Trevor Mathison: ‘Post-Soul Noise’

This was an afternoon event of screenings and discussion of the work of a film/sound artist organised by The Pavilion together with Leeds Black Film Club. Trevor was a founder member of the Black Audio Film Collective in 1982. This collective produced a series of pioneering and experimental media products and films. Their work reflected what can be called ‘black consciousness’ in the 1980s. Their work was sited in the broader context of colonialism, the diaspora and movements of rebellion. Their productions worked through visual and aural poetry to present challenging representations around these themes.

Trevor Mathison worked on the soundtracks for their productions. He used performed music, noise and invented sounds to produce tracks that worked with the poetry of the visual material. He also worked as sound engineer on Isaac Julien’s Frantz Fanon: Black Skin, White Mask (1995) and on Pratibha Parmar’s Sari Red (1988), screened at an earlier Pavilion event.

The first screening was a work which was originally a two-part tape/slide presentations which had been transferred to digital, Expeditions: Signs of Empire and Images of Nationality (1983–84), These were the first works produced by the collective when they moved to Hackney from Portsmouth where they had studied at the Polytechnic. The two part video exemplified the poetic style that Black Audio developed and presented their key themes: representations around “race”, colonialism and empire, oppression and racism, and assertive consciousness. Each work ran for 25 minutes. The first part opened with Wagnerian strains and then developed a mixture of images and sounds. The second part concluded with the Congo and a voice-over with lines from Joseph Conrad’s ‘Heart of Darkness’.

Following this Trevor offered some comments and answered questions from the audience. He explained some of the process of production. The main source of images were various monuments around London, and specifically the Victoria and Albert Memorial. They used slide film and the transparencies were worked on and words were imprinted using Letraset. Trevor remembered the collective spread round a long table of materials and gels with the everybody working on the artefacts. The soundtrack was produced with similar techniques, However Trevor worked alone here, (partly from preference). And he recorded and re-recorded the various sounds. What was impressive was that he was using both reel-to-reel and cassette tapes yet the quality on the re-mastered digital version was excellent.

Each part was composed of four carousels, operating in tandem, each containing 80 slides. One technical problem was transferring carousels. But Trevor also thought that the ‘dissolves’ between slides were especially effective because of the slow pace of changes. Much of the music was from the collections of the members and they also investigated the material in a local bookshop.

At one point he used the phrase ‘the ghost in the machine’, a regular motif in Black Audio’s work. He suggested that the work involved stories of ancestors and their ‘ghosts’ Asked about the title of the event Trevor did not exactly explain this but did refer to the effective romanticisms of ‘soul’.

An early presentation of the work was at the Rio Cinema in Dalston. But the collective also travelled widely with the presentation, including to the USA. The approach of the collective was that the content and message were their responsibility and this involved for them alternative narratives. . They expected audiences to treat this critically.

The second work was Twilight City produced for Channel 4 in 1989. The video film ran 52 minutes in colour and with both voice-overs and interviews. The starting point was London after ten years of Conservative rule. So the film spoke to the present of 1989 but Will Rose (who introduced the event) suggested that it also spoke to the present of 2018.

The video started with a young Afro-Caribbean woman writing a letter to her mother who had returned to Dominique ten years earlier and was now thinking of returning to London. This was a neat conceit which enabled the young woman to retell London and its changes over the decade. At several points the film presented extracts from interviews with Afro-Caribbean activists. There was also footage of places and people including a Somali Centre in London and a Community Church. . There were recurring sequences, one of waves on the Thames: another of a car driving through the night-time streets of London, all light and shadows. There were photographs, engravings (Hogarth) and monuments, as in the earlier work. And there was older archive footage of wartime and the ‘Blitz’. All of these were paralleling and connecting with the voice-overs. The film ended with a night-time car drive and then a coastal shot with the sun rising over the ocean.

Trevor talked about the production of the piece. There was more division of roles and the end credits showed different functions including Reece Auguiste as director. He had produced the initial idea which was developed and then the collective obtained funding from Channel 4. At this time there was a scheme for publicly funded workshops agreed by Association of Cinematograph, Television and Allied Technicians, Channel 4 and a number of public institutions including, until its demise in 1986, the Greater London County Council. Black Audio Film Collective, along with other groups such as Sankofa, benefited from this scheme.

In answer to questions Trevor said more about how he worked up the soundtracks. One example he gave was of dismantling a piano and using the sounding board to create particular noises. The narrative of a ‘returnee’ was invented but provided a focus for the narrative. And the film like the earlier works, combined poetry, symbolism and (amongst others) monuments around the city. One theme central to the work was ‘belonging’. He talked about one sequence that recurred several times of homeless sleepers at night. This was shot in the underpass across from Waterloo Station. And he saw rats there whilst they filmed. Now this was the site for the London IMAX, considerably changed.

The Black Audio Film Collective was wound up in 1998. Over its sixteen years it produced a range of works, including films and programmes aired on Channel 4. In 1988 the ICA published booklet on ‘Black Film British Cinema’. The Document profiled some of the workshop collectives including a discussion with members of the Black Audio Film Collective. They talk about their influences, centrally I noted Franz Fanon. They also mentioned influences on form and style, both Alexander Rodchenko, a Soviet pioneer of photo-montage, and, more recently, Henri Cartier Bresson. At the time they were also discussing a number of French intellectual, including Jacques Lacan and Louis Althusser. These explained the interest that can be discerned in psycho-analysis and also a tendency, common in the 1980s, to use fairly complex theoretical language. Closer to home, an important influence was Stuart Hall, an important writer and theorist: he was far more accessible than the French theorists though with a tendency to reformism.

Referring to Expeditions Reece Auguiste commented;

Expeditions (1983), which was our first cultural project, was a way of testing those ideas and trying to extend the power of the images and debates around colonial and post-colonial moment. In order to do that we had to articulate a particular language and vision of that moment.”

The ‘post-colonial, which I find anachronistic when we still have colonialism (just across the Irish Sea for one), is referenced in Expeditions by quotations from Homi Bhabha, a theorist in Cultural Studies.

Reece continued later on Expeditions;

“The way, for example, in which we would actually appropriate from English national fictions – like the Albert and Victoria Memorial – going back and really engaging with the archive of colonial memory. We were not only constructing a colonial narrative, but also critiquing what was seen as the colonial moment – critiquing what was seen as the discourse round empire.”

Twilight City followed later than the ICA profile. I found the work slightly hybrid in style. Much of the film used the visual and aural montage that was the bedrock of Black Audio’s work. But sited within this were a series of interviews. The early interviews were personal and concerned with memory. But later in the film they tended to be prescriptive around political issues. The montage work of the collective seemed to me to be rich in both denotations and connotations whereas some of these interviews were much closer to ‘realist’ documentary. There is something of the same dichotomy in their most famous work for Channel 4, Handsworth Songs (1987), addressing the riots/rebellion in Birmingham in 1985. This particular film occasioned strident debates including an angry attack by Salmon Rushdie in the letter page of the Guardian.

In answer to my question Trevor made the point that in their work for Channel 4 the collective had total editorial control. So I suspect that the use of more ‘realist’ forms was occasioned by the collectives sense of the medium and its audience. It should be noted that Channel 4 at this time was the radical edge of British television. It had a brief to present ‘new voices’, which it did very effectively. But once it settled in the predominant values of the British media gradually toned down its offering The workshop Ceddo had their film The People’s Account (1988) effectively banned by the IBA. The Derry Film & Video Workshop’s Mother Island suffered a similar fate, though that was later screened on Channel 4 with enforced cuts..

This was a fascinating and rewarding sessions. The Black Audio Film Collective work has been missing from screens for a long time and it amply pays revisiting. Trevor has a low-key and very affable manner: but he is also effective at drawing out the import and stance of the work.

The original collective consisted of seven people: John Akomfrah, Lina Gopaul, Avril Johnson, Reece Auguiste, Trevor Mathison, Edward George and Claire Joseph. Joseph left in 1985 and was replaced by David Lawson.

In 1998 three of the members formed the new Smoking Dog Films: John Akomfrah, Lina Gopaul and David Lawson. Trevor Mathison has worked on several of their projects as ‘sound designer’, a recently innovated term that describes his work more accurately.

One of these is The Stuart Hall Project (2013) presenting and celebrating one of their influential mentors. Unfortunately, whilst effective, the film follows the convention of television and reframes much of the Archive footage.

The Nine Muses (2010) is devised from an original exhibition work. It is a complex study of migration, structured around Homer’s ‘Odyssey’. It presents the visual and aural montage that typifies the work of both the Black Audio Film Collective and Smoking Dog Films. It is a brilliant but little seen art work and a key documentary in C21st British film.

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