On a musical theme, some items from the archives.
Don’t Oppress My People With Your White-Ass Folk Music.
Sheffield academics spend £1.5M to “decolonise” folk singing.
Still, perhaps we can look forward to an academic interrogation of classic car shows in Nottinghamshire as some heinous bastion of “white-centricity.” Another item on the list of Things That Must Be Decolonised And Morally Corrected.
“Our aim,” says Fay Hield, professor of music at the University of Sheffield, “is to break down the barriers for people to get involved in folk music. Opening up the genre to different audiences will help to sustain the nation’s folk music for decades to come.”
Different audiences. Not the audience it actually has, mind, the one it attracts, and which is arrived at via choice and musical inclination. No actual barriers to participation are specified, of course. But the actually existing audience is nonetheless all wrong, apparently.
Having covered quite a few of these “decolonisation” efforts, which generally rely on a fig-leaf of widening access and removing barriers, it’s remarkable just how rarely any meaningful obstacle to access is actually mentioned. Typically, the humdrum is depicted as gruelling and somehow agonising, and motes are inflated to the size of boulders.
We were told, for instance, that racial minorities are being “deterred” from visiting the British countryside “due to deep-rooted, complex barriers.” Barriers such as the fact that rock-climbing instructors are usually white. And apparently this unremarkable state of affairs, in a white-majority country, is something that needs fixing.
Though it occurs to me that if a person with brown skin were being deterred from trying rock climbing by the fact that the instructor is likely to be white, then it seems somewhat unlikely that said person is interested in rock climbing to any significant extent. And a person deterred by such things may also want to reflect on their own racial assumptions. But we’re not supposed to mention those, at least not in an unflattering light.
Decolonise Choir is all about healing and coexistence. No white devils allowed.
As the only racial group being explicitly excluded is Old Whitey, the obvious inference is that the cause of all this alleged misery and “trauma” is the party being excluded. As if the mere proximity of People Of Pallor would inhibit and befoul any creative endeavour, any glimmer of “joy.” Given the minority status of white people in London, it seems a bit much. And ever so slightly ungrateful.
And it is, I think, worth noting that the nation’s capital, where these dramas of “resistance” unfold, has in my lifetime gone from a native white-majority city, over 90%, to a native white-minority one, around 35%. Yet it would seem that even this dramatically downsized white devil population is, for some, still too burdensome and oppressive. A cause of “collective trauma.”
Have You Tried Less Tiresome Music?
On rap, the ‘N’ word, and dumb academia.
I ask because we’re told – by Dr Jeremy McCool and Dr Tyrone Smith, two devotees of “critical race theory” – that a failure to gush with enthusiasm is a result of “systemic bias and inherent prejudice,” and is suppressing such innovation. It is, they say, “the silencing of intellectuals in music.”
It’s perhaps worth noting how one of the most hazardous of words to use – one that may result in a kicking or sudden unemployment, and from which All Decent Non-Racist People are expected to recoil – is simultaneously one to which All Decent Non-Racist People are supposed to be drawn, or at least happy to tolerate. Provided it’s being mouthed, endlessly, by idiots of a certain hue. And failing to have a taste for this experience, over and over again, is, we’re now told, evidence of racism.
For those craving more, this is a pretty good place to start.
Consider this an open thread. Share ye links and bicker.
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