Abstract
What does Black Canada sound like, and how has this sound been perceived? What does performance and art have to do with it? This article examines the use of sound in performative critiques of anti-Blackness and suggests that sounding and listening are vital strategies in the struggle for racial justice in Canada. I draw on Black feminist cultural criticism and art, linguistics, and sound studies to reveal the how sucking teeth defines Black Canadian sound and culture in a way that is clearly related to, yet distinct from, the Black culture of the United States and the wider Black diaspora. I focus on the soundscape of Toronto because it remains so sharply defined by Afro-Caribbean migration. This phenomenon is particularly evident when we examine Artist Michèle Pearson Clarke’s Suck Teeth Compositions (After Rashaad Newsome) (2018).
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