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DECOLONIAL LISTENING - THEORY

CORE TEXT
Decolonial Listening
An Interview with Rolando Vázquez

PODCAST
“High Holy Days” by DJ Lynee Denise, 3 Sept 2011

ARTICLE
The Afterlife of Aretha Franklin’s “Rock Steady:” A Case Study in DJ Scholarship

The DJ set “High Holy Days” by DJ Lynee Denise honors the initiators of the globalization of house music. They got the chance to spread the music, but not the chance to tell their stories. Through the mix Lynnee Denise hopes to have brought voice to the untold stories, visibility to the people that generated a global musical movement and have lift the names of those who have passed on (and to recognize what LGBTQ contribute to American Culture).

In the first half of the set we hear a lot more lyrics than in the end. Not only the lyrics itself is powerful, but you can also hear the power in the warm voices. Cited/sampled, they tell the story that has passed. Making us understand and trying to connect with the deeper essence.

In the article The Afterlife of Aretha Franklin’s “Rock Steady:”A Case Study in DJ Scholarship by DJ Lynnee Denise, we find the same massage. By telling her own relationship to the song Rock Steady by Aretha Franklin, how she started her research to the song, how she handled the research by the DJ scholarship and explaining what she found out and where it brought her, she is trying to explain how we as people in the now can try to fully understand the message/story from the past by researching from different angles. It is about the essence of going deeper in research to find the deeper meaning of things, explaining feelings and situation in detail and trying to listen to the story and imagining it. Only then you can spread the word again.

A similar research-method I used in the second project of my first year in Spatial Design. We were asked to design an apartment from the position of a ‘famous’ architect. Researching the architect and his way of working and designing, gave me the feeling of being able to design something he could have designed. It didn’t feel as a ‘power’ but as an understanding, a connection and an honoring or appreciation to him.

My first interpretation
Decolonial Listening is trying to listen to stories, history, etc. to try creating a vision, of an in history ended and silenced trajectory, which is as inclusive as possible to make a nutral point of view. From this point of view you will be able to redefine and embody the trajectory to give it a future.

Working definition by Charissa
Decolonial Listening is a practice that seeks to humble modernity. Modernity is the forceful affirmation of the dominant world and the denial of that affirmation, which leads to the erasure of and disregard of other knowledges, practices, experiences, languages, sexualities, genders and so forth. Decolonial Listening involves actively and intentionally seeking out those voices and giving them a place. Listening goes beyond the ears and involves our entire physicality that is available in any measure to all of us.

DECOLONIAL LISTENING - EXAMPLES FROM PRACTICE

ARTICLE
Audre Lorde “Uses of the erotic: The erotic as power” in Sister outsider available in “files” tab. (p.61-67)

+ supporting video's of her work

TEDTALK
Kimberlé Crenshaw - “the Urgency of Intersectionality”

ARTICLE
Revolutionary Hope: A Conversation Between James Baldwin and Audre Lorde

+ supporting interviews and video's of James Baldwin

CONCEPT-VIDEO's
Foucault's work

PODCAST - POETRY
Decolonial Listening
An Interview with Rolando Vázquez

PROJECT - FORENSIC ARCHITECTURE

DOCUMENTARY
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