In a significant cultural moment, the Victoria and Albert Museum (V&A) East has unveiled its inaugural exhibition, *The Music is Black*, a comprehensive exploration of Black British music that spans its origins to contemporary genres. Opening this weekend, the exhibition aims to elevate the narrative of Black musicians and their contributions to the UK’s rich musical heritage. Curator Jacqueline Springer, a former journalist turned academic, has meticulously curated over 200 items that highlight the evolution of this vibrant scene, from African drumbeats to the latest innovations in pop and drill.
Curating Cultural Legacy
Standing at the heart of the exhibition, Springer reflects on a striking ensemble belonging to Pauline Black, the iconic frontwoman of the 2 Tone band The Selector. The outfit—a pair of drainpipe trousers, a tailored jacket, and a trademark porkpie hat—evokes the unmistakable silhouette of Black, a symbol of the genre’s impact. “She wants them back,” Springer remarks with a hint of exasperation, underscoring both the personal and historical significance of these artefacts.
This exhibition is not merely a collection of memorabilia; it represents a broader institutional recognition of Black British music as a fundamental aspect of the country’s cultural narrative. Springer asserts, “Institutionally, it’s an endorsement. The V&A has recognised that Black music is worthy of this kind of coverage.”
A Broader Context
*The Music is Black* builds on a continuum of previous exhibitions that have celebrated Black British musical heritage, including the British Library’s *Beyond the Bassline* and the Barbican’s exploration of Black London’s musical scene. Past showcases like Sonia Boyce’s *Feeling Her Way* at the Venice Biennale and Tate Modern’s *Soul of a Nation* have laid the groundwork for this expansive exhibition. However, Springer insists that the scale and detail of *The Music is Black* are unprecedented: “This is writ large.”
The exhibition features an impressive range of items, starting with a drum sculpture by Ben Enwonwu and culminating in work by Turner Prize nominee Rene Matić. These pieces are not just displayed; they are treated with the same reverence as the museum’s blockbuster exhibitions, including its acclaimed Cartier showcase.
A Cultural Shift
Beyond the walls of the V&A, the musical landscape in the UK has shifted dramatically. Recently celebrating its 30th anniversary, the Mobo Awards highlight the growing prominence of Black artists, with names like Olivia Dean, Skepta, and Sault dominating the Brit Awards. A recent study reveals that Black music has generated a staggering 80% of the revenue within the UK music industry over the past three decades—a statistic that underscores the genre’s commercial and cultural significance.
Gus Casely-Hayford, V&A East’s artistic director, emphasises that *The Music is Black* is part of a concerted effort to reposition Black British sound as integral to the nation’s cultural identity. “What happens so often is that British music is presented as important but marginal. What we have tried to do here is say this is our story, and it’s one of our major contributions to the world,” he states.
Architectural Criticism and Economic Reality
While the exhibition itself is a triumph, the new V&A East building, designed by O’Donnell & Tuomey and costing £135 million, has not escaped criticism. Described by some as “ugly” and resembling “a reconstructed Toblerone bar,” the structure has sparked a debate about architectural aesthetics and functionality. Yet, despite these critiques, the museum’s opening has attracted long queues, with hundreds eager to explore this new cultural space.
However, not all is celebratory. Economic realities loom large, as campaign groups have rallied for fair wages for museum workers, with over 21,000 signatures on a petition urging V&A director Tristram Hunt to implement the living wage for all staff. This call for economic justice adds a layer of complexity to the museum’s celebratory launch.
Why it Matters
*The Music is Black* is more than an exhibition; it is a crucial step in acknowledging and honouring the rich tapestry of Black British music. By placing this musical heritage front and centre, the V&A East not only amplifies the voices of historically overlooked artists but also challenges the narrative surrounding British music as a whole. It signifies a cultural reckoning that seeks to rewrite the history of music in the UK, ensuring that the contributions of Black musicians are not merely an afterthought but a cornerstone of our collective identity. As we engage with this exhibition, we are invited to reflect on the profound impact of these artists on the cultural landscape, a recognition long overdue.
