As part of our ongoing series ‘Roots, Rhythms and Records’ celebrating the impact of Hackney’s African and Caribbean communities on music in the borough and beyond, this post focuses on the history and impact of Pyramid Arts, Dalston in supporting the performing community to develop artists, experiment with music and find commercial success.
Introduction
Pyramid Arts originated in 1982 as a collective of musicians, dancers, artists and other creatives seeking to promote, encourage and advance education of the arts. Originally coming out of R&M Studio on Glebe Road, Dalston, they set up to provide resources for community use within their neighbourhood, and delivered workshops for local young people.
Its creation came at a time when genres of popular music were not widely taught in music colleges or universities, meaning education often came from finding other musicians to work alongside and learn from. Hiring rehearsal rooms was unaffordable for most young African and Caribbean artists, who had to seek out alternatives such as All Nations Barbershop, Sandringham Road, which opened up its basement as a rehearsal space for local bands.
Pyramid Arts is one of the many examples of musicians in Hackney during the 1980s self-organising to create spaces and initiatives to promote their artists, experiment with music and nurture local talent. Contemporaries include the Triangle Music Workshop in Farleigh Place, Stoke Newington, Roots Pool in Dalston and the Jenako Arts Centre on Balls Pond Road.
Pyramid Arts Development
By 1984, the newly incorporated Pyramid Arts Development Ltd was awarded a Department of Environment grant and Hackney Council provided a building. Behind the facade of Victorian terraces of 10-16 Ashwin Street was a 10,000 square-foot building ideal for an art centre, with 12 offices and six large warehouses that could be turned into a rehearsal studio complex and a dance studio. The same year, renowned American drummer Clifford Jarvis joined as a teacher. At its height “the school” – as Jarvis referred to Pyramid – ran around 17 well attended music and dance classes.
I started off in sort of a place like this. Where it’s built up in to the most [respected] jazz university now in the world, and that’s the Berkeley School in Boston. And I remember there was nothing but a dilapidated corner building…I see the spiritual light shining here at Pyramid Arts
Clifford Jarvis, speaking in 1988 (film below)
In addition to its neighbourhood role, Pyramid attracted national and international artists and bands on tour who would come and rehearse. Reflecting the demographics of Dalston at the time, the majority of Pyramids users were African and African-Caribbean, while still attracting white rock bands such as Primal Scream. Lee “Scratch” Perry took a band from Pyramid on tour in 1984 and headlined the art centre’s sell out Hackney Empire show in July 1988. South African saxophonist Dudu Pukwana and his band Zila would attract audiences from across London for regular Sunday performances in the building’s car park.
Pyramid Agency
As well as education, Pyramid aspired to promote music and musicians commercially in the entertainment industry. It had a recording studio, and released records from artists such as the lovers rock band Group Cas A Nova on its label ‘Pyramid Records’.
Pyramid Agency was created to take artists using their rehearsal rooms out to put on performances, providing bands for local festivals including Haggerston Estate Street Festival and Victoria Park Festival, as well as shows across London and further afield.
This went on to become Hackney Council’s Hackney Agency for Music Marketing Action (HAMMA), which was run from the centre. One of the first acts supported by HAMMA’s was reggae band One Style MDV.
Challenges
Throughout its eleven years, Pyramid struggled with funding. Despite attracting international artists from around the globe, its work servicing the local neighbourhood caused funders to view it as being limited to only a ‘local significance’.
With the goal of becoming independent of external funding, Pyramid tried to secure an entertainment licence to generate income from performances and events. In its final years during the early 1990s, Pyramid benefitted from the arrival of rave culture by hiring out their large warehouse spaces for raves under temporary licences.
Following funding support from Hackney Council coming to an end, Pyramid Arts Centre closed its doors to the public in 1993.
I wanted to create music and art. And I wanted a place to do that in. And I wanted to interact with many artists and musicians. That was a driver for me. The other aspect was that we wanted to help the community. We wanted to do something that would have a good impact in that community and help people...
It was a very productive, creative time and a lot of people created a lot of great music and art, and communicated with each other cross-cultures.
Steve Marshall, founding member, Hackney Museum 2018.75
State of Pyramid
This 1988 film captures different aspects of Pyramid Arts Centre’s work, and discusses the challenges facing the organisation in terms of funding.
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Content for this blog featured in the exhibition ‘Roots, Rhythms & Records The sounds and stories of African & Caribbean music in Hackney’ at Hackney Museum 2 October 2018 – 16 March 2019.
