being married than Black people who do not report perceptions of racial discrimination. A negative influence on the odds of marriage related to perceived racial discrimination for Black people becomes clearer as respondents age. The findings highlight the importance of considering perceptions of racial discrimination to better understand the marriage gap between Black and White people across the life course.     

Black Immigrants in the United States and the "Cultural Narratives" of Ethnicity

This article argues that social science representations of post-1965 Black immigrants in the United States employ the concept of "ethnicity" in ways that reinforce the racialist myth of Black (American) cultural inferiority. Specifically, the discursive use of Black immigrant "ethnic" and "cultural distinctiveness," while admittedly reflecting an important recognition of the heterogeneity of the United States Black populations, is in fact predicated upon a repackaged "culture of poverty" discourse that serves to reaffirm the overarching racial order. In a discussion of the theoretical and historical development of the concept, I show how the current discourse of "ethnic distinctiveness" perpetuates a form of racism under a theory that denies the relevance of race while it continuously recodes the biological notions of race as "culture." Thus, Black immigrant distinctiveness, when presented through the prism of the cultural narratives of ethnicity, allows for the perpetuation of a "cultural racism" that adversely affects all Blacks in this country. I therefore call for a rejection of ethnicity theory as it is currently conceptualized and suggest the need to ground theories of Black distinctiveness within analyses of power relations and ongoing practices of racial subjugation.     

‘Mungo Everywhere’: How Anglophones Heard Chattel Slavery

This article re-engages with the performance history of the character of Mungo, an enslaved servant from Isaac Bickerstaff and Charles Dibdin's comic opera The Padlock (1768), which premiered at London's Drury Lane Theatre during David Garrick's tenure there. In dialogue with nearly a century of criticism that has misread Mungo as solely a caricature prefiguring the codified racism of the American minstrel show, this article examines contemporary periodicals, libretti, and Jean-Jacques Rousseau's writings on music to posit that the opera's musical representation offered a more nuanced alternative to print's black and white representations of racial and status difference.     

Make me Wanna Holler: Meshell Ndegeocello,Black Queer Aesthetics,and Feminist Critiques

This article examines the music and performance of Meshell Ndegeocello, arguing that they are part of a cross-Atlantic conversation that pushes the boundaries of Black feminist thought on masculinity and desire. From the time of her debut album in 1993, Ndegeocello has resisted categorization both in her public personae and in her music. Ndegeocello's refusal to be restricted in her stage performance and in her musical expression has created a rich text through which to read Black female masculinity. Her work has been particularly productive in rethinking (Black) feminist couplings of patriarchy with male anatomy. Ndegeocello's music challenges any one representation of female masculinity, mixing critiques of masculine privilege and violence with celebrations of pleasure and pansexual desire.     

Racial/ethnic disparities in US college students’ experience: Discrimination as an impediment to academic performance

ABSTRACT

Objective and Participants: Using data from 69,722 US undergraduates participating in the spring 2015 National College Health Assessment, we examine racial/ethnic differences in students’ experience of discrimination. Method: Logistic regression predicted the experience of discrimination and its reported negative effect on academics. Additional models examined the effect of attending a Minority Serving Institution (MSI). Results: Discrimination was experienced by 5–15% of students, with all racial/ethnic minority groups examined- including Black, Hispanic, Asian, AI/NA/NA, and Multiracial students- more likely to report discrimination relative to White students. Of students who experienced discrimination, 15–25% reported it had negatively impacted their academic performance, with Hispanic and Asian students more likely to report negative impacts relative to White students. Attending an MSI was associated with decreased experiences of discrimination. Conclusion: Students from racial/ethnic minority backgrounds are disproportionately affected by discrimination, with negative impacts for academic performance that are particularly marked for Hispanic and Asian students.     

The transnational turn,Houston Baker's new southern studies and Patrick Neate's Twelve Bar Blues

Abstract

This article considers Houston Baker's take on the 'new southern studies' in Turning South Again (2001) in relation to the transnational turn in American studies and Paul Gilroy's theory of the 'Black Atlantic'. The article begins by pointing out that the vision of 'the South' formulated in southern (literary) studies during and after the 1950s frequently cut against the nationalism and exceptionalism central to the development of American studies in the same period. However, southern literary critics and writers (both white and black) developed their own exceptionalist and nativist models of identity, including Donald Davidson's 'autochthonous ideal' and the 'Quentissential fallacy' – in William Faulkner's Absalom, Absalom!, Quentin Compson's claim that 'you would have to be born' in the South to understand it. A transnational turn displaces such southern exceptionalism and nativism. However, Baker's 'new southern studies' approach to African-American experience (from slavery to 'United States black modernism') proceeds through a predominantly regional-national framework and privileges 'the South' and his own native southern authority. From a transnational perspective, Baker's approach becomes problematic when it facilitates the 'Quentissential' repudiation of Gilroy's Black Atlantic. The article concludes by discussing the transnational South of Patrick Neate's novel, Twelve Bar Blues, with reference to Gilroy and songs by Billie Holiday and Eric B and Rakim.     

Music: an exception to Creole exceptionalism? Cape Verdean national identity and creativity post-independence

This article focuses on the interrelationship between the Cape Verdean Creole (CVC) language and music as it has developed over time in literature, composition and performance experience. The written record demonstrates that, over time, a blend of scholar-practitioners, trained academics who often engaged in both the study and composition of lyrics and music, blurred the lines of the oral and written hierarchy in CVC, ultimately co-fashioning the relationship between language and music as essential to identity alongside the many existing creative practitioners working exclusively in the oral realm. Since independence, too, a major intellectual project of Cape Verdean writers has been to celebrate the work of practitioners in a scholarly fashion. Simultaneously, many practitioners have worked to reclaim and reinvigorate traditional music genres. This has contributed immensely to both the understanding and creative expression of Cape Verdean national identity, or caboverdianidade. This article also takes on an ethnographic inquiry into the creative process and aesthetic preferences that bring together CVC and Cape Verdean music. It becomes clear that CVC is widely considered by Cape Verdean songwriters to be the best language for composition and performance on a number of grounds – sonic, aesthetic, linguistic and sociopolitical reasons among them.