In Washington, DC, Black residents have experienced unprecedented levels of cultural and physical displacement since 2000. Because of gentrification, the first “chocolate city,” long been defined by its blackness, has experienced shifts in the economy and commitments by the local government, that privilege policies that facilitate the displacement of Black families. Everyday struggles against gentrification have been of wide-ranging theoretical concern and pose an ongoing challenge for scholars in geography to understand the ways people resist gentrification and displacement. In this article, I show through an analysis of the anti-gentrification movement, #DontMuteDC, how Black people challenge the processes of gentrification by reclaiming space and resisting capitalist dispossession through cultural production. I demonstrate the relationship between Black sound aesthetics, gentrification, and a spatial politics of reclamation. I analyze the movement’s emphasis on go-go music as part of a process to (re)claim their place in the city, which I argue disrupts structures governing and managing normative space. I propose reclamation aesthetics as an analytic through which we can understand Black cultural production and Black place- and space-making practices as responses to socio-spatial inequities.

自2000年以来，在华盛顿特区，黑人居民经历了前所未有的文化和自然流离失所。由于中产阶级化，长期以来一直由黑人定义的第一个“巧克力城市”经历了经济变化和地方政府的承诺，促进黑人家庭流离失所的特权政策。反对高档化的日常斗争已引起广泛的理论关注，并且对于地理学者理解人们抵抗高档化和流离失所的方式构成了持续的挑战。在本文中，我通过对#DontMuteDC反高档化运动的分析，展示了黑人如何通过收回空间并通过文化生产来抵抗资本主义的剥夺，来挑战高档化的过程。我演示了黑声音美学，高级化和填海的空间政治之间的关系。我分析了运动对歌舞音乐的重视，以此作为（重新）夺回他们在城市中位置的过程的一部分，我认为这破坏了规范和管理规范空间的结构。我提出填海美学作为一种分析，通过它我们可以将黑人文化生产和黑人场所与空间制造实践理解为对社会空间不平等的反应。