A central criticism emerging from Black and Creole thinkers is that
mainstream, white dominated, culture, consumes sounds and images of
Creole and Black people in music, theater, and the white press,
while ignoring critiques of the white consumption of black culture.
Ironically, critiques of whiteness are found not only in black
literature and media, but also within the blues, jazz, and
spirituals that whites listened to, loved, collected, and archived.
This book argues that whiteness is not only a visual orientation;
it is a way of hearing. Inspired by formulations of the race and
whiteness in the existential writings of Frantz Fanon, Simone de
Beauvoir, Jean-Paul Sartre, W.E.B. Du Bois, Richard Wright, Lewis
Gordon, Angela Davis, bell hooks and Sara Ahmed, T Storm Heter
introduces the notion of the white sonic gaze. Through case studies
and musical examples from the history of American jazz, the book
builds a phenomenological archive to demonstrate the bad habits of
'white listening', drawing from black journalism, the
autobiographies of Creole musicians, and the lyrics and sonic
content of early jazz music emerging from New Orleans. Studying
white listening orientations on the plantation, in vaudeville
minstrel shows, and in cabarets, the book portrays six types of bad
faith white listeners, including the white minstrel listener, the
white savior listener, white hipster listener, and the white
colorblind listener. Connecting critical race studies, music
studies, philosophy of race and existentialism, this book is for
students to learn how to critique the phenomenology of whiteness
and practice decolonial listening.
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