word. sound. power

A few weeks ago, on a gloriously sunny day in London, my fellow smart-lady, Zana, and I got our wordiness on along the southern bank of the Thames.

We sandwiched the BFI's screening of Right On! between visits to the Tate Level 2 Project Space for their brilliant exhibition Word. Sound. Power.

Right On!




This is the Herbert Danska film is of the (original) Last Poets, late-60s poets - performers, griots-if-you-will, from New York. And crucial influences on the development of rap and hip-hop.

It was an amazing film, consisting of an 80 minute spit and flow of about 8 pieces by the trio, backed by drums, costume changes and amazing black male power on a hot summer afternoon/evening. And it was warm in London, too.

The series of spoken word performances -  poems, matras, incantations were performed, spat and hand-delivered from the rooftop of a hot Harlem block on a sunny afternoon in 1970, to a dark soporiphic theatre.

As the sun tripped from east to west across the sky, the trio: Felipe Luciano, Gylan Kain and David Nelson, interchanged between lead performer. The different forms for each poets flow, their particular voice and rhythm were mesmerising andsupported by a powerful drums, casual fly movement and the uhs, ahas and energy of the other two artists.

Works like Poetry is Black, Jazz and James Brown were not so much choreographed, but embodied, as crucial element of the relationship between words and the body, between the themes of race, sexuality, white power and poverty, as they came spilling out.



Taksh, an African-American scholar, originally born in South London hosted the afternoon, including giving a decade-by timeline of Black Power cultural expression interspersed with his own poems about each of those times.  To be honest, I would have loved to see that part as a separate event, as I felt that is overshadowed the power of the works in the film, and also simplified the black experience to solely musical genres. But I acknowledge my rather ignorant position on the matter.

Zana and I had to leave for part 2 of the exhibition, so didn't see the discussion the end. I was hoping for some powerful discussion on the place of words.

I would have loved answers to questions such as Is Poetry is Black in the 21st Century (as I believe it still is, certainly in London)?
What place do works like Right On! have on the British black (male) experience?
How can we acknowledge the beautiful, but fairly limited value of Woman in such films and how can words and power be part of changing that for the future?



Word. Sound. Power

Whenever I think about this show, a 90s throwback of lyrics that might not even be real lyrics from the Sub Swara ft Dead Prez song Speak My Language (Machinedrum Mix) comes flooding into my mind:

"This is word sound power, this is rebel soul."

And it is rebel soul, this phenomenal exhibition, curated by two amazing women, in conjunction with the fantastic KHOJ artists collective from india. It features 6 artists making work about sound, the voice, the word and power (not that you needed my help in making that leap).


Lawrence Abu Hamdan has two works in the show. His work with Janna Ullrich, Conflicted Phenomes (pictured, pinched from the Tate website) is a visual research and data map of Somali spoken language tests to ascertain cultural original, to satisfy criteria for refugee status. As a data excercise on its own, it's quite beautiful - with its graphic keys to each person's relationships and language connections

As a reflection of official policy on the business of people's asylum and freedom implemented by outsourced agents, without checks or balances, it's creepy.

I was originally suprised to see that Australia uses this for their immigration processes. And then I really remembered Australia's immigration processes and was unsurprised, dammit.


His other work, The Whole Truth, shines a light on the relationship between the place in which the voice and power intersect: the Lie Detector; When the voice is used to support incarceration, the place in which a person's (political) voice is removed - according to Foucault.


Caroline Bergvall's word drawing and spoken piece was quiet, but striking. A poem, with all of the letter o-s taken out, and placed on the opposite wall, creating a spacial relationship to the word and the sentiment, supported by the surround sound work. It was simple, but I felt things.


Zana and I went back twice to see Mithu Sen perform I am a Poet and both times we missed her - she cancelled one performance, as it was too much to do too many in the day, and then she must have finished the reading early, because it was already over by the time we arrived after the movie. We were both super disappointed because we wanted to hear her.

But her work in the gallery is interesting and engaging nonetheless. I loved her underlying premise of nonsense as resistence. The language is crucially human and that defying the technology of language, there is a core resistance of all that is human.

In light of the work Boni and I have been doing with Relay - a chopping up of political speech, which is not necessarily straight-up nonsense, but an interesting link nonetheless. I enjoyed giving my nonsensical version of the poem, too.



Nikolaj Bendix Skyum and his videos Arise and Keep Evans Safe Tonight was seemingly a major focus for the exhibition. Although, to be honest, I didn't feel like it was as crucial to the themes of the show as some of the other works, or the exhibition as a whole. Just my opinion.

The interviews in KEST were quite lovely, giving young men a voice and able speak out. I especially enjoyed the KEST boys speaking of the common diasporic experience of going back to the land of one's parents and suddenly feeling the ease of a culture that is deep within.


Added to the work in the gallery, the essays in the catalogue were amazing. Both women speak about the relationship between sound, power, culture in different ways but equally engaging. They provided second and third angles on the underlying themes of the show, providing a solid triumvirate, reflecting the title itself.

Loren Handi Momodu from Tate Modern writes about the experience of sound, referencing Brandon La Belle and speaking about it as a means of creating an 'aesthetic space' and the apparatus of the vocal, quoting Louis Chude-Sokei.

Asmita Rangari - Andi from Khoj speaks about the privilege of using the voice (and other sound means) to speak out - the ability and agency to articulate and the place of silence in this privilege.

The place of words, sound and power in contemporary aesthetics, culture and politics are particularly present at this time and the exhibition is a must-see for anyone remotely interested in any of these things, as well as the ways in which political ideas can be presented aesthetically not didactically.

The exhibition is on until November 2013.