In a groundbreaking exhibition that pays homage to over a century of Black British music, Stormzy’s iconic stab-proof vest takes centre stage at the newly inaugurated V&A East in London. This landmark installation, aptly named *The Music Is Black: A British Story*, opens its doors this weekend, inviting visitors to explore the profound impact of Black artists on the UK music scene. From jazz to grime, the exhibition traverses a rich tapestry of genres, underscoring how they have shaped not only music but also cultural identity.
A Powerful Symbol of Protest
The exhibition’s highlight, Stormzy’s vest—designed by the renowned street artist Banksy and emblazoned with the Union Jack—serves as a powerful symbol of resilience and protest. Worn during his historic headline performance at Glastonbury, the vest embodies not just individual ambition but also broader societal issues such as national identity and street crime. Jacqueline Springer, the exhibition’s curator, eloquently captures this sentiment: “That’s the beauty of street art, of graffiti, of rap music. It compels you to confront issues you’d rather avoid.”
This display is more than a mere artefact; it encapsulates the spirit of a generation striving against a backdrop of legal and racial constraints. As visitors navigate the exhibition, they are guided through a historical context that traces the roots of Black music from Africa and the Caribbean to the UK, illustrating how these sounds have evolved and influenced the British musical landscape.
From Jazz to Grime: A Musical Revolution
The exhibition begins with the infectious rhythms of jazz, a genre that laid the groundwork for rock and roll, emerging from the blues—a musical form stripped of its religious undertones. Springer elaborates on this transformation, stating, “Jazz’s rebellion emerges from the blues, and the blues is a stripped-down, less churchified incarnation of gospel.” This historical journey reveals the deep-seated connections between Black music and the mainstream sounds that have come to define popular music in both America and Europe.
Among the striking exhibits is Winifred Atwell’s battered upright piano, an instrument that holds not only musical significance but also a testament to Atwell’s pioneering spirit. The Trinidad-born artist, who became the first Black musician to score a number one single in the UK in 1954, used this piano to compose “Let’s Have Another Party.” The graffiti left by fans on its surface tells a story of connection and cultural impact, showcasing how Atwell broke down barriers in a time of profound prejudice.
The Evolution of Genres and Cultural Impact
The exhibition further highlights the evolution of British music through various genres, including Two Tone, Garage, and Grime, all of which have been significantly influenced by reggae. Artists like Tony “Gad” Robinson of Aswad reflect on their experiences as children of the Windrush generation, acknowledging the unique cultural backdrop that shaped their music. “We didn’t have the sunshine, the palm trees, the mangoes,” he recalls, “but we had our experiences here in Britain. That became our spearhead.”
As attendees move through the exhibition, they encounter a rich collection of memorabilia, including Jerry Dammers’ original sketches for the 2-Tone label and outfits worn by iconic figures such as Dame Shirley Bassey. The exhibition not only celebrates the contributions of these artists but also emphasises the venues and communities that nurtured their talents, like the Four Aces in East London, which became a haven for reggae music.
A Rich Legacy Documented
As the exhibition progresses, it becomes clear that the influence of Black music in the UK is monumental. A recent report by UK Music reveals that Black music has generated a staggering 80% of the UK music industry’s £30 billion revenue over the past three decades, underscoring its pervasive impact across genres from techno to pop. Neo-soul singer Omar poignantly articulates this unique blend of cultural influences, suggesting that the distinct sounds of grime, two-step, and jungle are uniquely British.
The exhibition serves as a crucial documentation of a musical heritage that has long been overlooked. As Robinson notes, “To have the exhibition means so much because it means it’s been documented. When we started back in 1976, there was nothing really here in England that we could look back on and say, ‘Well, this is where we came from.’”
Why it Matters
*The Music Is Black: A British Story* is not merely an exhibition; it is a celebration of cultural resilience, creativity, and the indelible mark that Black artists have left on the UK music scene. As Stormzy’s vest and Winifred Atwell’s piano stand testament to the struggles and triumphs of Black musicians, the exhibition invites us to reflect on the ongoing journey of music as a vehicle for change. By acknowledging this rich history, we empower future generations of artists to continue pushing boundaries and challenging societal norms, ensuring that the legacy of Black British music remains vibrant and influential for years to come.
