Abstract

In this paper, I look to draw novel connections between critiques of drill and epistemic injustice by addressing the question of whether the critical scrutiny of drill constitutes an epistemic injustice. I argue that these critiques constitute two types of epistemic injustice: testimonial injustice and contributory injustice. We see testimonial injustice in how courts and police do not give credibility to drill artists’ testimonies about the storylike nature of their songs, and these credibility deficits are based in racist stereotypes about black criminality and believability. We see contributory injustice in how courts and police, through wilful ignorance, see drill music as violent and criminal rather than expressive and fictional – as drill artists do – which thwarts drill artists’ ability to contribute to shared knowledge.