Racial Ideology in Electronic Dance Music Festival Promotional Videos

Brunsma, David L.; Chapman, Nathaniel G.; Lellock, J. Slade

doi:10.4324/9781315676425-14

Cited by 5 publications

(2 citation statements)

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“…Subcultural scenes, from art museums (Embrick et al, 2019), skiing (Harrison, 2013), Lindy Hop revival (Hancock, 2013), jambands (Brunsma et al, 2019), to electronic dance music (Brunsma et al, 2016), often situate Whiteness as normality. Critical analyses of subcultural scenes reveal an exclusionary mechanism to maintain its Whiteness—the interrelations between culture and Whiteness (Brunsma et al, 2019; Embrick et al, 2019; Withers, 2017).…”

Section: Subcultural Scenes As White Spacesmentioning

confidence: 99%

The Culture of White Space: On The Racialized Production of Meaning

Brunsma

Chapman

Kim

et al. 2020

American Behavioral Scientist

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This article focuses on processes of meaning making in White spaces as the glue that holds their social structures together. Understanding White spaces and how they operate necessitates theoretical development from a cultural perspective. The authors’ research empirically engages with a wide range of White spaces—neighborhoods, subcultural scenes, craft breweries, online digital platforms, and academia, to name a few—and do so from a theoretical space where the two areas of sociology meet: race and culture. We engage with three key questions to theorize the culture of White space: (a) How do these White spaces work? (b) How are these White spaces challenged? (c) How do these White spaces change and/or reproduce themselves? From these engagements, this article develops a general approach to understanding White spaces through understanding their racialized processes of meaning making.

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Section: Subcultural Scenes As White Spacesmentioning

confidence: 99%

The Culture of White Space: On The Racialized Production of Meaning

Brunsma

Chapman

Kim

et al. 2020

American Behavioral Scientist

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“…The symbolic whiteness of rock music has remained in place ever since, even as rock music gained widespread international appeal and sprouted dozens of subgenres (Bannister 2006; McDowell 2017). This association has remained largely unattended to by artists, audiences, and media (Hamilton 2016), as is often the case with cultural forms dominated by whites (see Brunsma, Chapman, and Lellock 2016; Motl 2018). Consequently, a person of color with an interest in rock music is frequently marked as inauthentic, “as someone who has either misunderstood which music is appropriate for his or her consumption or has abandoned black culture by investing in what is perceived as a white music form” (Mahon 2004:9–10).…”

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confidence: 99%

“You’re Not Supposed to Be into Rock Music”: Authenticity Maneuvering in a White Configuration

Schaap

Berkers

2020

Sociology of Race and Ethnicity

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The authors investigate how American and Dutch rock music consumers navigate the whiteness of rock music practice and discourse. In doing so, they address the complex connection between aesthetic categories (popular music) and ethnoracial categories and to what extent this relationship is open or resistant to structural change. Connecting literature on the racialization of cultural genres and on symbolic violence, the authors demonstrate how authentication through faithfulness to preestablished sociocultural configurations reinforces the whiteness of rock music consumption in both countries in very similar ways. The analysis of 27 in-depth interviews produces a threefold typology of positions that rock consumers take up vis-à-vis the sociocultural configuration of rock music authenticity: complying, amending, and replacing. From a position of complicity to this configuration, people of color are often a priori regarded as inauthentic participants, also by outsiders who consider them to “act white.” However, the analysis indicates that the shift toward a symbolic economy of authenticity enables actors to resist white hegemony as discursive authenticity at the expense of the more rigid dispositional and agentic variations underlying symbolic violence. This allows an active amending of the hegemonic configuration within the genre— authenticity maneuvering—by replacing the discourse, forging new spaces of consumption, and installing heavily policed inclusive practices.

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Dashiki Chic: Color-blind Racial Ideology in EDM Festivalgoers’ “Dress Talk”

Motl

2018

Popular Music and Society

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Racial Ideology in Electronic Dance Music Festival Promotional Videos

Cited by 5 publications

References 0 publications

The Culture of White Space: On The Racialized Production of Meaning

The Culture of White Space: On The Racialized Production of Meaning

“You’re Not Supposed to Be into Rock Music”: Authenticity Maneuvering in a White Configuration

Dashiki Chic: Color-blind Racial Ideology in EDM Festivalgoers’ “Dress Talk”

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