Soundspace Downtown PDF

1Sound Space Downtown. Studio 174 Vol. 1

SOUND SPACE

DOWNTOWN

2 Sound Space Downtown. Studio 174 Vol. 1

WORKBOOK

USER MANUAL


Sound Space DowntownAnton Kats

Sound Space Downtown is an open proposal and work in progress, which derives from the Radio Sonar residency in Summer 2014 at Studio 174, in Downtown Kingston, Jamaica.

At the core of the Radio Sonar project is a method of listening based on propositions about how to organise Sound Spaces in different contexts and frameworks. It is an invitation to establish a listening space and learning platform in which artistic practice and research processes can coexist. In this way this book is more of a space, rather than a book. It is based on and derives from three particular locations in the neighbourhood of Downtown Kingston: Fleet Street, Tower Street and Coronation Market.

You can open this book and enter any of these places from any direction, and settle down wherever you like for as long as you find necessary. Each of these places co-exists and contains a mixture of conversations, processes and outcomes, practices and theories, memories, refle-ctions, current states and fluid moments, working proposals, methods and manuals. Although each of these places is very particular, Downtown is not only in Kingston. You can find a Downtown in every city and town. Sometimes whole cities are Downtowns. You can locate a Downtown by seeing how the stories like those in this book accumulate according to geographical locations in the city you are from or the place you are currently living in.

In this way, Sound Space Downtown is also a method which points towards diverse learning trajectories in order to find out How to propose a Sound Space in your Downtown?


How to propose a Sound Space in your Downtown?

Get in touch with Downtown and organise. Use the manuals in this book to start a grassroots movement and to discover, join and collaborate with existing local initiatives. Use other manuals to navigate through institutions, groups, public relations and processes. Explore! Make films! Make a tasty breakfast! All these fuel a good day of work and a profound learning experience. Research and learn together. Think about what this means in practice, and about what you can achieve together through your skills. Negotiate how you would like to develop your research process and how you would like to pursue your goals.

Set up a space for work. Collect and archive your material. Keep it alive, keep building it and be pro-active. Think about the methods you are currently working with in order to improve them and develop new ones. Invite others to share, participate and join you in a dialogue.

Use the artefacts from your research to consolidate and shape the space, and to initiate further research processes and actions together. Use the space not as an anchor, but as a catalyst and a point of departure for more things to come.

Be open to playing with the format. Translate your practice into different modes and use different methods. Experiment!

Work from and for the place and the neighbourhood you are in. Create a listening space. From here you can create and explore your interests together. You can learn, question and generate meaning and knowledge practically.

Develop your own language and ways of speaking make it very clear and understandable. Add as many letters to this manual as you find necessary, make your own alphabet, build your own words, sentences and tell stories.

Try all this in different places, contexts, formats and groups of people. Stay curious.

Sound Space Downtown. Studio 174 Vol. 1

FLEET STREET ENTRANCE

Excerpts from a Sound Walk In Fleet Street

p.34

Starting up as young artists Sheldon Green and Kirck Cockburn

p.39

If yu waa good, yu nose affi run Rozi Chung in conversation with Anton Kats

p.43

DennisInterviewed by Anthony Brooks

p.46

Music on Fleet StreetFalon Folks in conversation with youths

p.51

Sound Alphabet letter H for Good HeartJournal ExcerptChadwrick Coke

p.52

My communityJournal ExcerptAnthony Brooks

p.55

Grassroots: Why and how to organise? Rozi Chung

p.60

Nadine

chapter 1

Click page numbers to navigate through the book


About WarInterviewed by Andre Taylor

p.61

Victor A vendor near Holy Primary SchoolInterviewed by Falon Folkes

p.63

How to work in a challenging group Shanice Watson

p.67

Sound Alphabet by Radio Sonar together with King Solomon Academy, Westminster Academy and Studio 174

p.72

My group leader experience Falon Folkes

p.75

Miss Georgia Interviewed by Leroy Alvaranga

p.77

Sandra Violence in Fleet Street Interviewed by Falon Folkes

p.80

Billy, Touched Le Roy Alvaranga

FLEET STREET ENTRANCE

Excerpts from a Sound Walk In Fleet Street

p.34

Starting up as young artists Sheldon Green and Kirck Cockburn

p.39

If yu waa good, yu nose affi run Rozi Chung in conversation with Anton Kats


CORONATION MARKET ENTRANCEp.95

Collaboration in the neighbourhood Rozi Chung

p.96

Artistic Research as Pedagogy: The Cultural Technology of Listening Anton Kats

p.100

Bally, peanut-seller for 35 yearsInterviewed by Reesa Brown

p.101

BryanInterviewed by Shanika Fearon

p.102

DimpleInterviewed by Delesa Martin

p.102

Philip Interviewed by Delesa Martin

p.109

Excerpts from a Sound walk in Coronation Market

chapter 2


p.88

Breakfast & Coconut Drops Georgia Facey

p.92

After a University degree: Between student and teacher Basil Jones Jr.


p.126

PR in Jamaica: Starting and opening up method Anika Kiddoe

p.129

Journal ExcerptsDelesa Martin

p.133

Scales and expressions of dialogue Abbas Nokhasteh

p.138

Sound BiteReport from Coronation MarketShanika Fearon

p.139

Cheap and Clean Dance in Coronation MarketReport from Coronation MarketReesa Brown

p.140

SarahInterviewed by Shanika Fearon

p.147

A desirable institutionAbbas Nokhasteh

CORONATION MARKET ENTRANCE

p.100

Bally, peanut-seller for 35 yearsInterviewed by Reesa Brown

p.101

BryanInterviewed by Shanika Fearon

p.102

DimpleInterviewed by Delesa Martin

p.102

Philip Interviewed by Delesa Martin

p.109

Excerpts from a Sound walk in Coronation Market


p.160

Sound Walk and Sound Map Latoya Collins and Anton Kats

p.163

NyronInterviewed by Latoya Gilzene

p.166

Heart of the South Cookout Natalie interviewed by Corey Clemmings

p.167

From Sound To Image To FilmStudio 174 and Radio Sonar

p.169

The Cinema Of Any Country Is A Central Component Of Its Heritage Franklyn St.Juste

p.172

Rainbow Collective Richard York & Hannan Majid

Excerpts from a Sound walk in Tower Street

p.151

Poems Sheldon Blake

p.154

Exploring Tower Street, Central Kingston: A new place to me Latoya Collins

p.157

Sheldon Green.Journal excerpts

TOWER STREET ENTRANCE

chapter 3



Excerpts from a Sound walk in Tower Street

p.151

Poems Sheldon Blake

p.154

Exploring Tower Street, Central Kingston: A new place to me Latoya Collins

p.157

Sheldon Green.Journal excerpts

p.187

Roshawn Interviewed by Sheldon Green

p.188

Sound Alphabet letter A for AlarmAunty PatInterviewed by Latoya Gilzene

p. 188

Sound Alphabet letter Y for YarningLisa a.k.a PebblesInterviewed by Latoya Gilzene

p.190

Mr. Bennett Interviewed by Latoya Collins

p.191

Organise a film ClubRozi Chung and Anton Kats

p.176

Mathew aka Sugar Interviewed by Latoya Collins

p.183

A mental checklist of sorts, which we apply each timeRichard York & Hannan Majid

TOWER STREET ENTRANCE


Sound Space

Downtown

Workbook

and User Manual

FLEET STLongitude -76.784674

Latitude 17.966859

[Voices of the group and the Fleet Street residents]

Falon A mere 3 min walk from the cool waterfront is Fleet Street.

A street of all streets in Parade Gardens.

Falon A mere 3 min walk from the cool waterfront is Fleet Street.

Formerly a beach it is now a community filled with many talented individuals.

Everybody together

Allow us to escort you up the beach!

Falon

As we walk further from the waterfront,

the sound of dominoes hitting the table greets us.

Falon

As we walk further from the waterfront,

As we get closer, the excitements of the young man are growing louder.

Our morning greetings are unheard, because at the same time someone shouts 'Six Love'and they all burst into laughter.

Andre

A little above the intersection between Fleet Street and Tower Street you can hear person making their order

in the 'all sale store'

[From the other side, a group of man conversing about various aspects of life things.]

[Quiet though as we approach the corner of Fleet Street and Barry Street.]

[From the other side, a group of man conversing about various aspects of life things.]

Excerpts from aSound walk inFleet Street

[continued from previous pages]

It's around midday and the residents are either at work or staying inside, hiding from the intensive heat of the sun.

Minerva

Just as we are getting comfortable with the peace and quiet, we hear the shouts of joy of the children at the Holy Family Primary Infant School as lunchtime approaches. The voices of children join the voices of ladies chit-chatting on the quadrangle of the scheme.

Falon

Historical buildings enter our line of sight; first the vacant structure that was once a flour mill factory. Residents now use this area to host a stage shows and football games. Next to it is an abandoned building that was a part of metal bed industry. At the end of the street is Missionaries for the Poor, in a slot which was formerly a location for the paper factory.

Everybody together

Our Journey ends here at the school as we look straight across at the home of Missionaries for the Poor who are known for their magnanimous contribution to Fleet Street for over 20 years.

Minerva

Now lets explore Fleet Street through the eyes of the residents. Many may not know this, but violence was not always a feature of Fleet Street. According to long-time residents, intense violence is a relatively recent phenomena.

[Collette and Sidney share their experiences.]

Collette

I don t necessarily live aahn here but I grow up here, Fleet Street is where I run up and dung, I was here when Chiny had shop bout the place, most of dem people deh lock down and is not here anymore.

Sidney

Well I can seeh for the past thirty add years Fleet Street was being a nice place. They usually call here Prime land, the violence take over every summer, war friction and dem ting deh run wi off ah di road if it's not police.

Falon

Nordia shares her vision for Fleet Street:

Nordia

Yeah Southside get one of the first violent, first of all wi get `Green bay massacre and secondly wi get Gold Street massacre that take away a lot of the youths dem father, so nuff a di youths dem grow up rebellious, and hear how dem father died, and that's my opinion. It was like a Politician ting yuh understand PNP and Labour, them grow up and hear all ah dat and get rebellious, dem hear how dem father died cold blooded. Southside was a good community we could go party and sleep outside. 36 Fleet Street the big time lawyers them at East Street the Sylveras use to live there right where the housing scheme is. Mi wouddah like the private sector buy out a lot of these place and mek it inna better place like when the tourist and sailors dem use to come in.

Leroy

Billy, a carpenter in the area also sees a brighter future for the youth:

Billy

More time mi wah tell yuh the truth mi would dan all like fi have couple youths amongst mi still enuh but wi waah some more machine and all dem ting deh, zeeen fi elevate the youths dem. Some ah di youths dem lazy but yuh see di one dem weh willing fi learn ah demone deh yuh

ago teach di ting cause yuh caaant afford fi mek certain tings boil down inna dis country yahh, we have to pass on the trade to the youths dem and a dat mi ah seh! Yuh zeeh mi. Mi wah Jamaica know seh every man weh have a skill pass it down to a youth, yuh understand Jamaica so that them can survive and send them youths to school and make a life for themselves.

Leroy Alvaranga

Unemployment is rampant in the community. However residents find ways to survive and provide for their families! Carol explained how:

Carol

Well during the time I have seven children but when I have my first child, bwoy it was not so expensive, feeding was a little cheaper than now. I use to buy a tin a feeding for JA$12 then hustle his lunch money. I stay on the road and hustle for him, him father send a little smalls now and then for him from foreign. During having the rest of my children dem it was the same thing but I thank God dem live fi pass di worse. I have three going to school and I get ah little help now and then, cause dem father is around. It still hard enuh! but nuh suh hard cause everybody get big and gone pon dem own.

Leroy

Back in the days how much for a feeding and now?

Carol

My first child I buy a tin for JA$12, my second child JA$44 and the last set of children dem the feeding was too expensive so I use Lasco and give dem a likkle crush irish potato to back it up.

Leroy

So how you use to find money to take care for them?

Carol

Mi affi sell a little mango, orange and banana but when I had my twin the last set I get a litte sweeping work. So wen I get the money I use it and school dem and feed dem.

Andre

It's general knowledge that Fleet Street has the best party. It is what puts unity in the community. Anthony explains the power of music helping him to cope with life in Fleet Street:

Anthony

Well music makes someone excited alright!? it tells the feeling that you are feeling. It goes towards your emotional feelings. If you are feeling sad, you want to listen to music that either cheers you up or goes with your emotional feelings. Music is the number one, how should I say number one language and without music you won't have people gathering together and learning about other people, their culture, their way of life and so on.


WE WERE DISCOVERING COMMUNITIES IN DOWNTOWN, WHICH BECAME AN ADVENTURE OF TOTAL INSPIRATION. THIS HAS SHOWN ME


Starting upas young artists

Sheldon Green and Kirck Cockburn

Sheldon

Through being apart ofStudio 174 I have learned how towrite stories and how touse all kinds ofequipment. From this experience abond was created with people Ididn't know before through their experiences and what they had toshare. The Studio isaplace for exchanging ideas, for discovering and accomplishing things together.

We were discovering communities inDowntown , which became anadventure oftotal inspiration. This has shown me that once there's life, there's away tosurvive. No matter what isgoing on around you, you still can make adifference, no matter who you are orwhere you are from, it's all about where you're going.

I used towatch my father and one ofmy older brothers drawing, and by the age offive Iknew that Iwanted tobecome anartist.

THAT ONCE THERE'S LIFE, THERE'S A WAY TO SURVIVE


Sta

rtin

g

up

a

s

yo

un

g

artis

ts

Sheldon G

reen &

Kirck

Cockburn

My proposals for someone who wants tobecome an artist:

Do it. It will improve your skills and learning abilities.

Do it. It will make you be more aware ofyourself and your environment.

Do it. It will help you toopen many doors inyour life, even the ones you think will never be open toyou.

Do it. You will be successful inany job.

Do it. And take everything you do as anart form.

Do it. And if you're anangry person, art will help you toremain calm.

1

2

3

4

5

6

35


But inthe process ofexploring and developing my skill Iwas discouraged by people alot ofthe time. Igave upon my true talent and Iventured into other careers. But even though Ihad given upon art, ithad not given upon me. As Iwas exploring the other careers art was my guide ingetting everything done itwas as if inorder toget ajob done Iwould turn itinto anart form.

There was atime inmy life when Icouldn't control my anger and everything was getting out ofcontrol. Itreached the point that itwas not only endangering myself, but others too. Counting from one toten, taking deep breaths, biting my tongue and all the other stuff did not work for me. The only thing that could control my rage and emotions was art and the creative process.

Painting has created apeace ofmind that helps me tobe focused and self-controlled.

For me, being exposed tothings that can build and strengthen me as anartist and anindividual will always make me more than happy just for being apart ofit.

I am more than happy tobe able toshare my art experiences through fine art murals, journalism, sound, audio, photographs and film. With the murals that wehave done there has been aprocess ofeducation with the youths inthe neighbourhood, and everybody can feel more power coming from themselves through art. Creating these murals together has touched alot ofpeople inapositive way. So by doing this Iam not just helping myself toreach my further goals, because ithelps others as well. And my anger has turned from hurting myself and others into anenergy for helping and supporting everybody, including myself.

Kirck

It isvery important toknow your God-given gift and purpose inlife. AJamaican proverb would say Every hoe hav dem tick abush.

There issomething out there you are really good at, have you found ityet?

I must say abig thanks tomy cousin Damion Richards, whose creativity has influenced me tosearch within myself tofind the gift ofbeing anartist, even though Iwas uncertain ofbeing anartist because ofthe poor support and the discouragement from others towards art.


Nevertheless Icontinued doing my art work because ofthe passion and the determination Ihad for it. Iwas able toleave Golden Spring Primary, Constant Spring Primary & Junior High , Dunoon Technical High and Heart Trust/NTA as the top art student.

Even though Iwas able toaccomplish all ofthat, itdid not just happen overnight. Ihad toput inalot ofpractice, dedication and that made me who Iam today. Ican remember when Iwas inhigh school there were times when Iwould leave school at10:00pm and reach home at3:00am the next morning. Atthat time inmy life itwas arough journey toand from school Ihad towalk 6 out of17 miles. Still, that didn't stop me from staying back inthe evening after school. My teacher was willing tohelp me and Iwas motivated tolearn art and its disciplines.

One day in2012 Iwas reading the Sunday Gleaner and Isaw anarticle on Studio 174 . Iread for the first time about the program they had tooffer toyoung people. Ithought tomyself that this would be agreat experience for me as anartist, but when the time came for me totry and find the place, Icould not find the paper. Itwasn't until Isaw another article in2014, and that led me right tothe place and from there Ibecame amember ofthe studio.

My expectation was that I'd learn more about art itself, but Rozi Chung had more than just learning techniques ofart for me things like being apart ofmaking murals that reach out topeople around the world.

I must say abig thanks toRozi for the great experiences Ihave had through the Art upDowntown program. Ithas strengthened me alot. It's ajourney toremember with the fun, laughter and, ofcourse, the hard work ofeverybody coming together tocollaborate. Ithas enlightened me invarious aspects ofart and the positive vibration ofthe atmosphere and Iam looking forward alot tomore things tocome!

Sound Space Downtown. Studio 174 Vol. 1 39

IF YU WAA GOOD, YU NOSE AFFI RUN

If yu waa good, yu nose affi run

Rozi Chung inconversation

with Anton Kats

Anton Kats

Iwas invited tocontribute tothe Artist inResidency Program atStudio 174 inSummer 2014, and Iam extremely grateful for that chance tocompletely submerge myself inthe unique and overwhelming experience ofbeing, working and living inKingston over those three months. Thinking back on being inthis place, Irealise how much visiting Jamaica for the first time was alife-changing experience.

During my first weeks inKingston, Iwas almost incapable ofcontaining my excitement. Iwas completely overwhelmed by the experience: the people Iwas meeting, the places Iwas visiting and the situations Iwas finding myself in. What surprised me the most was that, within this uniqueness, Ifound so many similarities with my own background. This isespecially true of my experiences inDowntown Kingston .

I was born and grew upin Ukraine , and my early life was particularly marked by the events ofthe 1990s. This was arelatively violent and chaotic time inUkraine , as itopened uptothe free market following the collapse ofthe Soviet Union. My current research, inwhich Iam developing ideas and practices around artistic research as pedagogy, isinformed by


the context ofmy growing upin avibrant neighbourhood as itsearched for ways todeal with the difficulties oftransition.

So Icould say that my practice derives from the everyday necessity oflearning how tomake sense ofthe current moment and situation. This experience ofthe momentary poses the question ofhow weare tolearn and toimprove our situation through acollaborative process. How do weorganise, support each other, share and generate diverse meanings? How do weground our actions inthe experience oftogetherness? itisinthe context ofthese questions that Iam looking into the connections between art practice, methods ofresearch and the potential for forming pedagogical processes.

Of course, itisclear that Ukraine and Jamaica are not the same. But the forms ofartistic and pedagogical practices which Studio 174 has been developing over the last 10 years, and the strong roots inthe local social and political context, certainly echoes my experience of1990s Ukraine .

In this regard, Rozi Chung, Iam wondering how you would describe the context and the process inwhich Studio 174 was established? What were the motivations, and what importance do pedagogical and artistic processes have inthe communities ofDowntown Kingston?

Rozi Chung

Studio 174 first began in2005. The location we are atwas called Garrison area , and itwas afocal point for many ofthe wars and ongoing fights inthe community. Most conflicts atthat time were politically motivated. There were derelict and abandoned buildings, businesses and commerce were closing down.Being anartist, Ihad often thought itwould be very challenging for me togo into anarea and transform it. And Ithought this area would be agood place tobegin. Ibelieve inthe power ofart totransform, and Isee apotential inart togenerate positive energy and imagery. Atthe same time, art can be aninstrument ofsocial critique: itcan address the many ways inwhich our community isbeing treated and represented. And most importantly, art can create acommon language, can open upadialogue within the community.

So as soon as Iarrived inthe Garrison area , having aplace toopen astudio was crucial. Ididn't want aconventional, tidy place. Iwanted something completely different. Iwas painting, and Ithought that acondition for any transformation tohappen would be totreat the space as anopen one, tomake itaccessible


for the community for ittobe anart space and acommunity space atthe same time. Itnever felt right for me tohave aspace only for myself! And this vision started tomaterialise surprisingly quickly.

Around this time, Iwas approached by afriend who had an abandoned warehouse where Icould have astudio inreturn for taking care ofthe building. Ittook several years tosort out the space as anart space.

At this time Iwas still working atthe Edna Manley School ofVisual Arts as alecturer. Iwas teaching Concept Development through Drawing, which basically means Iwas looking quite intensively into methods ofmanifestation ofanything you can conceive of. Working with young people inthe art school, Ialso wanted tochallenge them togo toDowntown many ofthem had never been there because ofthe widespread violence. Many ofthem were scared, and Ican understand that. But Iwas trying tomake connections between these different worlds. Icould see the young people inthe Downtown community were looking for exposure, for the chance toopen up.

So, anart studio inDowntown was achance toget young people engaged inlearning and tomake aspace inwhich tolearn respect for each other and toshare through diverse art methods. Iwas looking for achance tobring people together toshare space, and towork on causes that can make animpact, apositive change. Apositive change iswhat Ithought ismost required inthe Downtown area. And even though Iwas working inthis direction and introducing these ideas, Iknow that the young people can and need towork on this we're only there tosupport them.

Anton

When you first arrived inDowntown , and inthose first few years inthe space, how would you describe what was going on inthe area? Where do you see the potential for developing acollaborative practice that would resonate with the needs and interests oflocal residents?

Rozi

Islowly settled into the community. From 2005 to2010 11 wewere seeing alot ofchanges as people began toreturn toDowntown , and new businesses were opening up. Downtown of2005 had this very violent image, but more and more people began tobe interested ininvestment, and alot oftransformation has happened since then. People were slowly buying buildings,


opening shops, etc. But wewere also seeing tension and conflicts ofinterest between the people and organisations arriving inDowntown and those already there.

For instance, we're less than 15 minutes from the National Gallery, but Inoticed that alot ofthe local community wouldn't visit it. My first idea was todevelop arelationship with the gallery tochange that. But while Iwas trying todevelop astronger connection with that institution which never really happened Irealised that the approach toart that isusual for academics and gallery spaces was very different from what the young people and community ofDowntown was about. Itwasn't their life ortheir world.

So Isaw this gap. Itdidn't change my mind about continuing todevelop collaboration and looking for ways tobridge the gap. But I've found itmuch more important towork more intensively with the local community towork from the stories and experiences they were sharing. So we're always emphasising this, trying tobuild from the generations ofexperience which can only come from living inDowntown .

Anton

You've mentioned the difference ofinterests among organisations and local residents. How important isit for you that you develop institutional partnerships and extend your own collaborative practice inDowntown?

Rozi

Inthe way Iwas thinking about my art practice back then, ithad tohappen on many levels, and not only through the vehicle ofthe paintings. Itwas really important torealise the healing component ofit. Alot ofthe time, people inDowntown have experienced traumas.

So Iwanted tofind additional ways ofmaking art as well as painting, and in2011 Imet aperson called Abbas, who isawonderful artist, filmmaker and amovie dir ector. Ihave always wanted toadd film tothe art practices inthe Studio , but Ihave always come upagainst the problem offunding. The Studio isn't acommercial space, and most ofthe money was coming from my own pocket. Ofcourse, so many ideas are restricted by financing issues.

Between 2010 and 2011 Abbas, his organization Openvizor and me have met alot towork tocollaborate on the idea ofdeveloping the Studio. Abbas and Iboth value and enjoy dialogue very much, and Abbas became someone who shared

Dennis interviewed by Anthony Brooks

Anthony: How was Fleet Street back in th

e days when

you were growing up?

Dennis: Fleet Street back in the days w

ere

better days yuh know but bwoy now the g

ang war

ting come and mash it up. Inna the eight

ies

the place did a run smooth. I man still

deh yah

a gwaan struggle and hold the faith fi l

ive on

because the whole of my friend them dea

d. All me

was a man that use to handle gun but tha

t can't

pay right now a God mek me deh yah a liv

e because

a nuff ting me go through and me save nu

ff

people life.

Anthony: How was it as you were growing

up as

a little boy living in the community?

Dennis: When me was a smaller youth and

ting the

community was better, plenty difference

dealing

with the elders was good but them youth

yah now

deal with the elder them bad.

Anthony: So far how do you see the commu

nity

develop from how it was back then?

Dennis: it develops, in that more youth

working

and get education now, them have farmin

g and

every ting fi develop themselves. It's up

to them

because they have more choice now.

43

These historical maps ofKingston were discovered during research into the history ofKingston undertaken by the students ofStudio 174 inthe National Library ofJamaica. There is agreat significance tothe discovery ofthese maps. Their meaning and the potential they offer for further research has already been the point ofdeparture for many dialogues, and they have brought up diverse questions and considerations.

While one ofthese maps became translated into the working place Sound Space Downtown, all ofthem have atransitional character leading from one investigation phase into another and so will be points ofdeparture for the three-month investigations by the students ofStudio 174 inSummer 2015. In this publication, these maps propose abackground for the interviews conducted on Fleet Street, Tower Street and Coronation Market.

44

Music on Fleet Street. Falon Folks in conversation with youths

Falon: is there a lot of music on Fleet Street?

Fleet Street Youth: Yes there is because there is a lot a aspring artist in the community.

Falon: Are you an aspiring artist?

Youths: Yes yuh can se dat.Falon: So you write songs?

Youths: Yes I do.Falon: is it just for fun or when yuh have certain mood?

Youths: Music it really comes to you by the ear, music is like the wind blowing through suh yuh will always have that feeling. Even when yuh down yuh always have that feeling for music, so music really tells you what you feeling inside that give the inner feel.

46


the vision ofthe Studio, and strongly supported our approach tomaking aninformal art space inthe area.

We wanted tohave aspace that wecould build and change together with the local residents and young people toinvolve everyone inthinking about how itcould be developed. Webecame more and more aware ofthe need for our project inthis area. Sheldon Blake was involved too Ihad known him since my Edna Manley days. Sheldon isanincredible artist, living inthe community. Wecould see so much local talent local people who had never been through formal training, who had no qualifications and no money todo anything. All ofus were really happy tobe surrounded by these talented people.

We decided that our studio had tobe developed inthis direction, and that weshould include making films, journalism and photography into the Studio program. With all this inmind, weworked for over ayear tomanifest these ideas. All the while wecontinued towork with Abbas he was often visiting Jamaica, and was looking for ways todevelop partnerships with local people and organisations.

Anton

When you speak about this approach which Studio 174 developed over the years, itseems tome that itisalways positioned between the community and local organisations, and between university curriculum and informal learning. Would you describe the first Studio 174 program inthis way?

Rozi

Yes, this isvery important. One ofthe partnerships wewere able toestablish was our ongoing collaboration with CarIMAC (Caribbean Institute ofMedia and Communication) . Toestablish aconnection with atertiary institution like UWI (University ofWest Indies) was anincredible idea, and quite ajump for us. And working with the Department ofMedia and Journalism atCarIMAC fitted well with the pedagogical concepts wewere developing. Wecame tounderstand that wewanted tomove toward something that would engage both local residents and students from CarIMAC inthe same program. Thanks toOpenvizor wewere able tomove inthat direction, and wegot funding which allowed us tobring together 24 people. We've been joined by Franklyn St.Juste, the legendary Jamaican filmmaker known for his cinematography work on on The Harder they Come and Children ofBabylon . Franklyn St.Juste has been engaged inthe production ofmotion pictures for over 40 years. He iscurrently alecturer


atthe Caribbean Institute for Media and Communication, University ofthe West Indies, inthe areas ofTelevision Production, Broadcast Media Management, and Advertising. He introduced us toBasil Jones Jr., aformer CarIMAC student who has been assisting us with the teaching on the technical side offilmmaking.

Our first project inthis context was called Art upDowntown . Ithad its ups and downs, but overall itwent very well especially considering itwas apilot project, and you can never know what toexpect. But itwas successful and wehave learned alot from it. Ithas helped us set the direction wewant tocontinue in collaborating in-between the formal education institutions and informal education, bringing together diverse people from Downtown and uptown. Wewant tobring together self-educated artists and university students inone space tolearn and share and work on ideas together.

So the first year was apilot, and weextended itand continued itin2014 with our second Art upDowntown project. That was brilliant too, inmany ways. Not only did wefind out just how much the young people and local residents had tosay, wealso found ways inwhich wecould extend our relationships with the community. Wewere working even more inthe Coronation Market and on Fleet Street and Tower Street . And wealso collaborated with local carpenters' workshops. Wewere meeting all these people, and wewere hearing the stories they wanted totell and wewere seeing the dignity that came with these stories being valued, seeing how much dignity itwas bringing back tothe area.

All these amazing encounters were so far beyond our expectations. Wewere learning alot, and so were the young people on the program. They were teaching, sharing and working together, and this relationship was unique, inaway. On one side, the students from CarIMAC were learning about the area, about the street. And the local artists and young people were teaching them this, but also learning different approaches and more structured ways ofworking from the CarIMAC students. They were rediscovering the area themselves from adifferent perspective. Both groups had tolearn technical skills equally.These diverse areas ofcompetence and knowledge were merging into very powerful collaborations between people with diverse backgrounds, living and learning approaches. Both groups came tolearn. Itwasn't that this group came toteach and the other tolearn it's that both are learning.


Anton

How would you describe the transition between the first and second year, and what ideas did you keep developing inthat time?

Rozi

Wewere very sure about continuing the Art upDowntown program. But inthe second year, itwas important for us toopen itupeven more so not only on the local level, but internationally. Wewere very fortunate tobe able toestablish anArtist inResidence program, which allowed us toinvite international artists toactively contribute tothe ideas wewere developing whilst also developing their own ideas and projects inthe local context ofDowntown Kingston and Studio 174 .

The first artist weinvited was you, Anton Kats, and weare very happy that you were able tostay with us for more orless all ofthe three months which the program lasted. And for the last two weeks wealso invited Hannan and Richard, two film-makers who have started the Rainbow Collective . They are wonderful teachers and people too.

What this residency program has achieved for us, first ofall, isthat through thinking about the meaning oflistening and sounds, you were able toshift and focus the flow ofour various activities our approaches tophotography, journalism, filmmaking and tocollaboration ingeneral. Our whole program has started with listening exercises, discussions, group discussions and negotiations and from these, many different sound investigations have developed. Also, the listening methods and the approaches for addressing sound and community were developed ingroups, and almost everything from then on whether itwas photography, film orjournalism was done inaparticipatory way with listening and sound as a central element.

Especially inthe context ofJamaica, this was avery different approach, because sound isvery different from music. Ofcourse, Jamaica isvery famous for its music, but the whole understanding ofsound and how itimpacts on any and all kinds ofwork wemake often completely escapes our attention. With this emphasis on sound, wehad afeeling ofbeing able tostretch the minds ofthe participants, and ofthe facilitators too. And for the students from CarIMAC itwas also anew experience Idon't think there isacourse atthe institution that introduces students tosound on this conceptual and yet practical level.


Saying this, Iam thinking oflistening and sound as points ofdeparture for learning experiences and investigations inart more generally. Wehad been struggling alot todevelop our own research during the pilot program, and this year wecould finally establish methods ofworking and researching which emerged from ways oflistening toand with our participants. This year, we've been really happy tosee that the introduction ofthe research, and the mixture ofart and research within the project, isadiscipline inits own right. And wewanted tobe more aware ofthis discipline as aplatform from which each participant can expand and develop his orher own practice. So, inestablishing the residency program, wehave also found out how important itistoopen upour organisation. We've learned that this initself isamethod ofgrowing and developing our own practice atthe intersection ofdifferent contexts and practices locally and internationally.

Anton

What do you think will be the ongoing legacy ofthese practices for Studio 174 ? Rozi

Personally, Iwould say that inaddition todeveloping these methods oflistening the most significant contribution toour program this year isthe overall pedagogical approach toarts and research ingeneral. From this perspective, the work which has been done, and what wehave developed together inthese three months with the participants, isvery much awork-in-progress. Inour exhibition inJanuary 2015 wewill present aninstallation, which isatthe same time afunctional working space and sound archive within Studio 174 . It's called Sound Space Downtown it's alistening and learning space here inDowntown Kingston . This space will exist within the Studio , and we're inviting local and international artists toparticipate and contribute tothe existing sound archive. So, this whole space outlines our method ofworking as does the publication weare working on, which this interview will be included in. This was all started inthe first three month residency, and itisdefinitely continuing todevelop.

So, yes, there were methods oflistening and sound investigation which have influenced our approaches tophotography and film. When Richard and Hannan joined us, the significance oftheir contribution was not only their technical skills inphotography, but the whole way that they look through the lens, their whole vision ofwhat film can be used for. Last year

Sound Alphabet letter H for Good HeartJournal ExcerptChadwrick Coke

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My communityJournal ExcerptAnthony Brooksa

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wewere only barely touching this. What they did within this short time oftwo weeks was almost amiracle. They showed us alot ofmaterial and awide variety ofapproaches tofilmmaking. Itwas incredible how much wecould share and develop our stories and films, without conventional music orwords.

There were excursions into different areas, and people were making documentaries and fantasy pieces. Inthe fantasy pieces, the students were really encouraged totry anything out inthe realm oftheir fantasy, and itreally showed how you could learn by allowing the fantasy toappear. Many ofthese pieces can be connected with film, documentaries and fine art, and all together I'd say that blurring the boundaries between these disciplines isthe best way. Inmy years ofexperience Downtown , I'd never seen work from the young people and adults ofthis level and depth. Iwould say that inthe present Downtown area, this experience had never happened before. I'm not saying ithasn't happened inJamaica, but definitely inour area this experience isunique and absolutely wonderful.

It's particularly important that the overall process involved developing aform ofdialogue, and that through this the students were able toenrich themselves and others. Everybody has learned more, and they can use this experience totake off intheir own particular directions. Now weare really sure the path ofexperimentation isthe one wewant totake. During the film club, which wewere organising on the weekends, wewere looking atseveral films suggested by participants, artists and guests. Hannan and Richard showed their previous work, too and all this somehow shifted things, because students could not only see other parts ofthe world and how people were living and working, but also how people were communicating and creating stories. Each ofthe film club sessions had adiscussion panel afterwards, so that everybody there could discuss the work that had been shown.

To me itisvery important tosay that this isnot only about education within the neighbourhood. It's wider than that. I'd like tosee more ofthis kind ofcollaboration, tosee more artists and lecturers from abroad come toStudio 174 toshare their approach toexploring, and tosee how itcan be done together. And ofcourse weare doing things locally, too everybody has their stories, and these stories can have so much value and impact across the world. What's most important istolet the stories out and toshare them: internationally, globally, indifferent contexts. Many ofthese stories are universal.


It was absolutely wonderful tosee how everybody matured inthat short time through their discoveries and efforts. For next year, weare hoping todevelop this collaboration, and tohave more people come as residents tocollaborate with us. Wehave already seen how crucial these residencies are for collaboration and for the overall methodology weare working on. And, ofcourse, weare also continuing towork with people inJamaica , with the amazing talents and incredible local people and artists.I am very grateful topeople like Josette Ricketts, and toartists from CarIMAC like Basil Jones Jr. who are now sharing the knowledge and experience they have with the students this year. Josette, who was leading one ofthe project groups, was able torelate tothe participants on the level, as nobody else could there isareal difference between the position ofsomeone who has been through the program and the perspective ofaninvited artist orthe CEO ofthe organisation.

I think Ihave spoken my piece. Thank you.

IT IS A GENUINE AND A VERY AUTHENTICEXPERIENCE


OF SURVIVING THAT MAKES THE STORY UNIVERSAL AND CRUCIAL

Grassroots:

Why and how toorganise?

Rozi Chung

Grassroots organisation within acommunity issignificant for any developing country which isany country inwhich more development isrequired! itishard todeny that Downtown Kingston could benefit from development on many different levels. Many areas, like us inDowntown , have incredible cultures which too often go unrecognised. One reason Isee for this isinthe standardised ideas ofhow culture issupposed tolook, orhow ithas tobe organised and evaluated whether this


isanacademic perception ofculture orthe way the media and politicians might try topicture it. This isone ofthe reasons that itisimportant for any area tobe able toarticulate and maintain its own culture from the grassroots.

Grassroots organisation inthe community could seek ways ofcollaborating with people inareas which require development, helping toprovide the tools and techniques needed tomaintain their culture, and tohave anownership ofit itmay well need toconsider developing ways ofprotecting people from displacement from the area as soon itbecomes more developed! These tools and techniques enable people inacommunity totell their stories, and these often seem tome tobe very universal, connecting together many, many countries all around the world!

These stories have impact all over the world. They are the stories ofpeople being marginalised and living alife ofhard survival. Itisagenuine and avery authentic experience ofsurviving. That iswhat makes the story universal and crucial. Telling astory, and valuing it, can help us tomove forwards and todevelop the means and strategies toovercome the struggle together.

For instance, inDowntown weneed toremember that our history did not begin with slavery. Sometimes weare confronted with approaches which derive from the era ofslavery and itiswhy some people have aparticular way ofliving and constructing their environment. Inthis regard weneed tolearn about the place weare in about how itwas and about what itcan become when all ofus work on itcollaboratively.

Of course, these steps are derived from my experience here, inJamaica itisnot anequation which one can apply anywhere inthe world, as the context isalways different. But these points are very important tome, and perhaps they can be useful toanyone!


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Speaking from my own experience ofworking out how toget started, Ican say that following steps seems very important when one decides tostart agrassroots initiative inaneighbourhood which isstruggling for survival:

You have tostart with aparticular type ofheart one which will not allow you toimpose yourself ortry toestablish apractice which isonly about you!

So itisnot about you! You cannot go around with abig ego thinking itisall about your own vision ofhow tochange people's minds and lives!

You have tobe able tocreate asafe place for people tojoin in.

You must create aspace without judgement, where everybody who comes inwith any point and opinion has value!

It isimportant topresent people with as many different approaches as possible outline diverse perspectives and highlight what distances there might be from their stories. Simultaneously, itisimportant toprovide arange oftools which one can use, and which will also underline diverse approaches towhat people are doing. These can and should come not only from within their own community, but also from outside the community and sometimes outside ofJamaica. Inthis way, Ibelieve people have achance tosee and learn from different experiences ofdealing with their own problems inacreative way.

It isimportant toknow what isaround you! While settling inthe community, itisalso important toleave itnow and then and make sure that everybody has had anexperience ofbeing outside ofsomething that they literally have adistance from it. Alot ofthe time, young people may never have been anywhere, may never have travelled.

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Identity isvery important. Weneed tobe able tobe more aware ofourselves and toempower ourselves tobe inthe place weare! weneed tobe ready not only toshare the information and history which the community has together, but also todevelop aholistic approach which recognises the significance ofthe healing process which can be offered by the arts. This isparamount tothe survival, development and enrichment ofour culture.

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Nadine, about warInterviewed by Andre Taylor

Nadine: War is ugly and confusing it have an effect pan di kids dem the business places pon everybody.

Andre: Is there any war in the community right now?

Nadine: No there is no war at this point, alright! The place underneath a little seize fire so far so good and wi pray and give God thanks for that. Right now mi still have one eye open and one eye shut.

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Victor, a vendor near Holy Primary School

Interviewed by Falon Folkes

Falon: What's the children behaviour like?

Victor: I don't have any problem wid dem behaviour.

Falon: So do they have manners to you?

Victor: Yeah, yeah, yeah only that caused the principal

has teach them a lot of manners but u know yuh have

some rude ones.

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ALL YOU NEED TO DO IS TAKE THE FIRST LETTER FROM EACH POINT AND APPLY IT

How towork inachallenging group

Shanice Watson

Studio 174 has taught me alot. The technical lessons have been very useful, but it's the people skills I've developed that have come inhandy every day ofmy life.

When Ifirst arrived, Inoticed that ofthe three groups, the Fleet Street group was experiencing the most challenges and had the fewest members. Atfirst Itried tostay away from the group, hoping Iwouldn't get assigned toit, but then Iwas asked tojoin it. So Ihad learned my first lesson you don't always get tochoose who you will be working with.


IT SPELLS R.E.S.P.E.C.T.

Being immersed inthe group, Irealized that the difficulties were aresult ofthe big differences inpersonalities, priorities and life experiences. Itwas through avery complex period oftrial and error that wefinally figured out how towork together as agroup.In retrospect, Ihave come upwith aseven-point rubric toshare my experience, so that other groups with similar challenges can use itand benefit from our experiences. Each point inthe rubric consists ofastatement that suggests what group members can do inorder tofunction together successfully. Then, there isadescription ofthe challenges wehave faced inthe Fleet Street group and each point ends with adescription ofhow wewere able toovercome the challenge and progress together.

Whether you are the type ofperson who likes togo in-depth and would read the entire rubric tounderstand each point, orif you are one who just wants toget tothe point, Ihave designed my contribution with both ofyou inmind. For those who fall inthe latter category, all you need todo istake the first letter from each ofthe points and apply it. Itspells R.E.S.P.E.C.T. If one fails toremember and apply all the points inthe rubric all you need toremember istohave unconditional respect. Itworked very well for the Fleet Street group, and itishow, by working together, weturned differences and difficulties into positive achievements.


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The Rubric

Recognise the aims ofthe assignmentsThe Fleet Street group consisted ofvery diverse people: (1) CarIMAC interns who were participating inthe Art upDowntown project as agraded assignment and (2) Artists from Downtown who wanted todevelop their talents. So, the overall assignments were being approached with very different mindsets, which caused asignificant strain inthe group. Tobalance this, all the members had tocome toaconsensus on the specific aims ofeach assignment, so that wecould all move inthe same direction.

Encourage members topull their weightThe Fleet Street group was assigned agroup leader, and some CarIMAC interns held facilitating roles when itcame totheoretical aspects ofthe assignments. Because ofthis, some members felt they had less responsibility inthe completion ofassignments. Toaddress this, specific tasks were assigned toeach group member so that everyone could make avaluable contribution within the group.

Standards orrules need tobe setWhether CarIMAC students orDowntown residents, the Fleet Street group consisted ofadults and Studio 174 was arelaxed environment. However, sometimes this gave some members the illusion that there was no structure orrules and that everybody was free todo whatever they liked. For example, members often left during the middle ofassignments without any indication ofwhere they were going orwhen they would return, orspent all the time on their mobile phones so were, ineffect, absent. Because participation within the group was sometimes on the edge offailure, wenegotiated specific rules and standards within our group. One ofthem was that each member must contribute toall assignments. Incase this still did not work out, weconsidered getting external supervision and support for our group. Opening upsome processes within the group toother groups ororganisation members has also often been agreat support.

Positive thinking and apositive attitude iscrucialBecause ofthe disparity inpersonalities, priorities and life experiences, Fleet Street members were often pessimistic about the group's ability tocomplete assignments. This resulted

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inassignments being done half-heartedly and lowered the expectations. Wewere able tofix this by motivating each other tobelieve inourselves and our abilities todo well! Eventually, the negative thoughts turned positive and westarted doing much better atour assignments.

Endurance isnecessary tocomplete along projectThe Art upDowntown project lasted for approximately three months, and as time went by the project became increasingly demanding. This sometimes resulted infrustration. Itbecame necessary todevelop our endurance tocomplete the project. The Fleet Street group did this by reminding ourselves ofthe amazing trip toYS Falls atthe end ofthe project, and with mini-socials held occasionally tocelebrate birthdays orsmall milestones and also by thinking about the great outcomes and learning experiences wewill have when the project isaccomplished.

Communicate effectively with each otherSometimes communication within the group was very problematic. Attimes, the members genuinely did not understand each other because ofour different backgrounds. There was aninstance inwhich aDowntown artist wrote something and after reading itaCarIMAC intern exclaimed, Wow! You did not write this! The artist took itas aninsult but the intern meant itas acompliment. There was many similar instances inwhich members did not understand each other. There were also instances inwhich members were having personal problems, which were not communicated toother members ofthe group. These problems were solved by getting external mediators such as the project coordinators toserve as aneutral party when discussing problems. Wealso exchanged as many contact details as possible such as phone numbers and email addresses so that wewere always incontact with each other.

Tolerate your group member's differencesAs previously mentioned, the members ofthe group were very different. On the one hand, some artists from Downtown were often accustomed toexaggerating and animating things and issues, while CarIMAC interns often had avery conventional journalistic approach. Confronted with these very different approaches wehad tolearn tocompromise and embrace our differences. Our final piece Touched, which draws on the life experiences ofaDowntown artist, isagreat example ofthis.

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A Alarm, Atmosphere, Alcohol, Anti-social, Age, Architecture, Attitude, Action, Availability

C Corner, Change, Communication, Courage, Cheap, Community, Charming, Consultation, Creative, Capitalism

D Dog, Drugs, Dialogue, Development, Disadvantage, Dream, Dynamic, Downtown

G Gate, Gambling, Good, Generation, Game

I Inner-city, Immigration, Intolerance, Injustice, Identity

B Building, Budget, Bread, Belief, Busy, Benefits, Big E

Entertainment, English, Employment, Elderly, Events, EqualityF

Football, Fruit, Family business, Fabric, Fair, Future

H Heart, Housing, Homelessness, Help

J Joy, Jewellery, Jobs, Justice


L Love, Language, Local, Litter, Loud

M Music, Multicultural, Motion, Moment, Miracle

O Optimism, Opinions, Opposition, Options, Obstacles, Opportunity, Obedience

R Riddim, Radio, Recessions, Record, Reflection, Responsibility, Respond, Regulate, Refuse, Religion, Relax, Repair, Rubbish, Racism

N Noise, Neglect, New, Niche, Night, Nostalgia, Nursery, Nutrients, Nonsense

P Peas, Progress, Possibility, Pedestrian, Permission, Play, Poverty, Positive, Property, Profit, Police

Q Queen, Quiet, Quality, Queue, Questions

K Kiss, Knowledge, Kindness


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Sound Alphabet

Each participant chooses one orseveral letters from the alphabet.

Everybody comes upwith aterm/word/concept/idea starting with the letters they have chosen.

After the words are selected everybody shares their own understanding ofthem with each other and collects diverse meanings from within the group.

After the exchange, the group leaves the space and goes into the area/neighbourhood oftheir own interest.

While inthe area ofinterest, if possible, record the sounds and record interviews ormake notes toshare later with the group:

Find the sound(s) corresponding inone way oranother tothe term(s) you have. Trace back the history ofthese sounds inthe neighbourhood the reasons for their appearance, their meaning and consequences, their relations toother sounds/people and animals/objects/subjects and diverse processes inthe neighbourhood.

Meet and talk topeople inthe neighbourhood. Introduce your project and discuss what you have found out so far orwhat you are looking for. Discuss diverse meanings ofthe particular sound/word/idea you are investigating. Exchange and share.

Ask what terms/words the people you are talking towould suggest for your particular letter(s) and what meaning and sound they would associate with it. Investigate and repeat point 5.

As soon as you are back, share your findings with each other. Discuss and reflect on your initial understanding ofthe terms, your own interest and what you have found out. Include words and meanings from the people you have met.

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Reflect on your findings. Discuss the processes which you have discovered inthe area. Think through the suggestions/interests ofthe people you have met and their understanding ofthe neighbourhood.

Summarise the current state ofyour alphabet and keep itopen for new sounds and meanings, different contributions and processes. Think how you could address what you have found out actively and incollaboration with others.

Enter the language from there.

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U UP, Unemployment, Unity, Unrest, Upkeep, Urban, Utopia V

Volume, Vegetables, Value, Vandalism, Vitim, Voice, Void, Visible, Volume, Verdict

X Xtreme, Xenophobia

W War, Weekends, Waste, Wealth, Weather, Weight, Welfare

Y Yoan, Young PeopleZ

Zink, Zoom, Zone

T Truck, Travel, Translation, Temporary, Territory, Threat, Trading, Traffic

SSurroundings, Slavery, Sound, Supermarket, Safety, Sense, Shelter, Social, Service, Signs, Society, Street, Shift

Sound Alphabet by Radio Sonar together with King Solomon Academy, Westminster Academy and Studio 174


My group leader experience

Falon Folkes

The three month period ofthe Art upDowntown project was an interesting experience. Idescribe itas interesting because of the people who Imet. For aperiod oftime Iwas appointed the leader ofthe Fleet Street Group. Fleet Street had 7 members: 3 CarIMAC interns, 3 inner-city participants ofStudio 174 's summer programme and aproject facilitator.

At first, leading Fleet Street was atedious task, mostly because I had never worked with young people from the inner-city before, and ittook me awhile tounderstand them and make myself understood. Inthe end, however, weachieved our goals as ateam and felt really proud ofthe end products. As well as being led by myself, for awhile the group was also led by aperson from Downtown this way wecould all try out and experience different responsibilities from different angles. This helped tocreate abetter balance within the group.

STEP OUT OF YOUR ROLE AS A LEADER


Often persons from other groups would ask me how Idid it. Here are some ofmy thoughts on it:

Step out ofyour role as aleader and be not just afriend, but afirm friend.

In the process ofestablishing relationships inthe group, get toknow everybody.

Observe and try tounderstand how everybody thinks.

Include everyone ingroup activities.

Never take sides inanargument. Always try tobe neutral.

Expect the unexpected and find away towork around it.

Always have back-up plans.

Remember everyone issocialised differently and will have different views on how things should be done.

Respect everyone.

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Miss Georgia Interviewed by Leroy Alvaranga

Leory: What was the living condition like, back in the days?

Georgia: Back inna the days was betta than now because children did have manners, yuh cud correct dem but yuh cyaah duh it now. The youths dem no have no work fi duh so it kinda get dem frustrated dem a stir inna the wrong direction. Poverty a di main bring dung pan Fleet Street, when a man nuh ahave no food to give him pickney dem tek desperate measures. Sometimes them live it out and more while dem dead. Di pickney them tun orphan, everybody wah kill off dem one another. Dem a war fi power when a flour dem shoulda fight fah. Dem bad fi business enuh! Bad, bad, bad.

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Sandra, violence in Fleet Street

Interviewed by Falon Folkes

Sandra: The violence this nah go weh

fi now, yuh mad, it only ease and start

and its getting worse each day, a lot

of poverty is here.

Falon: So why do you think it won't go

away?

Sandra: Because the bigger heads not

doing nothing to mek guh weh.

Falon: So more and more youths getting

involve in the violence?

Sandra: Yeah the youth dem a come

up instead of getting involve in a some

trade centre, dem a grow up and get

involve.

Falon: So when you go on the road, you f

eel

comfortable?

Sandra: You affi try feel comfortable

Falon: So at nights, do you go on the ro

ad?

Sandra: Yeah you can guh pan di road

man, wi guh party but yuh dun know

a little thing pop up more while.

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THE STORIES THAT I HAVE HEARD HAVE TOUCHED ME IN A WAY THAT MAKES ME WANT TO ENCOURAGE EVERYONE OUT THERE TO JUST HEAR THE VOICES


Billy, Touched

Le Roy Alvaranga, aka Billy

My experience atStudio 174 was outstanding. Totell you the truth, my relationship with the people within my community wasn't so bonding before. So really and truly itwas through this project that Igot toknow and experience the people within my community on adifferent level.

By being around the CarIMAC students, Ifelt joy when they showed me lots oflove especially Falon Folkes , who helped me alot during the programme.

I was glad tobe inmy group, toobserve what was going on. And Iwas also glad for the opportunity touse the equipment that was available. Using the audio equipment was good because you know that everyone has astory totell, but it's not everyone who wants tobe on video cameras and inphotographs.

For me, being able tohear and document the stories ofmy community has given me more ofaconnection tothe people, based on their issues and on what isimportant tothem. The stories that Ihave heard have touched me inaway that makes

OF MY PEOPLE AND THE WONDERFUL STORIES THEY HAVE TO SHARE.


me want toencourage everyone out there tojust hear the voices ofmy people and the wonderful stories they have toshare. One ofmy personal stories has found its way into our final video piece called Touched . Wemade this film all together during our time inthe Studio.

I was introduced tothe Studio through the Grace Foundation . Iwas already working on making videos within my community, and through this program Igot more experience inmaking films ataprofessional level.

So overall many things inmy life changed inavery positive way. My relationships with people. Inever knew that the people would be so nice! All ofthis knowledge and more wewere using inour final video piece, Touched .

Sound Space

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CORONATION MKTLatitude 17 58 19.6608

Longitude -76 47 54.2502

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Breakfast & Coconut Drops

Georgia Facey

I met Rozi Chung on Rosemary Lane. One morning, as Iwas coming from the shop, she asked me toattend afunction atWest Street/Harbour Street on 18th July 2014. Itwas my first encounter with Studio 174 and the students.

Rozi asked me toprepare some fruits and finger foods and coffee, tea etc. All this for the breakfast! Idid it, and Isaw so many people and students for the first

time Isaw how important itis and how much it changes your day ifyou have agood breakfast.

So here is the way Ido itinStudio 174.First Ifetch some water from upstairs; then Iwash the fruits, cut them into small pieces, and put them on the table. Then Iprepare some hot water for the coffee after class. You can make any tea and any coffee. And Jamaican fruits are amazing and always seasonal. Whatever you take ifyou prepare itwell, itmakes your day. And breakfast is the most important meal!

I SAW HOW MUCH IT CHANGES YOUR DAY IF YOU HAVE A GOOD BREAKFAST


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How toMake Cocount Drops

Ingredients1 dried coconut2 cups brown sugar1 teaspoon grated ginger(add orsubtract based on your taste)1 cup waterPinch ofsalt2 large green banana leaves

DirectionsBreak the coconut shell using whatever method is easier for you. My mothers choice oftool is normally ahammer.

Husk the coconut from its shell, and dice into inch squares.

Wash the diced coconut.

Add sugar, ginger, salt and water toadutch pot orasaucepan.

Boil itall until the liquid becomes sticky, stirring constantly toprevent the mixture from sticking tothe bottom ofthe pan.

Youwill needto prepare the banana leaves before cooking is completed.

Wash the banana leaves and allow them todrain.Pass the leaves over alow heat, allowing the leaves toquail. This allows the natural oil inthe leaves tocome out, causing itto act the same way asgreased paper would.

The mixture is ready when the sugar is caramelised. Using alarge spoon, scoop the mixture and drop itontothe banana leaves.

Allow tocool and serve.

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Afterwards, Iwould prepare the Studio for the next day and make itlook good so everybody feels nice and comfortable when they come back the next day!

During all this time Imet some nice students atStudio 174. Imet Sheldon Green and also Sheldon Blake, who is from my community inSouthside. Heis anice role model inthe community and agood friend. Imet Josettes Ricketts too, wehad alot offun together.

During the last week atStudio 174, there was ahuge going away trip toYS Falls inSt. Elizabeth. Everyone enjoyed themselves until itwas time togo home.

I enjoyed myself atthe studio and Iam grateful tobeapart ofthe Studio 174 family now.

Also Iwould like tocontribute arecipe ofhow tomake coconut drops. Even though weare used tothem inJamaica, itis always anice treat. And they go so well with tea orcoffee.

IDENTIFY YOUR STRENGTHS

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After aUniversity degree:

Between student and teacher

Basil Jones Jr.

I am aprofessional video producer who has been working professionally inthe Jamaican film and television industry for five years, indifferent freelance roles including production assistant, logger and editor. Currently, Irun my own video production company which produces corporate videos for companies, fictional shorts, and productions for distribution onwww.Bazzle.tv. Clients ofBazzle Amusement, my video production company, include

UNICEF Jamaica, UNFPA Sub-Regional office ofthe Caribbean, Digicel Foundation, Digicel Jamaica, University ofthe West Indies Guild ofStudents, and the Jamaica Environmental Trust. On Bazzle TV Iproduce fictional videos, vox pop series, and asports talk show, with more shows inthe pipeline, including aweekly news wrap.

What can you do after getting your University degree from CarIMAC tomake this transition into the working world? There are many ways you can make itinthe working world with aCariMAC degree. You can start your own production company, work for aproduction company, orwork atany company whose public relations ormarketing department may need aproduction.

RE-INVEST IN YOURSELF


Identify your strengthsWhat are you good atthat you can hone and charge people for?

Get experienceThe best experience can come without pay. Experience is like awealth inheritance. Ihave begged for no-pay work experience, you can too.

Talk topeople inthe industryCommunicate with whoever you see passing with equipment, orworking on aproduction. Find out their methods and what they are interested in. Learn from them. Let them know what you do and what you are interested in.

ProduceMake productions constantly, toshow off your work. The wider the range, the better. Making itaccessible online is best. List your productions on your resum and bring copies toyour interviews. Show itoff toyour friends they may know someone who wants your services.

If you want aproduct, you have topay for itThis works both ways, so ifsomeone wants your product, let them know how much they have topay and make sure you get your pay.

Re-invent yourself, re-invest inyourselfGrow, learn, keep increasing your skill level, your management level and your worth. Assess your personality, ensure you are agreat person towork with and areliable person todelegate to. Always ensure that your name and contact information is accessible from your work.

The earlier you start these steps, and the more you do them, the more work will come toyou.

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Collaboration inthe neighbourhood

Rozi Chung

Relationships. Developing relationships. You dont just go inand tell people what youre going todo and how and expect them totake part. Ittakes time.

Listening. You need tobeable tolisten and need tobeable tounderstand that each community orneighbourhood is abit different. You need tounderstand that when you go tothese areas not everybody feels the same way orsees things inthe same way ordeals with things inthe same way.

Availability ofpractices. This is very important. You need toencourage confidence but you also must have practices available that people not only connect to, but which they are also able touse on their own. Weare not here tojust set the tone: you cannot create asituation inwhich you are just setting up something and then leaving it. Itis the people wemeet everyday who are atthe core ofeverything.

Discipline. There is aparticular kind ofdiscipline required tokeep working together, and sometimes it is astruggle todevelop it. Very often people have been basically surviving for so long, that there is no chance tofinish school orhave aqualification ordedicate oneself toaparticular practice apart from basic survival. This can often force people tocriminality, and makes life even more complicated than itanyway is already.

Understanding. You need tounderstand the conditions inwhich people are living. When you understand these conditions you must look atthe ways you can adjust ormodify the aims you yourself have. There must also bethe ongoing aim ofimproving and refining your aims.

No assumptions. Some qualifications might seem very basic but are absent. This might bebasic Literacy, Maths orEnglish, so try tohave these inplace too, asapart ofthe program. The basic abilities ofwriting and counting are crucial. Sometimes people are moving around todifferent areas and places and such basic needs asbeing able tocount and speak and write have tobeupdated. You need toatleast try tohelp with basic survival.

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Artistic Research asPedagogy:

the cultural technology oflistening

Anton Kats

RADIO SONARThe idea ofthe Radio Sonar project has emerged through collaboration with young people living inthe neighbourhood ofWestminster inLondon and with the Edgeware Road Project The Centre for Possible Studies , the artist-in-residency program ofthe Serpentine Galleries. Asapart ofthat residency program, Radio Sonar invited students and local residents totake part inregular project sessions over atwo year period. Inparticular, Iworked with students from King Solomon Academy (201213) and Westminster Business Academy (2013 14).

My motivation for the project was tocollaboratively develop anopen learning platform which would carry out research through diverse approaches toart practice. Listening was the main point ofdeparture for the project, and specifically aparticular understanding ofradio asaway ofaddressing personal, social, political and economic processes. Moreover, this was seen asaway ofinvestigating those processes invarious different contexts, for example within various groups, the framework ofthe project and inthe neighbourhood.

In the summer 2014, Radio Sonar was invited toKingston, Jamaica by Openvizor tocollaborate and contribute tothe residency program atStudio 174 inDowntown Kingston . Together with Studio 174 , its students, local artists and residents, and journalism students from the Caribbean Institute ofMedia and Communication (University ofWest Indies) , Radio Sonar developed anopen proposal for asummer school tolast for athree month period.

Facilitating and developing the project within dif-ferent frameworks and contexts during the last three years has brought about awide range ofresidues, works inprogress and methods. This is along list, including radio plays, performances, audio and video works, films, installations, animations, listening and

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sound alphabets, manuals, methods, instructions and protocols, archives, music compositions, open radio studios, maps, photography, games, objects, open space interactions, events, screenings, presentations, exhibitions and publications, learning and research processes, etc.

At the same time, the continuous process ofshaping Radio Sonar through its encounters with diverse participants, organisations, countries and neighbourhoods provided the means for questioning the processes and outcomes ofthe project. This process ofquestioning and reflecting, however, is not aimed atdepicting orassigning aparticular meaning oridentity tothe project. Rather itis away ofentering aflexible, practical and theoretical field through which the project can continue tomove and develop. Asitdevelops, the project continues toembody amultidisciplinary approach, and toreflect on the methodological spaces through which itmoves. Inthis way itbecomes apoint ofdeparture for developing questions and opening up spaces toexplore those questions.

This text will outline anunderstanding ofArtistic Research asPedagogy, inwhich artistic research denotes acombination ofart practice and research, and pedagogy is thought ofasaparticular approach

tocollaborative learning, its motivations, processes and outcomes. Whilst this text will draw on some theoretical sources, the motives and goals for doing so are not toremain exclusively theoretical but will rather derive from and reinforce practical outcomes. Theoretical texts are only one ofawide-range ofresources, which also includes much less formal orinstitutional discourses.

As away ofmaintaining this distance from the solely academic when investigating the coming together ofartistic practice, research and pedagogy, the method oflistening is made the driving force ofthe investigation. The understanding oflistening , here, is informed by ways ofthinking about radio and especially its potential asan art form, atool ofenquiry and apedagogical process. Radio has great potential for encouraging social interaction within diverse cultural and political institutions and practices especially when there is the possibility ofmerging the physical properties ofradio with their metaphorical origin. From this point ofview, the contextual and pedagogical implementation oflistening asacultural technology takes on arenewed potential within the field ofinvestigation.

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In order tograsp aparticular form ofpedagogy, art practice and research from within the project, the method oflistening will beused toaddress processes ofstandardisation, and the narrowing demographic oflistening individuals, asis described instudies ofradio and radio broadcasts . 1 Iwill address each ofthe three fields Research, Pedagogy and Art Practice inturn, inorder tothen propose how alternative forms ofbroadcast can bedeveloped which invite participants totake part inthe social experience ofinteraction. Inlooking for ways ofinvolving listeners more actively, Iwill develop aconcept ofnarrowcast, which allows ustore-think the terms and relations ofthe radio studio, the listener aspassive subject, and processing. 2 inthis way weencounter the possibility ofmaking aradio without hosts and without announcers voices, and so become able totake part insituations asthey occur without editorial manipulation and editing.

LISTENING

AS A FORM OF RESEARCHThinking oflistening asaform ofresearch invites ustoexplore the potential ofinvolving listeners innarrowcast, which offers aform ofsocial experience ofinteraction. Narrowcast, asopposed tobroadcast, invites participants toexperiment and toexplore diverse radio spaces through processes ofparticipation quite different tothe traditional separation ofthe listener from the radio studio through distance. 3 Listening inthis context is proposed asaway ofresearching the different spaces ofinterest. These spaces can bematerial spaces within the neighbourhood, orany particular space inside oroutside ofthe city orthe project

Bally, peanut-seller for 35 years

Interviewed by Reesa Brown

Reesa: How long now yuh a sell peanut?

Bally: Seeh! About thirty five years.

Reesa: Whats the difference between when you just

started and now?

Bally: Right now me noh see the difference only in sales

because of location, only when Dudus dem deh yah

it betta but in ah di 70s, 80s, and 90s dem time deh come

up to now ah same violence like now but from yuh now have

noh fear nutten yuh have to just cut and go through. The

sales better where I am now round 3 years now.

Mi live ah St. Elizabeth and rent a little two room up di

road from the market. Six days a week mi deh a country

to see that my farm run good, mi buy and mi grow.

Reesa: What time a year you reap?

Bally: Three months, yuh can get three crops out of the

year but if the drought come it nah go work. Plants love

juice and rain a di juice. When the crop nuff it cheaper

and when it less it expensive.

Reesa: Which parish they say is the best parish for

peanut?

Bally: St. Elizabeth plant the most peanut no other

parish, farming noh easy enuh! if the land clean it will

cost less for preparation. My father use to grow peanut

and I use to sell a friend, one day him seeh to mi nah buy

noh peanut from yuh Bally come ahh town pon di truck and

mi friend dead and gone still but ah good idea him tell

mi and thats why I get into the peanut selling and every

selling from a youth. It gi mi things so mi noh regret it,

mi have a nice home ah country. Mi a tell yuh the truth mi

a survive and a week time me sell a thoty to forty grand

(JA$30,000 JA$40,000) ahh peanut and mi do mi next thing.

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Bryan interviewed by Shanika Fearon

Shanika: Speaking with Bryan about his experience in Coronation Market.

Bryan: Well the experience in the market, it alright! Share a lot with the people dem, have fun and soh! in here you can come and do any likkle business, any likkle hustling. Mi love down here and being here for four years I love the experience, I here running a pet shop, all kinds of pet and its alright! I can see a likkle living out of it, just love it.

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Dimple interviewed by Delesa Martin

Delesa: Dimples anything

interesting or bad ever happen

to you inside the Coronation Market?

Dimples: The bad thing about the market

is like when people come inside and steal

from the shoppers and vendors or if there

is an incursion or violence people will

stay away from the market but otherwise

if there is no violence people will

always come in to shop because they get

comfortable price, its better to shop

here than the super market because there

is no GCT [sales tax] down here right now

on the goods. The price is reasonable

and its better to buy from the farmer

rather than the second man and sell

at the wholesale level because of the

competition.

Philip interviewed by Delesa MartinPhillip: Well my story mi fi tel yuh the truth, I am going through a lot a things in my life, I am from Arnette Gorden. Right now I dont live there. I lost my mother in 2007 died in a house by gun shot. From mi mother dead mi stress out, mi mother less and fathers less. My father is alive but I dont known weh him deh. I have four sisters and one brother dem help mi now and then with food fi eat. I am twenty-six I try selling bag juice but it nuh easy. Better must come one day.

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space inwhich the sessions are facilitated. The spaces can beexplored through sound-investigations inthe streets, open radio studios, listening sessions, sound walks, radio plays etc. Listening also designates away ofexploring the contextual space between the artist, participant and facilitator; and so becomes away ofinvestigating how these diverse roles intersect, overlap and interchange. Ass

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