DOCSLIB.ORG

A Popular Culture Research Methodology: Sound System Outernational By

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Popular Culture Research Methodology: Sound System Outernational By 1 A Popular Culture Research Methodology: Sound System Outernational by Brian D’Aquino (L’Orientale, Napoli) Julian Henriques (Goldsmiths, University of London) Leo Vidigal (UFMG, Brazil) Résumé : Ce papier explore une méthodologie inno- Abstract: Tis paper explores an innovative prac- vante de recherche par la pratique qui rassemble pra- tice-as-research methodology that brings popular ticiens et aficionados d’une culture populaire avec culture practitioners and aficionados together with des chercheurs académiques, dans l’espace partagé de academic researchers in the shared space of sym- symposiums sur la culture sound system du reggae. posia on reggae sound system culture. As organiz- En tant qu’organisateurs, nous décrivons ce qui a ers, we describe what made the symposia different rendu ces symposiums différents des conférences from the normal academic conference in terms of académiques habituelles, en termes de participants, the range of participants, discussion topics, work- de sujets de discussion, d’ateliers, de démonstration, shops, demonstrations, exhibitions, film showings d’expositions, de projections de films et de sessions and the sound system sessions from Roots Injection sound system par Roots Injection et Young Warrior. and Young Warrior. In a self-reflexive fashion some D’une manière autoréflexive, nous considérons que of the outcomes of the events were considered to be les résultats de ces évènements incluent des échanges the intergenerational conversations, the support for intergénérationnels, le soutien aux sound system women-led sound systems and the recognition and menés par des femmes, et la reconnaissance et l’en- encouragement that the practitioners of the popu- couragement que les praticiens de cette culture popu- lar culture said they felt they were receiving from laire disent avoir ressenti de la part de l’institution the academic institution of the university. Tis can Volume académique qu’est l’université. Cela peut être identi- be identified via voice recordings and social media fié, à travers des enregistrements vocaux ainsi que des comments as a mutual strengthening of the research commentaires sur les réseaux sociaux, comme une culture and the sound system popular culture itself. ! n° 13-2 renforcement mutuel de la culture de recherche et de Keywords: community – research methodology – la culture populaire du sound system elle-même. participation – practice-as-research – popular cul- ture – reggae – sound system Mots-clefs : communauté – méthodologie de recherche – participation – recherche par la pratique – culture populaire – reggae – sound system 2 Brian D’Aquino, Julian Henriques & Leo Vidigal Reggae-as-research theory-practice PhD programme where theses include a very productive circulation of between system culture originating in “thinking/reading” and “making.” Sound Jamaica is now a global pop- ular music movement. Tis paper outlines an As against most practice-as-research, Outerna- example of a practice-as-research methodology tional was concerned with sound system as a with reggae researchers and practitioners par- collective rather than individual creative prac- ticipating. Sound System Outernational 1 and 2 tice, as part of a popular rather than high art or took place at Goldsmiths, University of London, avant-garde cultural tradition. Also some of the in January and July 2016. First to declare our value of the symposia lay in the fact that main- interests, the authors were the organizers of these stream media have traditionally not recognized events, having founded an on-going research sound system culture as having any significant group called Sound System Outernational, “ded- value. Until very recently the UK urban music icated to recognizing, stimulating and support- of Grime was exactly in this position of being ing sound system culture worldwide… [it] creates entirely excluded from mainstream media, as one spaces for dance and discussion.”1 Tis makes participant, Joy White addressed in her presenta- the article a self-reflexive piece, where the events tion Calling the Past into the Present: Sound Sys- themselves are considered as an example of prac- tems and a Decade of Grime at the second event tice-as-research. (White, 2016). Even if it may occasionally sur- face on a mainstream level, such as with Channel Practice-as-research is itself a departure and One’s surprise victory at the Red Bull Culture development from conventional university Clash in 2010, reggae sound system culture is research models such as participant observa- not a fully commercial music culture (in the tion and ethnomethodology. Tese methodol- way that Grime is rapidly becoming with Grime ogies, despite the researcher being immersed artist Skepta winning the UK music industry’s in the field, maintain the clear divide between prestigious 2016 Mercury prize), but conforms the researcher and the researched. Tis is some- more to the idea of a subculture, often operat- thing the symposia—unlike the conventional ing in the margins in an informal economy and academic conference—sought to challenge. retaining its Caribbean identity. So the popular Practice-as-research recognizes that knowledge culture of sound system culture indicates grass- is not exclusively epistemic, that is, defined in roots, lumpen proletarian or subaltern, as dis- the traditional arts and humanities manner as tinct from the mass popular culture of Beyoncé ! n° 13-2 a text. It also recognizes that creative and other or Major Lazer. Te third respect in which the practices of the researchers themselves—includ- creative practices considered here differ from tra- ing organizing symposia—can and do generate ditional ones is in the role of technology. Sound Volume knowledge. Indeed Goldsmiths runs a successful system culture is almost entirely phonographic, Figure 1: First Sound System Outernational poster, 16th January 2016. 4 Brian D’Aquino, Julian Henriques & Leo Vidigal this is to say, the music played by the Selector is Practice and knowledge systems not a “live” artist performance, but a recorded Te term “outernational” rather than interna- one, re-presented, as it were, by the technologies tional was adopted for the name of these events of the sound system set of equipment. as an indication of our respect for the Rastafarian Arising from the most deprived areas of 1950s has made such an essential contribution to sound Kingston, Jamaica, later displaced along the system culture and whose nomenclature eschews routes of the Afro-Caribbean diaspora, this internationalism (Chevannes, 1994). “Outerna- wisdom or “sonic intelligence” is a collective, tionalism” might also be considered as one of the transnational, multi-layered body of knowledge. few a progressive aspects to globalization. To give Ranging from the affective qualities of sound to an example, the Italian band Roots Defenders trav- the techniques for its re-production, this prac- elled from their home base of Napoli to perform tice-based wisdom mainly relies on a radical at Hootananny venue in Brixton, south London. approach to audio technology. Working with Tere they performed with veteran Jamaican (cur- one foot in the recording studio and the other in rently Brixton-based) reggae singer Earl 16. Ten the dancehall session, as recently accounted by D’Aquino’s cut a 12 inch released on his Baba- boom Hifi label, which was recorded between Ray Hitchins (2014), Jamaican engineers have Naples and London and the record pressed in always made clean sweep of the manuals. Push- France. As was confirmed by Ras Muffet, opera- ing technology far beyond its intended limits, tor of the Roots Injection sound system and label they eventually invented a sound the rest of the based in Bristol, this is typical of the kind of “out- world strives for, with the sonic extravaganza of ernationalism” by which the scene operates.2 dub to be considered one of the most perfected achievements, as argued by Michael Veal in his Te field of popular culture offers countless exam- classic work (Veal, 2007). It is always difficult ples of different paradigms at work in the produc- to find ways to convey the affects of the sound tion and transmission of knowledge. As an example system experience and its visceral impact. One the idea of an embodied knowledge, proposed Brazilian in her comments from the floor of the by phenomenologist Merleau-Ponty (1964) and first Outernational put this very well. She said later expanded by the feminist critique, resonates that as a student she couldn’t afford to travel throughout a long tradition of scholarly research on dance and choreography, from Afro-American back to Brazil—so going to sound system ses- dancer-theorists Katherine Dunham (1947/1983) ! n° 13-2 sions was the only way she could experience her- to Barbara Browning (1995) and Ann Cooper self as an embodied person, in the way she was Albright (1997). But we could also claim the call at home. into question of the primacy of the rational mind Volume to be already at work in the artistic practice of self- 5 A Popular Culture Research Methodology... taught musicians, from Louis Armstrong to Jimi was his new film shown at the event, as described Hendrix. Te idea of ways of knowing and the sonic below. In terms of a research and practical knowl- logos challenge the conventional epistemic monop- edge base in reggae sound systems, Henriques has oly of the nature of knowledge itself, as explored documentary and fiction films, numerous journal elsewhere (Henriques, 2011: 242-274). Tis line publications (e.g. Henriques, 2014) and a mono- of thought also
Load more

Recommended publications
  • El Rey Vallenato De La Academia Camilo Andrés Molina Luna Pontificia
    EL REY VALLENATO DE LA ACADEMIA CAMILO ANDRÉS MOLINA LUNA PONTIFICIA UNIVERSIDAD JAVERIANA FACULTAD DE ARTES TESIS DE PREGRADO BOGOTÁ D.C 2017 1 Tabla de contenido 1.Introducción ........................................................................................................ 3 2.Objetivos ............................................................................................................. 3 2.1.Objetivos generales ............................................................................................... 3 2.2.Objetivos específicos ............................................................................................ 3 3.Justificación ....................................................................................................... 4 4.Marco teórico ...................................................................................................... 4 5.Metodología y análisis ..................................................................................... 22 6.Conclusiones .................................................................................................... 32 2 1. Introducción A lo largo de mi carrera como músico estuve influenciado por ritmos populares de Colombia. Específicamente por el vallenato del cual aprendí y adquirí experiencia desde niño en los festivales vallenatos; eventos en los cuales se trata de rescatar la verdadera esencia de este género conformado por caja, guacharaca y acordeón. Siempre relacioné el vallenato con todas mis actividades musicales. La academia me dio
    [Show full text]
  • Media and Advertising Information Why Advertise on Bigup Radio? Ranked in the Top 50,000 of All Sites According to Amazon’S Alexa Service
    Media and Advertising Information Why Advertise on BigUp Radio? Ranked in the top 50,000 of all sites according to Amazon’s Alexa service Audience 16-34 year-old trend-setters and early adopters of new products. Our visitors purchase an average of $40–$50 each time they buy music on bigupradio.com and more than 30% of those consumers are repeat customers. Typical Traffic More than 1,000,000 unique page views per month Audience & Traffic 1.5 million tune-ins to the BigUp Radio stations Site Quick Facts Over 75,000 pod-cast downloads each month of BigUp Radio shows Our Stations Exclusive DJ Shows A Strong Image in the Industry Our Media Player BigUp Radio is in touch with the biggest artists on the scene as well as the Advertising Opportunities hottest upcoming new artists. Our A/R Dept listens to every CD that comes in selecting the very best tracks for airplay on our 7 stations. Among artists that Supporting Artists’ Rights have been on BigUp Radio for interviews and special guest appearances are: Rate Card Beenie Man Tanya Stephens Anthony B Contact Information: Lil Jon I Wayne TOK Kyle Russell Buju Banton Gyptian Luciano (617) 771.5119 Bushman Collie Buddz Tami Chynn [email protected] Cutty Ranks Mr. Vegas Delly Ranx Damian Marley Kevin Lyttle Gentleman Richie Spice Yami Bolo Sasha Da’Ville Twinkle Brothers Matisyahu Ziggi Freddie McGregor Jr. Reid Worldwide Reggae Music Available to anyone with an Internet connection. 7 Reggae Internet Radio Stations Dancehall, Roots, Dub, Ska, Lovers Rock, Soca and Reggaeton.
    [Show full text]
  • Read Or Download
    afrique.q 7/15/02 12:36 PM Page 2 The tree of life that is reggae music in all its forms is deeply spreading its roots back into Afri- ca, idealized, championed and longed for in so many reggae anthems. African dancehall artists may very well represent the most exciting (and least- r e c o g n i z e d ) m o vement happening in dancehall today. Africa is so huge, culturally rich and diverse that it is difficult to generalize about the musical happenings. Yet a recent musical sampling of the continent shows that dancehall is begin- ning to emerge as a powerful African musical form in its own right. FromFrom thethe MotherlandMotherland....Danc....Danc By Lisa Poliak daara-j Coming primarily out of West Africa, artists such as Gambia’s Rebellion D’Recaller, Dancehall Masters and Senegal’s Daara-J, Pee GAMBIA Froiss and V.I.B. are creating their own sounds growing from a fertile musical and cultural Gambia is Africa’s cross-pollination that blends elements of hip- dancehall hot spot. hop, reggae and African rhythms such as Out of Gambia, Rebel- Senegalese mbalax, for instance. Most of lion D’Recaller and these artists have not yet spread their wings Dancehall Masters are on the international scene, especially in the creating music that is U.S., but all have the musical and lyrical skills less rap-influenced to explode globally. Chanting down Babylon, than what is coming these African artists are inspired by their out of Senegal. In Jamaican predecessors while making music Gambia, they’re basi- that is uniquely their own, praising Jah, Allah cally heavier on the and historical spiritual leaders.
    [Show full text]
  • Shilliam, Robbie. "Dread Love: Reggae, Rastafari, Redemption." the Black Pacific: Anti- Colonial Struggles and Oceanic Connections
    Shilliam, Robbie. "Dread Love: Reggae, RasTafari, Redemption." The Black Pacific: Anti- Colonial Struggles and Oceanic Connections. London: Bloomsbury Academic, 2015. 109–130. Bloomsbury Collections. Web. 23 Sep. 2021. <http://dx.doi.org/10.5040/9781474218788.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 23 September 2021, 11:28 UTC. Copyright © Robbie Shilliam 2015. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 6 Dread Love: Reggae, RasTafari, Redemption Introduction Over the last 40 years roots reggae music has been the key medium for the dissemination of the RasTafari message from Jamaica to the world. Aotearoa NZ is no exception to this trend wherein the direct action message that Bob Marley preached to ‘get up stand up’ supported the radical engagements in the public sphere prompted by Black Power.1 In many ways, Marley’s message and demeanour vindicated the radical oppositional strategies that activists had deployed against the Babylon system in contradistinction to the Te Aute Old Boy tradition of tactful engagement. No surprise, then, that roots reggae was sometimes met with consternation by elders, although much of the issue revolved specifically around the smoking of Marijuana, the wisdom weed.2 Yet some activists and gang members paid closer attention to the trans- mission, through the music, of a faith cultivated in the Caribbean, which professed Ethiopia as the root and Haile Selassie I as the agent of redemption. And they decided to make it their faith too.
    [Show full text]
  • SS05 Naple Full Programme.Pdf
    Across the globe the adaptation of Jamaican sound system culture has stimulated an innovative approach to sound technologies deployed to re-configure public spaces as sites for conviviality, celebration, resistance and different ways-of-knowing. In a world of digital social media, the shared, multi-sensory, social and embodied experience of the sound system session becomes ever more important and valuable. Sound System Outernational #5 – “Sounds in the City: Street Technology and Public Space” (4-5-6 April, 2019 - Naples, Italy) is designed as a multi-layered event hosted at Università degli Studi di Napoli L’Orientale with local social movement partners. Over three days and interacting with the city of Naples in its rich academic, social, political and musical dimensions, the event includes talks, roundtables, exhibitions and film screenings. It also features sound system dances hosting local and international performers in some of the city’s most iconic social spaces. The aim of the program is to provide the chance for foreign researchers to experience the local sound system scene in the grassroots venues that constitute this culture’s infrastructure in Naples. This aims to stimulate a fruitful exchange between the academic community and local practitioners, which has always been SSO’s main purpose. Sounds in the City will also provide the occasion for the SSO international research network meeting and the opportunity for a short-term research project on the Napoli sound system scene. Thursday, April 4th the warm-up session Thursday, April 4th “Warm Up Session” (16:30 to midnight) Venue: Palazzo Giusso, Università L’Orientale - Room 3.5 (Largo S.
    [Show full text]
  • Jah Free 2016
    JAH FREE 2016 THE DUB ACTIVIST The unique sounds of JAH FREE MUSIC seems to have no boundaries, he really can’t contain or control the movement of his music or where it will take him next. The people really do have the power and it is their love, vibes and support which keeps Jah Free Music very much alive and well today. The man himself never having had a plan, tries to take a natural musical path of progression, following the vibes and trying to always stand for the positive, his most important aim is to bring a ‘one love’ message in his musical works and live shows for anyone who cares to listen. Jah Free has been involved in the UK, European and now global reggae music scene for some 35 years with Roots, Dub, Digital productions and remixes. He first started out playing keys, percussion and singing in his band Tallowah back in the late to early 70s/80s, the band was formed by himself and his musically talented friends. The band’s name was later to become “Bushfire”, remembered by most as a highly successful UK Roots band for its time. Even now people mention those times and the live shows they enjoyed. Bushfire were asked to perform outside of the UK in Europe at festivals notably taking its own Wango Riley Stage on the road with its own mixing desk and P.A included, this being where Jah Free first learnt his many skills in live mixing. Worth mentioning that the Wango Rileys stage went on to become a very well known stage on the festival circuit over its many years, but sadly burnt down in the 90s.
    [Show full text]
  • The Aura of Dubplate Specials in Finnish Reggae Sound System Culture
    “Chase Sound Boys Out of Earth”: The Aura of Dubplate Specials in Finnish Reggae Sound System Culture Feature Article Kim Ramstedt Åbo Akademi University (Finland) Abstract This study seeks to expand our understanding of how dubplate specials are produced, circulated, and culturally valued in the international reggae sound system culture of the dub diaspora by analysing the production and performance of “Chase the Devil” (2005), a dubplate special commissioned by the Finnish MPV sound system from Jamaican reggae singer Max Romeo. A dubplate special is a unique recording where, typically, a reggae artist re-records the vocals to one of his or her popular songs with new lyrics that praise the sound system that commissioned the recording. Scholars have previously theorized dubplates using Walter Benjamin’s concept of aura, thereby drawing attention to the exclusivity and uniqueness of these traditionally analog recordings. However, since the advent of digital technologies in both recording and sound system performance, what Benjamin calls the “cult value” of producing and performing dubplates has become increasingly complex and multi-layered, as digital dubplates now remediate prior aesthetic forms of the analog. By turning to ethnographic accounts from the sound system’s DJ selectors, I investigate how digital dubplates are still culturally valued for their aura, even as the very concept of aura falls into question when applied to the recording and performance of digital dubplates. Keywords: aura, dubplate special, DJ, performance, reggae, recording, authenticity Kim Ramstedt is a PhD candidate in musicology at Åbo Akademi University in Finland. In his dissertation project, Ramstedt is studying DJs as cultural intermediaries and the localization of musical cultures through DJ practices.
    [Show full text]
  • Créolité and Réunionese Maloya: from ‘In-Between’ to ‘Moorings’
    Créolité and Réunionese Maloya: From ‘In-between’ to ‘Moorings’ Stephen Muecke, University of New South Wales An old Malbar is wandering in the countryside at night, and, seeing a light, approaches a cabin.1 It is open, so he goes in. He is invited to have a meal. No questions are asked; but he sings a ‘busted maloya’ [maloya kabosé] that speaks of his desire to open his wings and fly away, to accept the invitation to sleep in the cabin, to fall into the arms of the person narrating the ballad, and to weep. The whole company sings the ‘busted maloya.’2 Malbar is the name for Tamils descended from indentured labourers from parts of South India including the Malabar Coast and Pondicherry, where the French had another colony. Estimated to number 180,000, these diasporic Tamils had lost their language and taken up the local lingua franca, Creole, spoken among the Madagascans, French, Chinese and Africans making up the population of Réunion in the Indian Ocean. Creole, as a language and set of cultural forms, is not typical of many locations in the Indian Ocean. While the central islands of Mauritius, the Seychelles, Rodriguez, Agalega, Chagos and Réunion have their distinct varieties of French Creole language, Creole is not a concept that has currency in East Africa, Madagascar or South Asia. Versions of creolized English exist in Northern and Western Australia; at Roper River in the 1 Thanks to Elisabeth de Cambiaire and the anonymous reviewers of this paper for useful additions and comments, and to Françoise Vergès and Carpanin Marimoutou for making available the UNESCO Dossier de Candidature.
    [Show full text]
  • LTB Portable Sound System P/N 051923 REV B Fender Musical Instruments 7975 North Hayden Road, Scottsdale, Arizona 85258 U.S.A
    PORTABLE SOUND SYSTEMS From Fender Pro Audio Owner's Manual for LTB Portable Sound System P/N 051923 REV B Fender Musical Instruments 7975 North Hayden Road, Scottsdale, Arizona 85258 U.S.A. Fender knows the importance of sound reinforcement. From the simple box-top mixer to today's professional touring concert systems, the need to communicate, to make the connection between the performer and the audience is foremost in Fender's mind. Perhaps no other single piece of gear can make or break your band's sound. You see, your sound system is more than just a combination of dials, wires and speakers. It is an integral part of the audio chain and should be treated with special care and attention to detail. At Fender, we know what building quality musical instruments and sound reinforcement equipment is all about. In fact, many of the world's best sounding electric musical instruments and sound reinforcement equipment proudly wear the Fender name. Whether you need a simple box top powered mixer for your Saturday afternoon jam, or a professional full-size concert system, Fender has the sound reinforcement equipment to meet your needs. Likewise, your decision to purchase Fender pro audio gear is one you will appreciate with each performance for years to come. Wishing you years of enjoyment and a heartfelt thank you, Bill Schultz Bill Schultz Chairman Fender Musical Instruments Corporation THETHE FENDERFENDER LLTBTB PORTABLE POWERED MIXER INTRODUCTION 80 Watts into 4Ω The LTB: an 80 watt professional powered mixer from your friends at Fender® Pro Audio. We are sure you will find your new LTB sound system to be both 3-Band Equalizer a unique and effective sound reinforcement product, providing years of trouble-free service.
    [Show full text]
  • MUSIC, Dvds, PROGRAMS, PE CLASSES & SOUND SYSTEMS
    MUSIC, DVDs, PROGRAMS, PE CLASSES & SOUND SYSTEMS ® and “Hi! I’m Christy Lane, creator of Dare to Dance owner of Christy Lane Enterprises. How can we help you? As you browse through this catalog, you will notice we expanded our line of products and services. When our company was established 20 years ago our philosophy was simple. To educate children that dance can benefit them physically, mentally, That's me on my first video shoot. socially, and emotionally. We did this by producing quality educational products for the physical Catalog Listings: education teachers and dance studio instructors. LINE DANCING Our customer base has expanded tremendously over PARTY DANCING the years and so has the popularity of dance. Now, DECADE DANCING moms, dads, single adults, seniors, and kids who HIP HOP have never danced before are dancing! So join the PARTNER/BALLROOM fun!” LATIN DANCING SQUARE DANCING AMERICA SPORTS & NOVELTY MULTICULTURAL FOLK Christy Lane is one of America’s most well-known and respected dance instructors. Her DANCING extensive dance training has led her to become an acknowledged dance educator, producer, choreographer, and writer. Her work has been recognized by U.S. News and World Report, AFRICAN-CARIBBEAN American Fitness, USA Today and Shape Magazine. Her credits include Disney, Pepsi and DANCING Capezio to name a few. A former private dance studio owner, she tours nationally and her PHYSICAL FITNESS conventions and workshops have delighted thousands of all ages. MUSIC EDITING JAZZ DANCING TAP DANCING DANCE CONVENTIONS HOLIDAY DANCE SHIRTS DANCE FLOORS SOUND SYSTEMS & MICROPHONES TEACHER WORKSHOPS “Christy Lane has the magic to motivate the non-dancer and insight to move DANCE SCHOOL ASSEMBLIES accomplished dancers to the next level.”-Bud Turner, P.E.
    [Show full text]
  • 1 Julian Henriques Sonic Bodies: Reggae Sound Systems
    Julian Henriques Sonic Bodies: Reggae Sound Systems, Performance Techniques & Ways of Knowing Preamble: Thinking Through Sound It hits you, but you feel no pain, instead, pleasure.1 This is the visceral experience of audition, to be immersed in an auditory volume, swimming in a sea of sound, between cliffs of speakers towering almost to the sky, sound stacked up upon sound - tweeters on top of horns, on top of mid, on top of bass, on top of walk-in sub bass bins (Frontispiece). There is no escape, not even thinking about it, just being there alive to, in and as the excess of sound. Trouser legs flap to the base line and internal organs resonate to the finely tuned frequencies, as the vibrations of the music excite every cell in your body. This is what I call sonic dominance.2 This explodes with all the multi sensory intensity of image, touch, movement and smell - the dance crews formations sashaying across the tarmac in front of the camera lights, the video projection screens and the scent of beer rum, weed, sweat and drum chicken floating on the tropical air. The sound of the reggae dancehall session calls out across the city blocks, or countryside hills to draw you in. It brings you to yourself, to and through your senses and it brings you to and with others sharing these convivial joys - out on the street under the stars in downtown Kingston, Jamaica. Such a scene is literally the dance of the sonic bodies to which this book attends. Sonic bodies are fine-tuned, as with the phonographic instrument of the sound system “set” of equipment.
    [Show full text]
  • Three the Hard Way Wilfred Limonious: in Fine Style Alex Bartsch: Covers Maxine Walters: Serious Things a Go Happen
    HVW8 BERLIN — HVW8 Gallery Berlin in collaboration with One Love Books presents THREE THE HARD WAY WILFRED LIMONIOUS: IN FINE STYLE ALEX BARTSCH: COVERS MAXINE WALTERS: SERIOUS THINGS A GO HAPPEN Cover illustration from the LP Dance Hall Time by Various Artistes (Scar Face Music, 1986) In Fine Style: The Dancehall Art of Wilfred Limonious, is the first solo exhibition of work by prolific Jamaican illustrator Wilfred Limonious (1949–99) in Germany, and includes reproductions of work from the early 1970s through the mid-1990s, spanning three key phases in his career: his comic strips for the Jamaican newspapers, his illustrations for the publications of JAMAL (the Jamaican Movement for the Advancement of Literacy), and his distinctive artwork for the burgeoning dancehall scene coming out of 1980s Jamaica. The exhibition is curated by Al “Fingers” Newman and Christopher Bateman and is produced by One Love Books with the support of the Limonious Estate, to accompany their book, In Fine Style: The Dancehall Art of Wilfred Limonious, the first study into the artist’s life and work. London-based photographer Alex Bartsch makes his debut at HVW8 Gallery Berlin with photographs from his book, Covers: Retracing Reggae Record Sleeves in London, forthcoming on One Love Books. After researching various reggae LPs and twelve-inches from his record collection, Bartsch has re-photographed fifty sleeves in their original London locations, holding them up at arm’s-length so that they blend in with their surroundings, decades later. Presented in this way, the photographs document the transition of time, with the album cover serving as a window into the past, juxtaposed against today’s backdrop.
    [Show full text]