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Arts Music Politics

The Trouble with “Tribal”

Protests against the continuous state-sanctioned police murders of Black, Brown, and Indigenous people in America haven’t only inspired a global dialogue about systemic racism, but they have also forced a reckoning with the legacy of White supremacy as it manifests across all facets of contemporary Western culture.

Club culture hasn’t been immune from these critiques. Writers have recently reminded of the Black protest legacy of house and techno music (as well as the cultural theft of these genres by White artists), and BIPOC artists of regional club styles have lamented the need to partner with White gatekeepers as a means of mainstream acceptability. This dynamic, of course, means that underground club music—despite its subversive, utopian ideals—fits within longstanding trends of White Western appropriation within music.

Still, even beyond that trend exists a deeper undercurrent of musical, pictorial, and even literal language which reflect some of the most insidious strains of White supremacist ideology. This is the ideology of imperialism and settler colonialism, which has caused such profound epistemic, ontological, and cosmological violence across the Global South that its structure has pre-empted the kind of solidarity and singular liberatory practices that the dance floor promises.

That undercurrent can be found within the White Western conception of “tribal,” which permeates across club genres, from house and techno to the amorphous umbrellas of UK and global bass. It’s a concept born of degradation and remains as such in club music, through primitivist depictions and exploitative collaborations; and while the Internet has ushered new hybridized forms of cultural relations that transcend borders, people within the club ecosystem can still seek and support opportunities for rematriation of Indigenous lands.

Categories
Arts Music Politics

Artist 7D Is Working to Expand Access to Pittsburgh Music

Music scenes are often defined by their inaccessibility. Consider the whisper networks sometimes required to find the venue’s address, the late hours that push against people’s circadian rhythms, and aesthetics that challenge mainstream concepts of sound and performance.

But what happens when that inaccessibility abuts another kind of inaccessibility—that which impedes people with physical or mental disabilities, chronic pain/illness, mental illness, or neurodiversity?

As my own body accustoms itself to living with a constellation of degenerative joint and auto-immune diseases, I have repeatedly encountered the structural impediments inherent in my own access to the scenes in which I have existed as a performer, DJ, promoter, and attendee. I was thus excited (and a bit surprised) to find solidarity in a Google form, a survey titled Accessibility in PGH Music.

The survey was created this past January by 7D, a Pittsburgh-based artist creating performance-focused experimental music. 7D’s performances often combine discordant soundscapes with vocals processed through long reverbs and delays, building a delicate sonic world on the precipice between lush and harrowing. Through this, they create space to explore the fluidity of ability, their personal experiences with psychosis and the healthcare system, and how these things relate to deconstructing what is expected from music.

Bruiser Beep at Artists Image Resource, January 2019

The survey has since completed, and 7D is currently analyzing results in advance of a community meeting. I was able to reach out via e-mail and have a conversation about inspiration for the project, initial thoughts, and recommendations that venues and promoters can consider while the community organizes.