New Orleans bounce music, sexuality, and affect

Datos Bibliográficos

ID3074899
AutoresChristina Schoux Casey (0000-0001-6047-8397, Aalborg University, autor de correspondencia)
Año2018
Volumen7
Número1
Páginas5-29
Fecha de publicación2018-02-22
Peer ReviewedSí
Open AccessNo
TipoARTICLE
RevistaJournal of Language and Sexuality (JOURNAL)
Identificadores de la revistaISSN: 2211-3770 • E-ISSN: 2211-3789
EditorialJohn Benjamins Publishing Company (PUBLISHER • NL)
DOI10.1075/jls.17011.sch
OpenAlexW2734839667
IdiomaEN
Citas recibidas3
Referencias citadas35

This article explores how language, sexuality, and affect are circuited in New Orleans bounce music. Bounce features lyrics that characterize the performers as queer, describe sex explicitly, celebrate sex between male-bodied people, and expose the hypocrisy of straight-acting men. Bounce lyrics are just one element of bounce performances, however, which consist of the reciprocal relationship between the dancers in the audience, the intensity of the MC's exhortations, and the rhythm of the backing musical track. Bounce performances create a fleeting community of artists, bodies and music that is less about the expression of discrete sociodemographic categories, and more about a collective affective event. Using ideas of relationality from queer and affect theory, and Stallybrass and White's "high/low" cultural hierarchies, this article shows how bounce challenges normative ideas about the autonomous 'speaking subject,' and supports a messier understanding of the self as affectively relational

Aesthetics · Affect (linguistics · Art · Epistemology · Expression (computer science · Human sexuality · Literature · Lyrics · Musical · Normative · Queer · Queer theory · Sociology · Visual arts · Communication · Computer Science · Gender Studies · Gender, Feminism, and Media · Music History and Culture · Philosophy · Psychology · Race, History, and American Society · Social Psychology