For this thought, let us create a distinct "Ratchetness" that is both separate and independent of "ratchetness". Based on writer Regina Bradley's analyses, Ratchetness appears to be an embodied experience that permeates one's social interactions. What makes "Ratchet" different from "ratchet" is that the latter is an essence which is imposed upon the body. As Bradley illustrates in "To Sir, With Ratchety Love: Listening to the (Dis)Respectability Politics of Rachel Jeantel", the backlash to Rachel Jeantel's testimony as "ratchet" was a matter of her demonstrating a refusal to succumb to the expected ettiquette that those in "the epitome of a hyper-respectable space" are used to. She demonstrated textbook ettiquette with her Yes-Sirs and No-Sirs, but some have argued that the the way in which she conducted herself showed less respectability than what the Court requires. Is she not taking this seriously?
Bradley repeatedly drew back to Jeantel's cultural context, pointing out that she is of "Haitian and Dominican working-class background, her U.S. Southern upbringing, and the three languages – Haitian Kreyol (or Creole), Spanish and English". That the way she conducted herself in fact is a representation of that element to her embodiment. What Rachel Jeantel brought to the table then was "Ratchet".
It is important to note from this that the interesting thing about "Ratchet" is that one can actually become Ratchet, and merely be ratchet. Through Jeantel, Regina Bradley dispels a lot of the negative connotation surrounding Ratchetness. What is left is an embodiment that allows one to be a more self-affirming participant in conversation.
During the trial, Jeantel's role was to answer what was asked of her. Lawyers utilize this as an opportunity not neccessarily to reveal selective facts, but to selectively reveal truth ie. manipulate response ie. be dominant in discourse. It is through this that emotions are evoked, often to the advantage of the lawyer. Jeantel's Ratchetness was a solid affirmation of her embodied identity in spite of what was being drawn from her.
Perhaps the reason why this isn't perceived as respectable is because her Ratchetness is portrayed through the sound of what she said. Sound, being dynamic, has the capability to project a continued becoming. As suggested from the backlash to Rachel's testimony, for some reason, it appears that when considering Persons of Color (Women of Color in particular) there isn't an expectation of sound or sonic embodiment. Perhaps this is why it disturbed so many people. It may be possible that the idea that that Rachel Jeantel has a Sonic Embodiment is enough to suggest that there is considerable dimension to her existence that transcends the visual expectation, and we simply can not have that in a court of law, nor in the mass media. Unlike ratchetness, Ratchetness has the unique ability to be both proactive, and reactive.
Taking the above concept forward to Julian Henriques' "Sonic Bodies: Reggae Sound Systems", I want to frame Dancehall culture in this context. As Henriques describes, Dancehall blends traditionally African rhythms, Reggae-style baselines, and sound technologies in a manner that is uniquely Jamaican (forgive my oversimplification as I paraphrase). Dancehall is also characterised by its sexualized dance. Relating to this, in the documentary "Made In Jamaica", there is a section that details the death of Dancehall icon, Bogle. At his funeral, some of his music was played, to which mourners danced in true dancehall fashion. Such a tribute doesn't fit a traditionally held understanding of mourning, and to some would be considered tasteless or possibly ratchet. I would like to argue that to use this terminology, it would be more appropriate to instead consider this Ratchet (again, using the same framework as highlighted above). That perhaps it was the best sign of respect to have a dancehall sendoff for Bogle.
All of this draws me to the idea of diaspora. Diaspora is the phenomenon of movement. Packaged experience is the burden of people who migrate from home to a new place; a major component of diaspora. Eg. as Africans spread throughout the world, regardless of willingness, they brought with them their values, traditions, foods, perspectives, etc... and once established, "unpacked" these elements into their new home. That is what is often referred to as "influence". Previously, I had applied this notion of diaspora to the arts, but for the most part I left sound out of the scenario. I think it most certainly applies to our understanding of a Sonic Body. Henriques states that given the success of reggae in the internation community, Jamaica is the source of black power. This I feel is a result of a sort of maintenance of African values carried forth in diaspora; perhaps a vocalization of African diasporic thinking.
"Made In Jamaica" is available in full on Youtube
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