Podcast: South London Black Music Archive
Panel: Barby Asante in conversation with chair Paul Goodwin, independent curatoron Black Urbanism? Other Panel members include Lindsay Johns from Leaders ofTomorrow; Wozzy Brooster from Midi Music and Emily Druiff, director of PeckhamSpace.
Description: Commissioned artist Barby Asante discussed key themes thatinform her work including black music within the broader context of collaborativepractice.
The project actually started with the engagement with the engagement withthe young peolple from Leaders of Tomorrow which resulted in the record. So howthat worked is that I floated my idea of memories and music memories
done work on before
and did a piece in Bristol about the first Black Music
nightclub. And so music is something I’m interested in and the chance to work with
young people was interesting because to find out what think about it. The proposalwas to get them to go to their parents and ask hem about music that they hadlistene
d to that they’d pass down
to their children. So that was the question that kindof led to Legacy Tunes. And we got them to record a story about that and so it wasquite nerve racking for some of them. So then I took those and then I went out in toPeckham and recorded and collected music and made a soundscape which islegacy Tunes
and I see as part of them archiving their stories so to speak
and sothat was the first part of the South London Black Music Archive and it was created bythe
I want you to unpack the key 3 terms in the title of your exhibition. SouthLondon. Black Music. Archive. So South London obviously relates to a particular to alocation
so it’d be interesting
to find out about your link to South London
and whySouth London. I think about with South London -
m a North Londener not a SouthLondoner.
Crowd oooh and laughs
I declare that interest now!
So I’m not an expert on South London but it does have
some very particular associations and memories for me places I used to listen tomusic in. And so I know place and location is very important in your work. Then
there’s also the thing of Black Music. We’ve talked before about what you’re vision
and take on Black music is
but it’s a very contended term is Black music.
people come in to gallery apparently who have objected to ‘well why is it called blackmusic?’ does that make sense anymore? Maybe it made sense in the 70s and 80s
when Black music was a genre where as now Black music in many ways is prettydominant so why call it Black music? And the third thing is this notion of Archive. If itis an open artchive and what does that mean to you as part of your art practice?
If I’m going to creat
e a piece of work I do like to reference the location. So forone I was working in Peckham and in Peckham Space. But then also I was just