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Unapologetic Paisa Chingona-ness: Listening to Fans’ Sonic Identities

For the full intro to the series by Michelle Habell-Pallan, click here.

The forum’s inspiring research by scholars/practioners Wanda Alarcón, Yessica Garcia Hernandez, Marlen Rios-Hernandez, Susana Sepulveda, and Iris C. Viveros Avendaño, understands music in its local, translocal and transnational context, and insists upon open new scholarly imaginaries. . .

Current times require us to bridge intersectional, decolonial, and gender analysis.  Music, and our relationship to it, has much to reveal about how power operates within a context of inequality.   And it will teach us how to get through this moment. –MHP

Que Buena Epoca Instagram Post (reposted by El Original)

I am a self-identified Paisa, a Paisa Girl from Playa Larga – my home –  in the Eastside of Long Beach, California. The term paisa/s is slang for paisanos (homies) and it references someone who takes pride in listening, dancing, and attending nightclubs where Banda music, corridos, and norteños are performed. I am part of a generation that has been referenced as the Chalinillos; youth with an urban gangsta aesthetic that was influenced by Chalino Sanchez, The Riveras, Saul Viera, Adan Sanchez, Los Dos Grandes, Tigrillo Palma, Los Amos; later came the Alterado, Progressivo (DEL) and now people like El Fantasma, Lenin Ramirez, Alta Consigna, Grupo Codiciado, Jesus Mendoza, and Los Perdidos de Sinaloa.

As they say, “Fierro Parriente!” “Andamos al Millon,” “Pa que vayan y digan” and “Puro Pa Delante!”

In the mid 2000s, besides partying hard in the paisa nightclub music scene, I also partied with several paisa party crews in Long Beach.  The songs, “Las Malandrinas,” “Parrandera,” “Rebelde, y Atrevida,” and “Mi Vida Loca” by Jenni Rivera were my anthems. These songs described the music scene we were a part of,  and how we situated ourselves within a male-dominated subculture. “La Malandrinas” for instance says that we make a lot of noise, we drink, ask for corridos at clubs (a masculine tradition) and do not care about what people say about us.

Thus, Jenni’s participation in this music genre was important because she created paisa sonic identities for the women in this subculture. “Sonic identities”, is a term that I use to describe the process fans engage in when they use a song to create a nickname and identity for themselves. This is a common practice among party crews and fan clubs. For instance, the nickname that I gave myself was “La Yaquesita” which is a title of a song. My participation in this nightlife shapes my analysis of this subculture. The gender dynamics and negotiations I had to engage with in this space made me an unapologetic feminist (although I did not call myself that at the time) who was fierce and defended herself but who—despite the slut shaming—approached this nightlife through a sex-positive attitude. Our attitude was “Fuck Haters!” and having this mentality was liberating. So, it makes sense that now I write about haters –or what Jonathan Gray calls anti-fans. I am interested in analyzing sonic haterism and how it tries to police Latina women-centered and sex-positive spaces like fan clubs and paisa party crews.

Las Malandrinas de Long Beach, 2008

In my dissertation entitled, “Boobs and Booze: Jenni Rivera, the Erotics of Transnational Fandom and Sonic Pedagogies,” the intertwined themes of sound and home emerges via a loud shout-out of my hometown that sounds like “Playa Larga, Baby” or a louder shout out that says “Son Ovarios de Playa Larga, Chaooowww, Baby.” Similar to “Fuck Haters!,” the latter shout-out implies a particular attitude and feminisms rooted in unapologetic paisa chingona-ness. Paisa Chingona-ness is the sonic condition, the rebellious and intoxicating state of being a chingona “rancherota.” Chicana feminists such as Sandra Cisneros and Josefina Lopez have defined and theorized being  a chingona in multiple ways. In her poem titled “Chingona,” Lopez for instance defines a chingona as a sex-positive Chicana who refuses to be slut-shamed for owning her fat body, sexuality (literally she loves to be on top), and agency.  There are overlaps with how Lopez, Jenni and her fans practice being chingonas; however, the added layer with Paisa Chingona-ness is that Jenni’s music and fandom shapes the way they embody it.

Activist and Writer, Raul Alcaraz Ochoa, has written a piece titled “Jenni Rivera y los 9 Puntos del Feminismo Chingona” here he acknowledges that Chingona Feminism is rooted in the barrio, the hood and is born from within and in response to a machista context, where the priority is always given to men.  According to Ochoa, Chingona Feminism is also born from race oppression and class-struggle. Ochoa states that Jenni “dice lo que piensa sin pelos en la lengua, te agrede si eres injusto porque su lengua es una bala que te deja con los huevos estrellados.” My work shows how chingona feminism is also practiced and embraced among fans. I expand on Ochoa’s analysis to think through Paisa Chingona-ness which asks us to listen to the “details” that Chingonas make when they are surrounded by each other.

Heard through my experiences, identifications, and stance toward the world, it makes sense why home manifests itself in the approach that I use to study popular music: that of fandom, that prioritizes fans and their approach to what I call sonic pedagogies. Which is a concept that was inspired by scholars such as Deborah Vargas, Alicia Schmidt Camacho, Jillian Hernandez, Anya Wallace, Gloria Anzaldúa, and Martha Gonzalez. These scholars write about the power of music as “sung theory,” the power of music to create “sonic imaginaries,” or inspire teachings between the artists and the listener, that oftentimes creates “an erotic of feminist solidarity.”

For me, sonic pedagogies is a concept that centers the fan and what John Fiske has called their “textual, enunciative, and semiotic productivity.” Sonic pedagogies allows me to think about the affective and corporeal fan-to-fan teachings that are inspired even when the artist is dead and yet their legacy and conocimientos are being used to teach fans to understand each other. Sonic Pedagogies centers the practice that Lawrence Grossberg explains when he states, that fans give “authority to that which he or she invests in, letting the object of such investments speak for and as him or herself” (59).

A J-unit’s Altar: Andrea’s Jenni Collection, photo taken by author, 2015

Listening to sonic pedagogies asks us to write about music from a different perspective, from the perspective of its fans. Oftentimes we listen and write about music from the perspective, the voice, the body, and lyrics of the artist. But what if we start from their re-interpretation of a song in a YouTube video for instance? What if we start from a fan shout-out during a concert? What if we start from the conversations that emerge when fans talk about their favorite songs to non-fans? What if we make anti-fans our starting point to understand an artist or a music genre? Analyzing music in this way allows us to hear the multiple sonic layers that a song and music in general inspires.

I am also a filmmaker, so the way I understand sound and the reception of music is inspired by how I edit sound for a film. When we edit film, we layer the sound, we usually have at least three layers of sound: the interview (main story and Track 1), music (Track 2), and background noise (Track 3). However, sometimes you can have up to 20 sonic tracks layered at once and, actually, is how I have experienced fandom. There’s a song that we usually are listening to because we identify with it (Track 2), then we add our own conocimiento to the song (Track 1), that conocimiento or what many times turns into “archisme” provokes background noise of solidarity (Track 3), either to show the other fan that you understand, acknowledge, and relate to what they are sharing. Fans ask us to listen to the study of music from a perspective of “love” (Duffet), “magic” (Guy) and “erotics.”

Scholars in the field of fan studies such as Daniel Cavicchi have defined fandom as “not some particular thing one has or does. Fandom is a process of being; it is the way one is” (59 ). Alexandra Vasquez, in particular, reminds us of the importance of “listening to details” when thinking about fandom, music and performance. Sonic Pedagogies requires that I listen to the “details” of audience members, fans, and anti-fans that tell me about how Chicana/ Mexicana/Latina women resist structures of governmentality by questioning gender norms, and traditional ideas about sexuality. In Listening on Detail, Vasquez explains that details are “interruptions that catch your ear, musical tic that stubbornly refuse to go away. They are things you might first dismiss as idiosyncrasies. They are…saludos, refusals, lyrics, arrangements, sounds, grants, gestures, bends in voice” (19).  In my work, Jenni chants, removal of clothing, mobile recordings, posters, fliers, fan shirts, and sing alongs, are the details that allows me to examine Jenni Rivera.

For instance, I analyze the deschichadera “removal of bra” ritual that both Jenni and her fans engaged in during concerts. I am fascinated by the deschichadera ritual and Jenni’s concerts in general because these fans are constantly redefining home, embodying Cherrie Moraga’s feminist praxis of “making familia from scratch” (58).

Thus for fans, home is found in the affective, erotic, collective, and intimate aspects of music reception and its sociality. Home is found in fan clubs, fan gatherings, tribute events, living room, and the travels of bumping music in the car. Listening to the details of fans allows me to view audience responses to Jenni’s performance part of Jenni’s own presentation and music, not separate from them. Engaging music through fans allows me to see that songs, concerts, and albums do not end when the music stops.

J-units in Mexicali celebrating Jenni’s Birthday, 2017

In “Boobs & Booze,” home also appears in murals, particularly their visual representations of Mexican music. In the vein of Deborah Paredes’s study of Selenidad, I write about the visual politics of Jenni’s remembering, particularly Jenni Rivera Memorial Park, dedicated by the city of Long Beach in 2015.  Home appears in the fashion that we decide to dress our bodies in, especially the femme challinillo aesthetic, and homegirl/Pachuca/partygirl look that Jenni performed on stage. We also find home in the memories we make when we listen to a particular song.  So for me, listening to” Mi Vida Loca” for instance always bring me back to Long Beach, the barrio that has shaped me as a chingona feminist, scholar, and artivist.

Sergio Ramirez working on the Jenni Rivera Mural (2015) photo taken by author.

Home is the music that we take with us, the music and sounds that we carry in our backs when we enter white or middle-class dominated spaces where our paisa music is not acknowledged or it is even looked down upon and critiqued for being “too Mexican,” “too chunti,” “too low.”   Home and sound makes me think of how people of color co-exist with each other sonically. In the EastSide of Long Beach, for instance, home and sound is black and brown relations, tensions, and solidarity. Home and sound is acknowledging that both corridos, hip-hop, and G-Funk relationally, has formed paisas. I mean, I also get an adrenaline rush when I hear Snoop Dog, Warren G, Nate Dogg, O.T Genasis, and Ladies of Beach City referencing their roots to Long Beach, as Snoop says, “it’s an Eastside thang.”

The recent example of Playa Larga’s black and brown sonic solidarity is Snoop Dog’s recent Instagram video listening to Jenni’s music. Watching two Playa Larga finest artists being fans of each other, despite the differences in music genre, language,  and spatial politics (East vs. West) is powerful, it tells us that we listen to each other even when they try to put us against each other.  In this video, Snoop Dogg embodies the “We have each other” solidarity with which Gaye Theresa Johnson ends Spaces of Conflict, Sounds of Solidarity: Music, Race, and Spatial Entitlement in Los Angeles (189).

Jenny 🙏🏾🌹

A post shared by snoopdogg (@snoopdogg) on

 

Listening to Chingona-ness pushes me to theorize a new framework for anti-fandom, one that centers race, class, sexuality, and is not only about an artist’s music–  or what Gray calls the “text” – but also about their bodies and the bodies of the fans, their ontologies, and existence.  Focusing particularly on Jenni and her fans allows me to think about gender, sexuality, class, pleasure, music reception in relation to anti-immigrant sentiments, war on drugs, war on poverty, and the war on Latina reproduction and fatness. Jenni as a case study allows me to explore how unapologetic paisa chingona-ness triggers anti-fans, exposes what I am calling agitations  and their “agitated responses.” Agitated responses refers to the hater comments that anti-fans (or non-fans) make towards Jenni, (and there are many), while agitation is the carnal disgust that anti-fans display when they police the behavior of Jenni and her fans. In this anti-fandom framework, agitation is the disaffection – the visceral aggression or enmity – that people who hate Jenni and her fans express when they write, say, or gesture agitated responses towards them, a form of sonic haterism.

I entered academia to theorize my home and write the paisa girl epistemology since there is little literature written on our sonic identities, and to show how sonic haterism, in conversation with fandom, allows me to understand the historical, social, and cultural realities working-class Latinas face.  Here is how Jenni Rivera once expressed this same intersection in the song “Mi Vida Loca,”  which asks listeners to hear what Paisa Chingona-ness sounds like in Playa Larga, her sonic home, and mine too.

Featured Image: Paisa Party Crews in Long Beach, The Myspace Days , courtesy of author

Yessica Garcia Hernandez is a doctoral candidate and filmmaker in the Department of Ethnic Studies at the University of California San Diego. Her scholarship bridges fan studies, sound studies, women of color feminisms, fat studies, girl studies, and sexuality/porn studies to think about intergenerational fans of Mexican regional music. Yessica earned her B.A. in Chicanx Studies from University of California, Riverside and an M.A. in Chicanx and Latinx Studies at California State University Los Angeles. She has published in the Journal of Popular Music, New American Notes Online, Imagining America, Journal of Ethnomusicology, and the Chicana/Latina Studies Journal. Her dissertation entitled, “Boobs and Booze: Jenni Rivera, the Erotics of Transnational Fandom, and Sonic Pedagogies” examines the ways in which Jenni Rivera fans reimagine age, gender, sexuality, motherhood, and class by listening to her music, engaging in fandom, and participating in web communities. She explores the social element of their gatherings, both inside and outside the concert space, and probe how these moments foreground transmissions of Latina power. Yessica’s broader research interests includes paisa party crews, Banda Sinaloense, Contestaciones, and Gordibuena/BBW erotics. She is a co-founder and member of the Rebel Quinceañera Collective, a project that utilizes art, music, photography, creative writing, filmmaking, and charlas to activate spaces for self-expression and radical education by and for youth of color in San Diego.


tape reelREWIND!
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New Wave Saved My LifeWanda Alarcón

 

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Introduction to Sound, Ability, and Emergence Forum

The language of sound studies, and even the word sound itself, doesn’t do justice to our scholarship. Sound studies is, to me, a populist discipline that has given me a social setting and theoretical framework in which to develop my own ideas. Into this field I can carry my own history and let it screech and flash until it finds at least passing resolution.

Sound studies is less about sound than vibration, though this distinction is not easy for me to clarify. My experience of sound studies is somewhere in the web of music-as-activism, music-as-tactile-experience, and cultural studies. It all comes back to music, but music is, to me, a fairly broad term. I have written about the work of Diamanda Galás and Throbbing Gristle— lately I have been going back to early Sonic Youth and Aphex Twin’s song [Equation] which, at the end features noise that, when sent through a spectrogram analysis, reveals a visual face. The thread that runs through this music is a lack of “standard” musicality. Instead many of these artists create an atmosphere of sound, a deeply affective field in which the audience is immersed. Although not music in the traditional sense, these musical experiences produce the shrill prick of goosebumps in my body, the deeply triumphant bass in my bones. It is a convergence of things that can’t be contained in the auditory cortex.

On rhythm: My tattoo artist working on the last piece of my half sleeve. Usually I find the visceral rattle of the gun trumps physical discomfort, and I try to remain as quiet as possible and focus on the whir, the vibration, echoing between layers of my skin, somewhere in the connection between bodily stimulus and neural recognition.

Eleni Ikoniadou’s 2014 book The Rhythmic Event explores rhythm from a confluence of media theorists and artists who embrace the body and temporal experience as an immanent mode of becoming. While criticized by Eddie Lohmeyer (2015) for not drawing explicit connections between theorists, I believe Ikoniadou prevails in her attempt to theorize the rhythmic event as a means of collapsing or decoding linear time and discrete experience into an underlying and rhizomatically immanent means of affective and affinitive connections. Rich in theory and exciting in promise, Ikoniadou’s work builds on preexisting theory and syncs it with the body in its ambient, affective field. As she deftly explains, rather than a Platonic understanding of rhythm as a means of ordering time, Ikoniadou adopts a Deleuzian view of rhythm as “a middle force that occupies the distance between events, hinting that there is no empty space or void waiting to be filled by human perception” (13).  This immanence— an ontology in which the universe thrums always with a richness of vibration, sets in motion new ways of understanding art and experience, replacing the subjective with the affective.  In many ways Ikoniadou’s work informs and reinvigorates the convergence of affect theory, queer theory, and sound studies. Often, it is transcendent, enabling “sound studies” to encompass any possible connotation of feeling, of touch, of culture, of intuition, of the intricate nature of intersectionality, interconnectedness.

While sound studies once fought to decenter the Western cultural reliance on the gaze as the default sense through which critical theory should run, we are now as a discipline much more textured, synaesthetic. Through sound studies we learned of remote intimacy (Jennifer Terry via Karen Tongson)  and the network of interlinking experience that connected us past simple auditory stimuli.  We now have constructed a vibrational ontology in which sound is essential, though it is not always experienced as simply sound.

The Sound, Ability, and Emergence Forum stretches, yearns, and trembles toward these critical questions:  Where do we move from here? How will our language reflect the broadening sense of sound as delicately connected to all our other experiences? and how can we allow for theories and experiences from those who listen but might not hear in the traditional and often ableist sense of the word?

Airek Beauchamp is an Assistant Professor at Arkansas State where he specializes in Writing Studies. As Assistant Director of Campus Writing at Arkansas State he has the privilege of engaging academic and community activism, and he attempts to tie all of his scholarship to concrete political action. His other areas of research include queer theory, affect theory, and trauma in the LGBTQ community.

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Troubling Silence: Sonic and Affective Dispossessions of the African Slave Trade

The United States has a slavery problem. Just last week, President Trump name-checked the political right’s current favorite past-president Andrew Jackson, suggesting that as a “swashbuckler,” Jackson would have prevented the Civil War…unlike Lincoln. Buried in Trump’s admiration for Jackson’s supposed intellect and political prowess, is the very real belief that the Southern slaveholding class, including Jackson who owned 150 slaves at the time of his death, would have maintained sovereignty and continued to make their wealth from the institution. Trump’s vile public utterance, which is misguided for many reasons, including the detail that Jackson died in 1845 and, in fact, could not have expressed his disapproval of the conflict as Trump recalled, is par for the course in this recent period wherein inane white supremacist rhetoric is normalized as acceptable in American public discourse.

Normalization of white supremacist rhetoric via American news media

Often, I am reminded of a shocking moment that I witnessed from the field in Bahia, Brazil, back in 2007. As I watched the only American-based news channel available to me in my rental apartment, former-Fox News host Bill O’Reilly began explaining to Senator John McCain that supporters of so-called illegal immigrants were intent on dismantling “the white male, Christian power structure” of the United States.

In the ensuing years, similar expressions of racial anxiety have led to acts of domestic terrorism as well as increased deportations and the surveillance and harassment of Black and Latino communities, reinforcing the stakes of my research. What is the place of African-descended peoples in a nation full of such political hostility? With the racial rhetoric at base level and the fear-mongering at a peak, what do we make of the persistent contemporary contention that America needs to be made great again, effectively, though somewhat covertly, wishing for a return to an era in the purported idyllic American past wherein the racial order depended on and thrived off of literal and figurative forms of Black death? How do we trouble the intentional silence about our actual history and thwart foolish advancements toward replicating the great American past?’

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My book Afro-Atlantic Flight: Speculative Returns and the Black Fantastic (Duke UP, 2017) begins answering these questions. In Afro-Atlantic Flight, I trace the ways that post-civil rights Black American artists, intellectuals, and travelers envision literal and figurative flight back to Africa as a means by which to heal the dispossession caused by the slave trade and the ensuing forms of oppression and societal alienation that have continued in the aftermath.

Through ethnographic, historical, literary, and filmic analyses, I show how a range of cultural producers engage with speculative thought about slavery, the spiritual realm, and Africa, thereby structuring the imaginary that propels future return journeys. I go on to examine Black Americans’ cultural heritage tourism in and migration to Ghana, Bahia, Brazil, and various sites of slavery in the U.S. South to interrogate the ways that a cadre of actors produces “Africa” and refigures master narratives. What I found in my research is that while these material flights do not always satisfy Black Americans’ individualistic desires for homecoming and liberation, there is a corrective: the revolutionary possibilities inherent in psychic speculative returns open up the egalitarian opportunity for the development of a new and contemporary Pan-Africanist stance that works to more effectively address the contemporary resonances of slavery that exist across the Afro-Atlantic.

As I conducted research, I was interested in how narratives about slavery and Africa are crafted as well as how they travel in literature, film, and the cultural roots tourism industry. To be sure, I did not conceive of this project as a sound studies inquiry, but throughout my more than eight years of active research, I was struck often by the sonic and the affective as I examined states of dispossession. For example, if I close my eyes and still myself, I can hear that which emanated from the Black expatriate in Bahia, Brazil, who I asked to reflect on freedom – he began his answer with a solemn, gospel music-inflected improvisation of the word/concept.

I remember the crashing of waves at various points along the Atlantic Ocean; often, I stood somberly and marveled at its power and the seeming fury that reverberates, particularly along and across sites of the transatlantic slavetrade. The ways in which the articulation of narrative scripts at remnants of slavery vary – how tour guides’ oral pacing, tenors, and selected content differ according to the racial composition of the visiting groups struck me as intentional and profitable, though not necessarily contrived. And various interviewees and writers recalled and created, respectively, ghostly felt and heard encounters with their long-dead enslaved ancestors; I remain moved by their welcoming posture to exploring this sensory haunting.

European slave traders forced tens of thousands of African people onto slave ships through the “Door of No Return” at  Elmina Castle, Ghana; many died here before making the “middle passage.”  Built by the Portuguese in 1482, Elmina Castle was the center of the Dutch Slave Trade through 1814  (CC BY-NC-ND 2.0)

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The excerpt that follows is drawn from the fourth chapter of Afro-Atlantic Flight, “Crafting Symbolic Africas in a Geography of Silence: Return Travels to and the Renarrativization of the U.S. South.” In Chapter 4, I sought to listen to and think through the function of silence in master accounts and the subversive sounds of speculative counter-narratives about slavery in the U.S. South.


In the late 1990s, I took an evening walking tour called “The Ghosts of Charleston,” a guided encounter with the supernatural in Charleston, South Carolina. As we strolled around the city’s downtown area and through winding cobblestoned streets, admiring the horse-drawn carriages and rainbow-colored buildings, we paused often at cemeteries, centuries-old homes, hotels, a former jail, and markets to witness the locations of the occult. Our guide opined that a range of elements whereby widespread death occurred—hurricanes, floods, fires, and the Civil War—had rendered the city ripe for paranormal activity. The dead, he intimated, have unfinished business. What struck me about the tour and the numerous visits that I had made to plantations throughout the Lowcountry throughout my childhood in South Carolina during school field trips and family excursions, as well as a researcher in more recent years, is that other than in passing references, Charleston’s history as a major slave port is glossed over in the larger tourism industry to promote representations of the imagined antebellum South of the Lost Cause. In downtown Charleston, a former slave market sits quietly near a more recently constructed block called the Market, which is surrounded by expensive hotels, eateries, and boutiques that serve as background for a sort of souvenir bazaar at which Gullah women and their children weave and sell seagrass baskets crafted using what are believed to be West African techniques passed down from their ancestors [For more on these historical claims, see Gerald L. Davis’s “Afro-American Coil Basketry in Charleston County, South Carolina” in American Folklife.  Also of interest here is Patricia Jones Jackson’s When Roots Die: Endangered Traditions on the Sea Islands].  The silence about slavery betrays the trauma, dispossession, and death suffered to build and sustain the wealth that, if one looks at and listens critically (even to the silence), hovers over the area, mocking the evidence of the great injury that was the transatlantic slave trade.

Charleston 1837 Bed and Breakfast, Image by Flickr User Anthony (CC BY-SA 2.0)

“The Ghosts of Charleston” tour guide’s lone story that described the spirit of a slave was about a boy named George, a decidedly gentle spirit who is said to pester guests impishly at the 1837 Bed and Breakfast. George drowned in 1843 after he jumped into the harbor in pursuit of a ship that was transporting his parents to a Virginia plantation. Today, George taunts hotel patrons by shaking the bed in one room and by turning the lights on and off repeatedly in another. He is sometimes seen playing in the building or swaying in a rocking chair. George’s nuisance, the story goes, is remedied easily when one cracks a whip to frighten him. To relegate Charleston’s cruel history of slavery to the margins of the historical master narrative by repeating stories about slaves that make light of the institution while reinforcing its horrors—ships utilized to separate parent from child, the horrific struggle that ensued as the child fought drowning, and the whip’s lash—rewounds. Most disquieting is that 1837’s guests are encouraged to participate in the past, wherein it becomes a diversion to threaten the spirit of a slave with force, reenacting the role of the master. The lore identifies a playful ghost rather than a sad spirit who is frightened, crying, screaming, gurgling as he writhed in the ocean, or gasping for air. Why is it that the unsilenced ghostly specters of slaves in these Lowcountry master narratives are not enraged and vengeful?

In the post‒civil rights moment, Black Americans are not only returning to the South to live permanently in a reverse migration that has befuddled onlookers, but Black American cultural producers are also working against the region’s geography of silence to illustrate how the ideologies that undergirded past social configurations in the South redound in the present, moving toward a broad Black fantastic frame. Through analyses of these points of return and revision, this chapter contends that Black Americans embrace speculative thought to recast cultural production about the South; challenge what is commemorated as significant in historical preservation; and create alternative “African” worlds in the purview of the racism and the often spurious narratives of progress that reign in the South, particularly at sites of slavery. Such fantastic reimaginings contest and thereby perform a democratization of contemporary master narratives and, for some, attend to the desires of those who are determined to realize Black social life in the American South despite its sordid histories.

Troubling the Silence in Southern Master Narratives

Growing up in Midway with the coloreds, I spent the night at Molly Montague’s house in the bed with five niggers—spent the night with them. In the same bed, eat from the same table, drink from the same thing, play with them every day. I mean, they were family. I mean, as far as I was concerned. They loved you.

Winston Silver’s curious memory of a colorblind childhood in North Carolina in the pre‒civil rights era reflects a disturbing disconnect that his cousin, the film critic and novice documentarian Godfrey Cheshire, explores in the film Moving Midway.

The film was conceived initially to chronicle the relocation of the home at Midway Plantation to a quieter tract of land away from the urban sprawl in Raleigh, North Carolina. Yet as Cheshire scoured historical records and interviewed members of his mother’s family, he found that most narratives about slavery at Midway went unspoken, though it once was a thriving tobacco plantation. During his search, Cheshire discovered that there existed a branch of Black people on his family tree who might be able to assist him in developing a more complete narrative about his familial history. The film, then, traces two interrelated stories. The first is a catalog of a white Southern family’s desire to preserve its plantation home, the “grand old lady” and “sacred center of the family” that sat on property that was settled by their ancestors in 1739. The second story is that of Cheshire’s chance encounter with Robert Hinton, a Black American history professor whose grandfather was owned by Cheshire’s great-great-grandfather. Hinton’s inclusion in the film acts to challenge the myths of purity that the majority of Cheshire’s maternal family members had embraced about their ancestral past.

Midway plantation house, post move, image by Flickr user Preservation North Carolina (CC BY-NC-ND 2.0)

Perhaps the most compelling thread examined centers on Cheshire’s family’s holding steadfastly to memories that were imparted to them by their ancestor Mary Hilliard Hinton (Aunt Mimi), who was fascinated with the idea of pastoral pasts and constructing genealogical maps that connected the Hinton family to the British aristocracy, despite her certain knowledge that various indiscretions by the Hinton slaveholders had resulted in mixed-race Black American kin. What Cheshire reluctantly finds and attempts to rectify is how he is implicated in what he sets out to explore—the lengths to which crafters of genteel, idealistic Southern myths often go to extricate slavery, violence, and racism from how the past is articulated. While the slave plantation serves as a place for wistful Americans to recall the zenith of white superiority, these vestiges of slavery also haunt the region and negate narratives of progress. Black Americans have begun visiting plantation sites and often become vocal about how the lives of their ancestors are erased from the tourism scripts. The moments of rupture in Moving Midway are indicative of what happens when the Black and white branches of a Southern family attempt to come to terms with their ties to blue-blooded ancestors, whose wealth was accumulated through their continued participation in the violence and inhumanity that marked slavery.

Still from Moving Midway trailer, Robert Hinton talks with Godfrey Cheshire

Robert Hinton appears throughout the film as a historical expert and also as someone who Cheshire initially and naively believes holds an emotional stake in ensuring that the land upon which Midway sits and the home itself are preserved positively in the collective memory. Hinton tours the plantation site in search of evidence of slavery and his long-dead ancestors, seeking out slave quarters and grave sites and showing very little interest in Cheshire’s family’s romantic stories about Southern gentility. Early in the film, Hinton is asked to attend a Civil War reenactment with Cheshire and Cheshire’s mother, Elizabeth. This moment highlights the rifts that would arise later between Hinton and Cheshire, who had become friendly during the making of the film. At the reenactment, Elizabeth attempts to convince Hinton that the Civil War was about states’ rights unlike what the (liberal) media and historians suggest about slavery’s significance to the conflict. When Cheshire questions Hinton about his response to the reenactment, a tense moment occurs between him and Cheshire, whose film narration theretofore had been somewhat progressive in its historical analyses of race and slavery in the South:

Hinton: It looked like it was fun for the people involved, but it—it represents to me a misremembering of the war of Southern history and why all this stuff happened. I think the absence of Black people at a thing like this encourages people to think that the Civil War was not about slavery.

Cheshire: Right. But also, there was the argument that was of states’ rights. That that was—wasn’t that the argument? But I mean, don’t look at me like that. That was the argument that was put forward, right?

Hinton: I just think the whole argument about states’ rights is an avoidance, and if slavery had not been an issue, the issue of states’ rights would have never come up. My attitude about this is that I’m perfectly happy to have [the Civil War reenactors] keep fighting the war as long as they keep losing it.

[Both men laugh.]

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“Crafting Symbolic Africas in a Geography of Silence: Return Travels to and the Renarrativization of the U.S. South,” in Afro-Atlantic Flight, Michelle D. Commander, excerpted from pages 173-220. Copyright, 2017, Duke University Press. All rights reserved. Republished by permission of the copyright holder. http://www.dukeupress.edu

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Featured Image: The author  listening to the Atlantic from the Cape Coast Slavecastle in Ghana, courtesy of the author

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Michelle D. Commander is a native of the midlands of South Carolina. She is an associate professor of English and Africana Studies at the University of Tennessee, Knoxville. In 2010, Commander received her Ph.D. in American Studies and Ethnicity from the University of Southern California. She spent the 2012-2013 school year in Accra, Ghana, as a Fulbright Lecturer/Researcher, where she taught at the University of Ghana-Legon. Commander’s research has been supported by numerous organizations including the Ford Foundation, the Fulbright Foundation, and the Irvine Foundation. She is currently working on three projects: a book manuscript on the function of speculative ideologies and science in contemporary African American cultural production; a book-length project on the production of Black counter-narratives of the U.S. South; and a creative nonfiction volume on African American mobility. She has also begun engaging in essay writing for public audiences, which has been cathartic. You can find her essays at The Guardian and The Los Angeles Review of Books.

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Moonlight’s Orchestral Manoeuvers: A duet by Shakira Holt and Christopher Chien

SO! Reads: Shana Redmond’s Anthem: Social Movements and the Sound of Solidarity in the African Diaspora–Ashon Crawley

Spaces of Sounds: The Peoples of the African Diaspora and Protest in the United States

The slaves who were ourselves had known terror intimately, confused sunrise with pain, & accepted indifference as kindness. – Ntozake Shange, Sassafrass, Cypress & Indigo

Sanford. Baltimore. Chicago. Staten Island. Charlotte. Cleveland. Oakland. Austin. Los Angeles. The Bronx.

Despair in the United States is nothing new. It is neither an emotion confined to the neatly-drawn borders of this land nor is it experienced more acutely by any one group of people. The vast discrepancy between the results of the popular vote and the electoral college’s selection of Donald Trump as forty-fifth president of the United States amply reveals despair to be an sentiment viscerally experienced by a wide swath of people in this country, irrespective of race, ethnicity, gender, class, or sexuality.

Such despair has been ignored, however, by those who have caused and who continue causing the suffering of peoples of both indigenous and, later, African descent.  We are taught that men from what we now recognize as Europe arrived in this hemisphere in the late fifteenth century, settling initially on a strip of earth in the Caribbean Sea that would become the first site of massacre and genocide, acts which unleashed, if one lends credence to the narrator of Junot Díaz’s The Brief Wondrous Life of Oscar Wao, the fukú, the “Curse and the Doom of the New World.” The narrating voice himself characterizes the curse not in the actions of death, but in the “screams of the enslaved, [..] the death bane of the Tainos, uttered just as one world perished and another began […]” (1). The fukú resonated through the sounds that these human beings made.

Image of the People’s History of Telegraph Avenue mural, designed by Osha Neumann, painted in 1976, restored and enlarged in 1999, at the corner of Haste and Telegraph in Berkeley. Image by Flickr user nursenicole329. Attribution-NonCommercial-NoDerivs 2.0 Generic (CC BY-NC-ND 2.0)

Image of the People’s History of Telegraph Avenue mural, designed by Osha Neumann, painted in 1976, restored and enlarged in 1999, at the corner of Haste and Telegraph in Berkeley. Image by Flickr user nursenicole329 (CC BY-NC-ND 2.0).

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Not a house in the country ain’t packed to its rafters with some dead Negro’s grief. – Toni Morrison, Beloved

The State’s unwillingness to hold George Zimmerman responsible for the murder of Trayvon Martin–and its subsequent refusal to hold any police officer accountable for the hundreds of deaths they have caused–has galvanized the United States in the last four years. Hundreds of thousands of men, women, and children alike have taken to the streets, as #BlackLivesMatter, a true and succinct sentence, has roused ghosts of the past who have never left us, who have always been present, accompanying us on this journey.

This post is not a reflection of the music that has served as a soundtrack to these protests, though there are articles that have done so, such as this one, this one, and this one. These pieces do not include the extensive list of articles that address perhaps the most widely-viewed piece of protest music thus far, Beyoncé’s “Formation” video, a scarce offering of which can be found here, here, and here. Instead, it is an essay inspired by the sounds of the protesters themselves, the noises made by the minds, bodies, and spirits of the men, women and children who have taken to public spaces and sometimes commercial zones in order to confront and object to the protections applied to those who kill men, women, and children, often of African descent.

Listen to Los Angeles in 2013. . .

. . .to Houston in 2014. . .

. . .to New York City in 2014. . .

. . .and to Charleston in 2015. . .

. . .

roachIn his pivotal Cities of the Dead: Circum-Atlantic Performance (1996), Joseph Roach characterized New Orleans and London as urban centers marked by two simultaneous, consistent acts:  appropriation by white people and white power structures of the cultures of the peoples they have violently marginalized, and then, at the same time, a clear distancing from those very cultures and peoples. Although now in its twentieth year of publication, Roach’s theorization of the circum-Atlantic world remains vastly underutilized in scholarly circles—particularly in sound studies, where it should have special resonance– and has become increasingly critical to our understanding of this historical moment, as it “insists on the centrality of the diasporic and genocidal histories of Africa and the Americas, North and South, in the creation of the culture of modernity” (4). With this configuration, Roach accomplishes two feats simultaneously: first, he decentralizes the United States as the focal point of studies about the so-called New World, instead, placing on equal footing all of the histories and cultures of the Americas. For this scholar of the literatures of the Americas, particularly those written by men and women of African descent, Roach’s is a critical gesture that facilitates comparative work across national boundaries.

Second, and most importantly, Roach emphasizes the role of murder, rape and the destruction of whole cultures indigenous to the American and African continents in the foundation of the nations of this hemisphere. Ta-Nehisi Coates is perhaps the most recent writer to remind us that the most potent legacy of such modernity, racism, “is a visceral experience, that is dislodges brains, blocks airways, rips muscle, extracts organs, cracks bones, breaks teeth” (Between the World and Me, 10). That which we know as “modernity,” itself a deeply flawed construct that remains in need of serious revision, was born of broken backs, mutilated limbs, hushed middle-of-the-night tears of indigenous and African peoples. Moans and sighs, whispers and wails, cries and screams, they are the musical score of this hemisphere’s American experiment.

The slaves who were ourselves aided Indigo’s mission, connecting soul & song, experience & unremembered rhythms –Ntozake Shange ­

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Harriet Tubman Memorial Monument, Harlem, Image by Flickr User John Mannion (CC BY-NC-ND 2.0).

In the face of a populace accustomed to ignoring the wailing of mothers who have buried their children, who have disregarded their dignity and the weight and shape and taste of their loss, men, women, and children have mobilized. They have made manifest that which communities of peoples of African descent have spoken of and have documented since the founding of this nation. As Roach has utilized the term performance, the literal rituals of mourning by communities of African heritage not only commemorate those who have recently passed but they also invoke the spirits of those who have long borne witness to such violence. Throughout his study, Roach distinguishes between a European heritage that begins to segregate the living from the dead during the Enlightenment (50), and more traditional cultures, particularly African ones, where spirits mingle with their human counterparts. While written texts may not, and often do not, adequately commemorate the loss of lives deemed marginal to the larger society, performance itself – chants, wails, songs – serve not only to memorialize but also as gestures of restoration.

Protesters and activists are no longer satisfied with the well-established decree that we should wait for a distant moment for a more perfect realization of the United States’s many promises.  No, instead, they have identified this as the historical moment in which those oaths are to be fulfilled. They have walked, marched, and stomped through streets, on sidewalks, parks, churches, filling malls and transportation hubs with their bodies as testimony. They have repossessed and redefined spaces once thought of as simply neutral, transparent space as Katherine McKittrick refers to it in Demonic Grounds, revealing the fault-lines of difference based on class, race, gender, and sexuality in this society (xv). They have done so manipulating sound, both recycling chants used through the decades to protest injustice and, at times, simply occupying space, without a word uttered.

The silence waged in the 2014 protest in Grand Central Terminal after the non-indictment of Daniel Pantaleo in the murder of Eric Garner does not represent erasure, but rather a purposeful demonstration of the willful humanity of those unwilling to forget.

They quiet themselves. They replace the sounds of unfettered pain and grief with its absence, until all that you hear is the mechanized announcement of train schedules. The contrast is stark: the moment highlights what Claudia Rankine has identified as the condition of black life in Citizen, that of mourning (145), against a backdrop of technological advancement, that which has been built on the backs of and through the physical, emotional, and intellectual labor of black life. Here, the members of this community enact what has been called a “die-in”: simulating the physical positioning of bodies in caskets, they force onlookers to confront an uncomfortable truth about the history of this country and of the nations of this hemisphere.

All of us walk on land soaked in the blood of those who have made our lives easier and more convenient.  The men and women at Grand Central make manifest what Roach terms surrogation: in the chasm left by death, they offer a replacement, one that both evokes those who have died and disturbs the complacency of survivors themselves (2). The performance serves to confront those who dare say that the violence of genocide and enslavement of past generations should remain in the past; no, these men and women and the spirits they invoke respond. Time is not linear, as we have been taught. For past, present, and future are temporal constructs used to service oppression and domination; this will no longer do.

From Kara Walker's 2014 exhibit, "A Subtlety," at the Domino Sugar Factory in Brooklyn (CC BY-NC 2.0)

From Kara Walker’s 2014 exhibit, “A Subtlety,” at the Domino Sugar Factory in Brooklyn (CC BY-NC 2.0)

Here, in this here place, we flesh; flesh that weeps, laughs; flesh that dances on bare feet in grass. Love it. Love it hard. – Toni Morrison

We bear witness to the reclamation of grief, of lives cut short at the hand of a government charged with protecting those human beings who inhabit its borders, at least theoretically. While, as Roach surmises, “memory [may be] a process that depends crucially on forgetting” (2), we hold space to those dedicated to not forget, to instead excavate the silences, breathe life into those histories, remembering that the stories we have heard, the pages we have read, were once human beings. We create “counter-memories” as challenge and testimony, as a sacred pledge to those who are no longer present physically in this realm (Roach 26). We recall the cultures and practices of those who lived before the written form was a tool of exclusion, when remembrance was a practice of community.

American culture, in the hemispheric sense, incorporates all such rituals, across generations; as Roach notes, it is performance that “works on behalf of living memory, by bringing the parties together as often as necessary” (138). No longer consigned to the past, the spirits of those killed by the state are revived, their existences in the human plain celebrated. They are not defined by how they died but instead by how they lived. While literacy of the written form can separate, sound and gesture more effectively bypass the fictions of difference based on race, ethnicity, gender, class, and sexuality. Cities of the Dead amplifies how “performance can articulate what otherwise may not be properly communicated” (161).

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Image of the People’s History of Telegraph Avenue mural, designed by Osha Neumann, painted in 1976, restored and enlarged in 1999, at the corner of Haste and Telegraph in Berkeley. Image by Flickr user nursenicole329 (CC BY-NC-ND 2.0).

It’s so magic folks feel their own ancestors coming up out of the earth to be in the realms of their descendants – Ntozake Shange

We say their names. We say their names: Eleanor Bumpers. Anthony Báez. Sean Bell. Aiyana Stanley-Jones. Tyisha Miller. Oscar Grant. Rekia Boyd. Trayvon Martin. Tanisha Anderson. Renisha McBride. Eric Garner. Yvette Smith. Tamir Rice. Sandra Bland. Freddie Gray. Korryn Gaines. Akia Gurley. Alton Sterling. Philando Castile. Micah Jester. Deborah Danner. Walter Scott. Michelle Lee Shirley.

The list, tragically, grows, and still we say their names. We do so as an act of remembrance. As an offering. As peoples of African descent around the world do in times of ceremony, in the name of ritual. We remember those who have come before us, who have birthed this current historical moment of awakening here in the United States. We say their names.

And, as the sounds of their names said aloud echoes, we pray. Ashé.

Vanessa K. Valdés is associate professor of Spanish and Portuguese at The City College of New York; she is the editor of Let Spirit Speak! Cultural Journeys through the African Diaspora (2012) and The Future Is Now: A New Look at African Diaspora Studies (2012) and the book review editor of sx salon.  She is the author of Oshun’s Daughters: The Search for Womanhood in the Americas (2014). The title of this essay is inspired by Josh Kun’s Audiotopia: Music, Race, and America, where he writes that his book is “focusing on the spaces of music, the spaces of songs, and the spaces of sounds” (25).  

Featured Image “Freedom Marchers” by Flickr User Keoni Cabral, Photoshop processed digital image from the Martin Luther King Center in Atlanta, Georgia (CC BY 2.0).

tape reelREWIND! . . .If you liked this post, you may also dig:

SO! Reads: Shana Redmond’s Anthem: Social Movements and the Sound of Solidarity in the African DiasporaAshon Crawley

Music Meant to Make You Move: Considering the Aural Kinesthetic–Imani Kai Johnson

Black Mourning, Black Movement(s): Savion Glover’s Dance for Amiri Baraka–Kristin Moriah

Something’s Got a Hold on Me: ‘Lingering Whispers’ of the Atlantic Slave Trade in Ghana–Sionne Neely

 

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