Exploring Cultural Diversity in Experimental Sound

Abstract

The genres of computer music, noise, sound art, electroacoustic music, soundscape and improvisation – termed for the remainder of this article as ‘experimental sound’ are overwhelmingly dominated by affluent, White male practitioners. The Black Lives Matter movement has thrown into sharp relief many examples of the injustices that Black people face as a result of institutionalWhiteness, and this should catalyze serious investigation and honest critical reflection in our own field. Recent work in diversifying experimental sound practices has focussed on gender and increasing the representation of women (Born & Devine 2015, Lane 2016, and Goh & Thompson 2021). While this work is absolutely vital, there is a need to address other forms of exclusion, such as racial exclusion. This paper serves as an overview of an 18 Month UK Arts and Humanities Research Council funded research project “Exploring Cultural Diversity in Experimental Sound” (ECDES)1, beginning in September 2021 (Patel et al 2021). Our research will build an understanding of the experiences of experimental sound composers from Black and South Asian backgrounds, building awareness of the existing cultural diversity in electroacoustic music and sound arts, while also promoting strategies to realize change to support and nurture practitioners from across Britain’s diverse cultures.