- We spoke with the editor and curator, Dr. Monique Charles, about the groundbreaking work.
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In March, Oxford University Press will publish a collection of essays called Black Music in Britain in the 21st Century.
Edited and curated by Dr. Monique Charles with Dr. Mary Gani, the book covers the history, aesthetics and politics of genres such as dub, UK garage, grime, jazz and lover’s rock. It’s the first academic collection dedicated to contemporary Black British music.
“When we think of 21st-century Black British music we think of more obvious genres such as grime and drill,” Charles, who is assistant professor of sociology at Chapman University in California, told Resident Advisor. “But there are legacies that these older genres borne before the 21st century bleed into the 21st century. Additionally, some of the genres have gained resurgence among a new generation, such as jungle and jazz, [while] others continue to evolve, such as gospel.”
Covering these genres has both an academic and personal angle for Charles. “Growing up in Britain, there was an obvious disconnect—between music in mainstream spaces and music that I listen to and enjoyed, as well as a vast difference in the music taught in schools,” she added. “So this book was ultimately to create something that wasn’t there for me when I was a child/young person wanting to study the subject.”
Academics have previously been reluctant to fully embrace British genres like grime, drill and dubstep, always positioning them in relationship to their North American equivalents.
“Black music in the British framework was always placed outside,” Charles said. “It was never positioned as something emerging from Britain itself.”
While this is slowly changing, there remain structural obstacles for scholars interested specifically in Black British music. “The connection between Black music and academia, in the British context, was just not there,” Charles said. “Black British music and academia was even further removed from collective consciousness.”
Split into three sections—”Diaspora Music and the Black Atlantic,” “21st-Century Black British Music” and “Socio-Political and Economic Issues”—the books features more than 15 contributors, with interviews alongside more traditional academic essays.
According to Charles, it’s aimed both at scholars and general music fans. The goal is to be both comprehensive and accessible.
“I wanted the book to appeal to musical ‘nerds’ as well as for undergraduate and postgraduate study,” she said. “For this reason, the book is more than a series of essays. Yes, there are some essays—some of which explore concepts and frameworks. Some tell or interrogate a narrative. Some provide visuals. Others provide a conversation or centre the voices of people in their related scenes.”
She added: “I created it this way so readers could have a broader view of Black British music in the 21st century. They could enter at whatever level they feel most comfortable at.”
Out on March 15th, Black Music in Britain in the 21st Century is available for pre-order now.
Photo: Erwi
