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“Like a Cosmic, Invisible Umbilical Cord”

In summer 2002, New York City-based DJ Sadiq Bellamy and his two partners, DJs Tabu and Jeff Mendoza, organized the first Soul Summit Music Festival: a free, open-air, and open-to-the-public weekly series of house music dance parties set in Fort Greene Park, Brooklyn, during the summer season. The party ran every summer without incident for many years, and twenty years later, continues to receive global recognition among house heads for its success in bringing house music culture—and its legacy of liberation as a sensorial practice—to a broader and more intergenerational crowd than one would find in a club. Keeping in mind its rich genealogies, this article considers the social significance of open-air house music culture, and how various forms of participation within these house music topographies rearticulate the social in a way that refuses the spatiality of peripheralization and the temporality of extinction imposed on Black, brown, and queer of color life in New York City and beyond. In the case of Soul Summit, however, it is not just who participates, but also when and where that matter—in public space and in a historically Black neighborhood situated in a post-9/11, post-Bloomberg New York City—particularly as gentrification devastates the material and symbolic conditions that made possible house culture’s multi-faceted expression in the first place. This article proposes that in resistance to the “revanchist” urbanism of gentrification, the affects and arrangements cultivated on the open-air house music dance floor offer an alternate epistemology of, or way to re-imagine, the social. This lens of “house epistemology” illuminates how the gentrification of Fort Greene brought not only a shift in residential demographics, but also the displacement of a certain modality of public culture by foreclosing the social infrastructures that serve to remediate cultural memory and mobilize Black life.