The perhaps less apparent decoupling of rhythm and race in contemporary Redundancy of revolutionary, anticolonial thinking in the present and In the Caribbean in particular, I draw connections between the apparent Ultimately to David Scott’s recent arguments on a stalled, tragic time Longstanding association between blackness and rhythm? Referring Rhythm? When electronic and digital media allow virtually anyone theĪbility to “drum” and to create rhythmic music, what happens to the Ritual, to manual drumming, and to the physical, bodily re-creation of When the production of rhythmic sounds is no longer necessarily tied to Relationship between rhythm and race in the digital age? What happens This essay asks the following basic questions: What happens to the If, as Scott says, the teleologies of anticolonial politics no longer hold true, has rhythm as a marker of time, and as an integral element in the poetics of resistance, lost its association with radical blackness and become a deracialized, dehistoricized commodity? This essay asks the following basic questions: What happens to the relationship between rhythm and race in the digital age? What happens 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 give virtually anyone the ability to ‘drum’ and to create rhythmic music, what happens to the longstanding association between blackness and rhythm? Referring to David Scott’s recent arguments on a stalled, tragic time in the Caribbean in particular, the author 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. ‘Who Stole the Soul?’ Rhythm and Race in the Digital Age
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