Sonic Bodies: Reggae Sound Systems, Performance Techniques, and Ways of Knowing

by Julian Henriques

The reggae sound system has exerted a major influence on music and popular culture. Out on the streets of inner city Kingston, Jamaica, every night, sound systems stage dancehall sessions for the crowd to share the immediate, intensive and immersive visceral pleasures of sonic dominance. Sonic Bodies concentrates on the skilled performance of the crewmembers responsible for this signature sound of Jamaican the audio engineers designing, building and fine-tuning the hugely powerful "sets" of equipment; the selectors choosing the music tracks to play; and MCs(DJs) on the mic hyping up the crowd.

Julian Henriques proposes that these dancehall "vibes" are taken literally as the periodic motion of vibrations. He offers an analysis of how a sound system operates - at auditory, corporeal and sociocultural frequencies. Sonic Bodies formulates a fascinating critique of visual dominance and the dualities inherent in ideas of image, text or discourse. This innovative book questions the assumptions that reason resides only in a disembodied mind, that communication is an exchange of information, and that meaning is only ever representation.

392 pages, Hardcover

First published September 8, 2011

About the author

Julian Henriques is Professor of Media and Communications at Goldsmiths, University of London.

Reviews

[S. Alberto ⁻⁷ (yearning) · Rating 3 out of 5]

I read this book for my Sociology seminar on sound, and while it offered some fascinating insights, I had a few mixed feelings about it. Sonic Bodies explores the cultural and sensory experience of reggae sound systems, delving into how sound is more than just noise—it's a way of knowing and feeling the world. Henriques does an excellent job capturing the vibrational and embodied aspects of sound, particularly in how they shape social interactions and community identity within reggae culture.

The book's exploration of the affective power of sound was particularly compelling. Henriques’ description of sound systems as not just technologies but as bodies that shape and influence collective experiences was thought-provoking. I also appreciated the ethnographic approach, as it gave a grounded, immersive look into the sound system culture of Jamaica.

However, the writing style was dense and overly theoretical at times. While I understand the need for academic rigor, some sections felt unnecessarily complex, making the book a bit of a slog to get through. Additionally, the repetitive arguments could have been more concise, as certain ideas were reiterated multiple times without adding much depth.

Despite its challenges, Sonic Bodies is still a valuable read for anyone interested in sound studies, cultural sociology, or Caribbean music culture. It provides a unique lens to understand how sound operates as a social and cultural force. I appreciated the book’s ambition, even if the execution wasn’t always seamless.

Overall, it’s a thought-provoking but dense read. It didn’t completely resonate with me, but I’m glad I pushed through it. If you’re willing to navigate the complex prose, there are definitely some fascinating insights to be found.