Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • 15 - Practices of Genre Surveillance in Country Music

  • from Part IV - Boundary Work
  • Edited by Paula J. Bishop, Jada E. Watson, University of Ottawa
  • Book:
    Whose Country Music?
    Published online:
    03 February 2023
    Print publication:
    01 December 2022, pp 226-240

  • Summary

    Beyoncé’s and The Chicks’ performance at the 2016 Country Music Awards Show sparked unprecedented backlash on digital media spaces. For some viewers, the performance challenged the perceived boundaries of country music as fundamentally wrapped up in white identity. Consequently, white fans’ digital dialogue surrounding the performance attempted to maintain country music’s whiteness through surveillant rhetorical tactics. In this chapter, Hutten develops a theory of genre surveillance to describe how the boundaries of country music are policed not only by significant country music institutions but by a faction of country music fans. Hutten situates Beyoncé’s and The Chicks’ performance, and the digital reactions to it, within the history and politics of country music’s sonic color line. Additionally, Hutten mobilizes Browne’s (2015) theory of dark sousveillance to demonstrate how the performance functions as an act of musical resistance.