During the Ferguson protests in 2014, King Britt produced an impromptu performance for Black Lives Matter, organized by Cheeraz Gorman in St Louis. The performance consisted of an improvised electronic score to footage from past protests around the incident.
As police violence against African-Americans remains in the public eye internationally, King revisited the presentation in 2015 for Afrofuturism Now! at WORM in Rotterdam, curated by Rasheedah Phillips of Afrofuturist Affair.
Utilizing found sounds, dispatch recordings from police communication, and original sound design, MATATU is pleased to present King Britt, in the third improvisational performance of To Unprotect and Subserve.
It may be intense, sad, loving – all the emotions present within our beings. Witnessing in this curated environment without visuals, will no doubt enhance the gravity of the matter; a glimpse into the moments of dreadful experiences.
BLACK CODE / CODE NOIR unites temporally and geographically disparate elements into a critical reflection on two recent events: the murders of Michael Brown and Kajieme Powell by police officers in USA 2014. Archaeologically, the film argues that behind this present situation is a sedimented history of slavery, preserved by the Black Code laws of the colonies in the Americas. These codes have transformed into the algorithms that configure police Big Data and the necropolitical control of African Americans today. Yet how can we read this in the present? How can we unwrite the sorcery of this code as a hack? Through a historical détournement the film suggests the animist origins of the Haitian Revolution as the first instance of a hacking of the Black Code and thus as a past symbol for a future hope.