Sound System, Berlin Version 26, The Appeal is a work presented by the Trinidadian artist Christopher Cozier that traces the political and social histories embedded within dancehall and popular music. Drawing on an installation first shown in 2001, the piece consists of eight visuals displayed side by side. Collating cultural references found within Trinidadian society and formed by a Caribbean perspective at large, recurring symbols such as speakers, calypsonian hats, and megaphone horns emerge as gestures that carry significance and memories—sometimes reminiscent of the artist’s childhood—beyond their striking aesthetic. The four speakers surrounding the arena reference the spatial arrangement of a blocko or blockorama party, a cultural staple of the 70s. The calypsonian hat references an iconic scene from 1948, in which Lord Kitchener, upon disembarking the SS Windrush at Tilbury Docks, captivates the cameras and defies the empire with his enchanting tune ‘London is the place for me’. The image of the Downtown Outlaws cassette—reproduced from Cozier’s personal archive—hints at the late 80s and early 90s period during which the legendary DJ collective dominated the scene in Port-Of-Spain, with the help of Maxi Taxis’ culture, minivans that blasted music from their booming bass systems. This new installation connects to Cozier’s earlier work presented in São Paulo, After The Appeal Will Come The Next Delivery, by integrating a new visual element: a cricket player performing an appeal gesture or ‘howzat’, generally done in protest of the umpire’s decision. Metaphorically, this sign could also be interpreted as an appeal to the empire.

WORK IN THE EXHIBITION:

31 Sound System, Berlin Version 26, The Appeal (2001–), sound, posters, dimensions variable. Courtesy of the artist and @cozier.wav. Adaptation in Berlin commissioned by Haus der Kulturen der Welt (HKW)