Study Residency Contributions

Mojisola Adebayo + Anja Sunyhun Michaelsen
Emma Bennett

I’m currently working on a project about direct audience address in theatre and other media, and part of that research focuses on ASMR ‘role-play’ videos.

Shane Boyle

Karikpo Pipeline (2015) by Zina Saro-Wiwa 5-channel vidoe (EXCERPT)

and excerpt from Arts of Logistics

Lynnee Denise

The thread that joins these performances is a sense that they’re pulling from sources within and outside the body. Rachelle Ferrell’s unexpected flickering of her fingers pushes out a range of octaves while swinging the arm. It’s Betty Carter’s use of the face and shoulder to conduct the band. Her embodiment of be-bop recalls the ring-shouting characteristics that Carter witnessed in her home as the child of Bessie Jones, a skilled practitioner of field hollering and the so-called slavery secular music. Betty Carter’s grandfather was born into slavery. This ancestral memory comes through the contortion of her mouth and the intensity of her walk across the stage. Finally, Sugar-Free’s ability to freestyle while using a coin and a pen to generate a beat is a percussive masterpiece. His ability to rap up-tempo lyrics with near-perfect diction indicates a kind of improvisation out of hood hardship.

Vincent Moystad

If Voodoo represents a high water-mark for the neo-soul movement, the track Millionaire (2003) by Kelis and Andre3000 can be understood as a melancholy moment of transition away from these aesthetics by two performers who were active participants in them. I would like to follow the suggestion of reading a discrete cultural object as a revolutionary conspiracy by considering the sonic and lyrical composition of the track, with a particular emphasis on unpacking the complexities of the Slick Rick sample that works as the track’s coda, alongside Neil Roberts’ suggestion of a Vèvè architectonics outlined in the attached passages from his work Freedom as Marronage (2015)

“I’m feeling sad (…) like a million bucks”

While the precise arrangements of words appearing in Millionaire, with their computational stutter, don’t exist in La-Di-Da-Di, Slick Rick imbues each individual word with such affective polyvalence that they can be sampled, rearranged, even broken, seventeen years later, the complexities of each uttered syllable brought to the fore. The sample quietly links Millionaire to a far older revolutionary conspiracy, shifting, learning, and gathering force to seize the next opening even as the last one recedes slowly, achingly from view. These lines are a collective undertaking: uttered by Slick Rick, rearranged by Andre3000, and given vibrant urgency by Kelis’ revolutionary-melancholic dream of collective wealth. They synthesise the conflicts of the song and its participants, human and machinic, without thereby resolving them. Millionaire is a revolutionary conspiracy; an encounter of embodied, intolerable tensions fighting to transcend themselves and each other through a fraught surrender to collective subjectivities, however spectral.

Christine Okoth​

The African Desperate, Martine Syms, 2022,  0 – 11.25mins,  MUBI trailer


Romy Opperman
Arabella Stanger

Text and archival images showing a movement-efficiency training programme for factory workers at the Lyons Tea Factory in Greenford, West London in 1944.