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Science and technology studies scholars have discussed the concept of nature within the context of Christian settler hierarchies (Cronon; Haraway; Titon). However, despite an emerging literature (Doolittle; Mundy), the narrativization of interspecies relations in musical contexts remains undertheorized. In this paper, I examine the ways that music has been used to construct seventeen-year Magicicada Brood X as biologically necessary within Christian environmentalism in the Midwestern United States, despite widespread popular claims that cicadas are "annoying" or "gross." Utilizing a mixture of gastromusicological and multispecies ethnographic techniques, I examine the 2021 event "All Creatures Yum!" in Bloomington, IN, which featured a combination of cicada culinary pop-ups with an album of cicada music. Critiquing David Rothenberg's claim that cicada noise is evidence of a prior stage of human musical evolution, I argue that the pairing of cicadas-as-food with cicadas-as-musical-collaborators suggests a complex negotiation by which participants are involved in "eating the Other" as theorized by bell hooks . The violence of consumption, contrasted with narratives of benevolent bio-musical harmony, brings to light questions of "what particular forms of life and death mean and why they matter" (Van Dooren 7).
Julianne Graper (Thu,) studied this question.