Grime is a genre of Black British music originating from London at the turn of the twenty-first century. In this article, I explore responses to moments of Grime music making and engagement in live performance settings. I make connections between Grime, Black music streams (Lena), Black Atlantic (Gilroy) practices, the Black Public Sphere (Baker) AND how engagements at these intersections are connected to spiritual practice in the context of live performance. The power in Grime live performance settings; where the spiritual is found, connects to the sonic characteristics deployed, embodied and emotive responses and cultural practice. Spirituality, through cultural practice, is an Africanised religious/spiritual outlook that remains with the African diaspora over time and space (Mbiti). Smith’s work shows how African derived religious and spiritual practice continues in diasporic religious practice contemporarily. Through live performance (raving/club culture), I explore and theorise how power is a) generated, b) operates, and outline the roles people play in the cultural-spiritual practice. Building on the work of Smith, Kennett, Sylvan, Mbiti and Baker, I introduce theories: 1) Liminal Energy Power Spirals (LEPS) and 2) AmunRave Theory, to show how the spirit enters live performance space.
Charles, M. (2019). Grime and spirit: On a hype! Open Cultural Studies, 3(1), 107-125. https://doi.org/10.1515/culture-2019-0010
Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 License.
Africana Studies Commons, Ethnic Studies Commons, Ethnomusicology Commons, Other Music Commons, Race and Ethnicity Commons, Sociology of Culture Commons
This article was originally published in Open Cultural Studies, volume 3, issue 1, in 2019. https://doi.org/10.1515/culture-2019-0010