Blanc Noir

My work for Blanc Noir examines a period in British history when black and
white culture clashed resulting in a powerful exchange of artistic ideas and
political shifts that still resonate today. By the mid 1970s a generation of
young British blacks had discovered Jamaican roots reggae, and in 1976
came the eruption of punk rock. I discovered reggae music as a teenager
going to see bands such as The Adverts, The Ruts and The Clash. In
between sets some DJ's would spin tunes by black artist's like U-Roy and
Big Youth, back to back with the Sex Pistols, The Ramones and other punk
bands of the day. It is easy to see how black culture of that period had such
an impact on a generation of disillusioned white kids: the music was infectious
and the messages of social bondage and anti-establishment resonated with
the punks. This relationship was further cemented by the emergence of the
Rock Against Racism movement: it was RAR’s policy to always place black
and white bands together on the same bill in an attempt to unite people of
all races and make a stand against the increasing popularity of the National
Front, and of course the music was predominantly performed by reggae and
punk bands.

To some degree, Little Giant explores these issues on a personal level, but
in a broader sense the work is a statement about the power of music and the
crossing over of cultural ideas. For Blanc Noir (the sound-piece) I have drawn
on aspects of dub reggae and set the thoughts and recollections of four men
who share a passion for music and an understanding of its potential to change
our lives, to the sound of a human heartbeat: the rhythm within all of us that
knows no distinction between colour and race.

I would like to thank Roger Huddle, Don Letts, Barry ‘Scratchy’ Myers and
Lowell ‘Spirit’ Grant for their kind contributions and agreeing to take part in
this project, and a special thank you to Alex Michon for her help and support.