An Exploration of Olukemi Lijadu’s Feedback: A Resonant Reflection on the African Diaspora

Introduction to the Installation

The realm of contemporary video art is vast and varied, but few pieces resonate as deeply as Olukemi Lijadu’s two-channel installation, Feedback. Set to be showcased at Spike Island in Bristol from January 31 to May 10, 2026, this installation invites viewers into a multi-layered exploration of the African diaspora through sound and imagery. Featuring an array of cultural references, it serves as a powerful reminder of the richness and complexity inherent in Black Atlantic identities and experiences.

The Metaphor of Audio Feedback

At the heart of Feedback is the concept of audio feedback, a phenomenon typically viewed as a nuisance in sound engineering. However, in Lijadu’s installation, it morphs into a potent metaphor for cultural transmission. By reflecting on the journey of West African sonic traditions throughout the diaspora, she illustrates how musical forms—spanning from the polyrhythms of traditional drumming to the contemporary house sounds of Chicago—intermingle and evolve. This sonic exploration is embedded in the heart of Black Atlantic culture, linking beats and rhythms across borders and generations.

A Dynamic Montage of Cultural Narratives

Rejecting conventional narrative forms, Lijadu opts for an idiosyncratic montage that captures the fractured yet interconnected nature of the African diaspora. Engaging with Paul Gilroy’s concept of a “Black Atlantic” culture from his seminal book, The Black Atlantic: Modernity and Double Consciousness, Lijadu illustrates that identity is not easily confined to singular ethnic or national boundaries. Instead, she proposes that diasporic cultures are fluid, intertwined, and continuously evolving.

The installation weaves together archival clips and original footage featuring Nigerian musicians, a Yoruba linguist, and the artist’s own family members. Through this personal lens, Feedback reframes cultural heritage as a living, breathing entity. The rapidly shifting visuals compel the viewer’s attention, urging them to consider the rhythmic continuity that defines Black musical expressions across time and place.

A Symphony of Visual and Aural Experiences

Lijadu’s installation opens with an eclectic mix of visuals, including a spinning figure skater, jazz drummers, and dancers vibing to iconic tracks such as Rufige Kru’s seminal “Terminator.” This breathless introduction sets the tone for a journey that spans continents, directly linking traditional drum beats with modern electronic music. One striking sequence features drummers on the shores of Lagos, their rhythms fusing seamlessly with contemporary synth sounds. Here, Lijadu makes an explicit connection between the historical struggles of the African people—evoking the trauma of the Middle Passage—and the celebratory nature of contemporary electronic music.

The Role of Rhythm in Human Connection

Throughout Feedback, the impact of music on the human experience emerges as a significant theme. A memorable moment captures a DJ recounting an incident where a woman became so entranced by the music that she appeared possessed, a state he links to spiritual ecstasy. This encapsulates the notion that, through rhythm, music transcends mere entertainment. It assumes the role of a catalyst for movement, connection, and collective experience, echoing the intensity of Black spiritual traditions and aesthetic practices.

Intertwined Traditions: Gospel and Modern Music

In another poignant segment, Lijadu juxtaposes vibrant gospel choir performances with clips of the iconic “Amen Break” from The Winstons’ 1969 hit. This seven-second drum break has been deeply embedded in genres such as jungle and drum’n’bass. By weaving together these musical threads, Lijadu underscores the enduring connections between Black religious traditions and contemporary musical expressions.

An Aural and Visual Journey

The flow of Feedback emulates the rhythm of the music it celebrates, pulsating through time and transcending boundaries. Inspired by early abstract cinema, the structure of the installation ebbs and flows, drawing viewers into its depths. However, it remains accessible, feeling more like a celebration of shared memories than an experiment in formalism. Unlike the works of early avant-garde filmmakers like Walter Ruttmann, Lijadu’s piece channels the emotional resonance found in Mark Leckey’s Fiorucci Made Me Hardcore or John Akomfrah’s Vertigo Sea.

Curated for Immersion

To heighten the viewer experience, the exhibition space is thoughtfully designed with plush carpets and strategically placed speaker stacks, courtesy of Bristol-based sound system Ramsham Hi-Fi. Here, comfort meets auditory stimulation, allowing visitors to immerse themselves fully in a sonic landscape that resonates with the pulse of the African diaspora.

The Drum as a Symbol of Connection

At its core, Feedback serves as a living archive of shared memories, exploring the enduring influence of rhythm across cultural domains. Lijadu positions the drum as a symbol not only of connection but also of collective feeling, emphasizing the drum’s historical significance in a global context. As the Chicago-based writer Camille Gallogly Bacon notes, each point in the chain— from Lagos to Chicago, Detroit, and Bristol—represents a complex web of influences and shared experiences.

In Feedback, Olukemi Lijadu does not just present art but crafts a compelling narrative that elevates the history of music as a profound reflection of the African diaspora, affirming that no matter how fragmented the pieces might seem, they continue to resonate in powerful and unexpected ways.

Upcoming Performance

For those interested in experiencing the work beyond its visual and auditory presentation, Lijadu will perform a newly commissioned live music score to Feedback at Spike Island on April 23, part of the Bristol New Music Festival 2026. This performance promises to offer an even deeper engagement with the themes and rhythms at play.