Reggae sound systems are assemblages of speakers, record decks, and amplifiers that permit sound to be reproduced at very powerful levels. Sound systems crews, alongside an extended affinity group, build their own systems and organize and... more
Reggae sound systems are assemblages of speakers, record decks, and amplifiers that permit sound to be reproduced at very powerful levels. Sound systems crews, alongside an extended affinity group, build their own systems and organize and engineer the space of the dance. Interviews with crews from the United Kingdom and France reveal differences in how they each draw from the history of Jamaican musical experimentation when making spaces to collectively immerse the crew and crowd in sound. Yet in both cases, their approach to sound design communicates a commitment to inclusivity, maintaining an emphasis on the “vibe,” which progressively alters participants’ somatic experience and perceptions. In contrast to “dancehall” in Jamaica, such sound systems disrupt understandings of a “standard” setup that reinforces hierarchical relationships between performers and audience. Crews also downplay the visual aspects of the “dance” and dancing and are consciously non-consumerist. Thus, different crews’ histories and associations alter how they enact, feel, and understand similar conventions.
Reggae sound systems are assemblages of speakers, record decks, and amplifiers that permit sound to be reproduced at very powerful levels. Sound systems crews, alongside an extended affinity group, build their own systems and organize and... more
Reggae sound systems are assemblages of speakers, record decks, and amplifiers that permit sound to be reproduced at very powerful levels. Sound systems crews, alongside an extended affinity group, build their own systems and organize and engineer the space of the dance. Interviews with crews from the United Kingdom and France reveal differences in how they each draw from the history of Jamaican musical experimentation when making spaces to collectively immerse the crew and crowd in sound. Yet in both cases, their approach to sound design communicates a commitment to inclusivity, maintaining an emphasis on the “vibe,” which progressively alters participants’ somatic experience and perceptions. In contrast to “dancehall” in Jamaica, such sound systems disrupt understandings of a “standard” setup that reinforces hierarchical relationships between performers and audience. Crews also downplay the visual aspects of the “dance” and dancing and are consciously non-consumerist. Thus, different crews’ histories and associations alter how they enact, feel, and understand similar conventions.
