Abstract:

Sissieretta Jones (1868-1933) is perhaps best remembered as one of the first Black opera singers, despite having never performed on the operatic stage. Exploring race and phonography as interlinking technologies of perception underlying and structuring the ability of audiences to perceive black performers, this essay analyzes the multiple Joneses produced through her archive—in reviews, promotional photographs and illustrations, and the absence of her phonographically recorded voice. Through this exploration, I argue that we must resist the drive to embalm the remains of performance in order to move toward a more multiple analysis of Black archives.

 抽象的：

西西埃莱塔·琼斯（Sissieretta Jones，1868-1933）最被人们铭记的也许是第一批黑人歌剧歌手之一，尽管她从未在歌剧舞台上表演过。本文探讨了种族和留声机作为相互关联的感知技术，构建了观众感知黑人表演者的能力，分析了她的档案中产生的多种琼斯——评论、宣传照片和插图，以及她留声机录制的声音的缺失。通过这种探索，我认为我们必须抵制对表演遗迹进行防腐处理的冲动，以便对黑人档案进行更多元化的分析。