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Julian Henriques
Julian Henriques
Julian Henriques
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Julian Henriques (born 1951)[1] is a British filmmaker, researcher, writer and academic. He is a professor at Goldsmiths, University of London, in the Media and Communications Department, with his particular research interests being culture, technology and reggae sound systems.[2]

Key Information

Biography

[edit]

Julian Henriques was born in Leeds, Yorkshire, England; his father, Fernando Henriques, was Jamaican and his mother was of Irish and English descent.[3] When Henriques was 15 or 16 years old, he and his two brothers were taken to Jamaica by their father, which "was the beginning of a longstanding working relationship with the island".[3]

In the 1970s, Henriques co-founded the journal Ideology and Consciousness, which published writing on new theories in modern psychology, and he remained on the journal's editorial staff until 1977.[4] He began his film career in the 1980s, working at Channel Four Television and at BBC television on the programme Ebony and then in the Music and Arts Department on Omnibus and Arena. His independent productions include On Duty in 1984, and he directed Exit No Exit in 1988, and in 1992 We the Ragamuffin, as well as executive producing a number of documentaries for his production company with Parminder Vir, Formation Films, founded in 1987.[4][5][6]

His first feature film as a writer and director was Babymother (1998), produced by Parminder Vir,[7] about which Stuart Hall wrote in Sight and Sound: "This film is wired directly into the motor of assertive energy which is powering so-called multicultural Britain, to whose rhythm London is increasingly swinging."[4][8] It is considered to be the first Black British musical and captures the British Caribbean dancehall cultural scene of London.[9] It was also one of the few British musicals of its period.[10] On 26 July 2021, the remastered film was reissued by the BFI and released on Blu-ray.[5]

A psychology graduate of the University of Bristol,[11][4] Henriques in 2008 earned a PhD from Goldsmiths, University of London, his doctoral thesis being titled "Sonic Bodies: the Skills and Performance Techniques of the Reggae Sound System Crew".[2]

Henriques ran the film and television department at the Caribbean Institute of Media and Communication (CARIMAC) of the University of the West Indies in Mona, Jamaica,[12] from 1996 to 2001, going on to become a lecturer at Goldsmiths, where he is convenor of the MA in Cultural Studies and the MA in Script Writing.[2][4] His research focuses on street cultures, music and technologies, including those of the reggae sound system.[13]

Also a sound artist,[2] his installation Knots and Donuts was at the Tate Modern.[14][15]

His books include Sonic Bodies: Reggae Sound Systems, Performance Techniques, and Ways of Knowing (2011), described by Stuart Hall as "an exciting text that is thoroughly grounded in Jamaican 'sonic' cultures, technically sophisticated, full of original insights, and theoretically bold and adventurous",[16] and about which Dennis Howard said in Dancecult: Journal of Electronic Dance Music Culture: "Julian Henriques offers a fresh and illuminating exploration of Jamaican auditory culture through the reggae sound system, making a significant contribution to an aspect of Caribbean and Jamaican culture that is in dire need of interrogation and epistemological grounding."[17]

His current research projects include The Sonic Womb,[18] the Sound System Outernational research group,[19] and Sonic Street Technologies, a European Research Council consolidator grant (2021–2025) on which he is Principal Investigator.[2][20]

Personal life

[edit]

In 1985, Henriques married Parminder Vir, business executive, filmmaker and television producer, and they have two daughters: Mala and Anuradha.[21] His father was eminent anthropologist Professor Fernando Henriques.[22] Born in Jamaica in 1916 (with his notable siblings including Pauline Henriques and Cyril Henriques), Fernando at the age of three came to London, eventually attending Oxford University, where he became President of the Oxford Union in 1944,[23] receiving his DPhil in 1948, and being appointed lecturer in Social Anthropology at Leeds in 1948, going on to be Dean of the Faculty of Economic and Social Studies – possibly the first Black academic in the UK to hold such a role.[24]

Selected filmography

[edit]
  • 1984: On Duty (producer)
  • 1988: Brideshead and the Tower Blocks (producer)
  • 1988: Exit No Exit (co-originator/producer – Formation Films for Channel Four)
  • 1990: The Green Man (producer/director – BBC Omnibus)
  • 1992: We the Ragamuffin (director, script writer)
  • 1993: Derek Walcott: Poet of the Island (documentary; producer/director – BBC Arena)
  • 1995: Rouch in Reverse (executive producer)
  • 1998: Babymother (feature film; director, script writer)
  • 2000: Ding Dong Merrily on High (director)
  • 2019: Denzil's Dance (documentary; producer/director)

Selected bibliography

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Julian Henriques

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Julian Henriques is a British filmmaker, academic, and researcher known for his pioneering work in black British cinema, sound studies, and the cultural significance of Jamaican reggae sound systems. As Professor in the Department of Media, Communications and Cultural Studies at Goldsmiths, University of London, Henriques convenes MA programmes in Cultural Studies and Script Writing while leading research on sound, technology, popular culture, affect theory, and knowledge systems. His longstanding interest in street technologies and sound cultures, particularly Jamaican reggae dancehall sound systems, has shaped his scholarly output, including the influential book Sonic Bodies: Reggae Sound Systems, Performance Techniques and Ways of Knowing (2011) and his ongoing project Sonic Street Technologies, funded by a 2021 European Research Council Consolidator Grant. He founded the Sound System Outernational research group in 2015 and the Topology Research Unit in 2011, and serves as a founding trustee of the Stuart Hall Foundation. Henriques' filmmaking career spans television documentaries, short dramas, and feature films, most notably directing and writing the 1998 reggae musical Babymother for Film Four, as well as the short We the Ragamuffin (1992) and documentaries such as Derek Walcott: Poet of the Island (1993) and The Green Man (1990) for BBC programmes. More recent work includes sound art installations like Knots & Donuts (2011) at Tate Modern and Denzil's Dance (2019). His practice bridges creative production and critical inquiry, extending to collaborations on projects like Sonic Womb, which examines fetal hearing and neonatal acoustics.

Early life and education

Family background

Julian Henriques was born in 1955 in England to a family of mixed heritage that bridged Caribbean and European backgrounds. His father, Fernando Henriques, was a Jamaican-born anthropologist and academic known for his work on race, family structures, and Caribbean societies. His mother was of Irish and English descent, contributing to the family's multicultural identity. Henriques' paternal aunt, Pauline Henriques, was an actress and a pioneering figure in Black British arts. She was one of the first Black actresses to perform on British television and stage, breaking barriers in the mid-20th century performing arts scene. The family's Jamaican roots, through his father and aunt, fostered an early awareness of Caribbean cultural traditions, particularly sound systems and their role in social and expressive practices. His father's anthropological scholarship provided an initial exposure to cultural analysis and cross-cultural perspectives that later influenced Henriques' own intellectual and creative directions.

Education

Julian Henriques studied psychology at the University of Bristol. This training informed his early intellectual engagement with questions of subjectivity, social regulation, and the politics of psychology. In the 1970s, he co-founded the journal Ideology and Consciousness (later shortened to I and C), which published innovative work on emerging theories in modern psychology, and served on its editorial staff from 1974 to 1977. Henriques co-authored the influential book Changing the Subject: Psychology, Social Regulation and Subjectivity (1984), a collaborative critique of traditional psychology that established key foundations for critical and feminist approaches to the field.

Filmmaking career

Early career and short films

Julian Henriques began his career in the 1980s as a producer and director for British television, working on programmes for the BBC and Channel Four that often engaged with Black British and cultural themes. He produced the BBC's Ebony series from 1985 to 1987, overseeing 13 episodes of the magazine programme. In 1986, he directed an episode of the BBC's Bookmark series, and he later served as producer for Channel Four's Visions of Britain television mini-series in 1988. In 1987, Henriques co-founded the independent production company Formation Films with Parminder Vir. The company's first project was Exit No Exit, a 30-minute dance drama inspired by the Orpheus myth and set in the London Underground, which Henriques directed in 1988 for Channel Four's Dance on Four strand. Henriques' early independent short filmmaking included We the Ragamuffin, a 30-minute reggae-themed musical short that he co-wrote and directed in 1992 for Channel Four, produced by Rockstead Productions. Shot on the North Peckham Estate, the film blends musical performance with improvised drama, featuring local musicians, female dee-jays and promoters, and outdoor sound systems such as Saxon Studio International, offering a portrait of London's reggae scene. In 1993, he produced an episode of the BBC's Arena series, including the documentary Derek Walcott: Poet of the Island.

Feature film Babymother

Babymother is a 1998 British musical comedy-drama written and directed by Julian Henriques. Produced by Formation Films for Channel Four Films, the film features a £2 million budget funded in part by the Arts Council of England. It is widely recognised as the first truly Black British musical, centring on the reggae dancehall culture of Harlesden in northwest London and drawing on authentic British Caribbean talent. The story follows Anita (Anjela Lauren Smith), a single mother of two living on a council estate, who aspires to become a dancehall singer despite economic hardship and tensions with her unreliable “babyfather,” Byron (Wil Johnson), a successful but detached performer. Supported by her friends Sharon (Caroline Chikezie) and Yvette (Jocelyn Esien), Anita navigates single motherhood, lyric theft, and patriarchal barriers in the music scene, culminating in a competitive sound clash that affirms her independence and Black feminist agency. The film integrates reggae musical numbers to portray the vibrant subculture while addressing broader social issues of family responsibility, ambition, and gender dynamics within the community. Released in the United Kingdom on 11 September 1998, Babymother grossed £62,928 at the UK box office. Contemporary reviews were mixed, earning a Metascore of 48 out of 100 based on four critics who praised the lively musical sequences but noted weaknesses in narrative development. In later years, the film has achieved cult status and is regarded as one of the top 10 Black British films by the BFI. A remastered Blu-ray edition was issued by the BFI in 2021, including interviews and the earlier short film We the Ragamuffin.

Later documentaries and projects

In the years following his feature film Babymother, Julian Henriques continued producing and directing documentaries while expanding into sound art and multi-channel sonic installations informed by his research on auditory cultures. His most recent documentary is Denzil's Dance (2019), a 25-minute film that he produced and directed for Arts Council England in association with 18 Contemporary Arts and Learning. The work follows Grenada-born artist Denzil Forrester on his first visit to Jamaica, where Forrester sketches dancers and DJs in Kingston's dancehall venues including Dub Club and Uptown Mondayz. It examines Forrester's paintings of reggae and dub dance scenes in the UK and Caribbean while depicting his sharing of gestural drawing techniques with younger Jamaican artists. Henriques has also developed sound art projects, notably Knots & Donuts (2011), a sound sculpture performance presented at Tate Modern as part of the Topology series' "Embodying Transformation" event on 19–20 November. This ticketed 7-performance work used 12 sound channels to create a 360-degree auditory field, "drawing" geometrical shapes such as the Borromean Knot and Torus (donut) in sound to explore embodied ways of knowing through auditory sensation. His earlier documentary work for BBC included Derek Walcott: Poet of the Island (1993, 60 minutes, producer/director for BBC Arena), The Green Man (1990, 60 minutes, producer/director for BBC Omnibus), and States of Exile/Dictating Terms (1988, producer/director for BBC Music & Arts).

Academic career

Positions and roles

Julian Henriques has held several leadership and teaching positions in media and cultural studies. From 1996 to 2001, he served as head of the film and television department at the Caribbean Institute of Media and Communication (CARIMAC) at the University of the West Indies, Mona, Jamaica. He is Professor in the Department of Media, Communications and Cultural Studies at Goldsmiths, University of London, where he convenes the MA in Cultural Studies and the MA in Script Writing. Henriques is a founding trustee of the Stuart Hall Foundation. He is co-founder of Sound System Outernational, established in 2015 as a Goldsmiths-associated initiative of practitioners and researchers dedicated to recognizing, stimulating, and supporting sound system culture worldwide.

PhD and professorship

Julian Henriques earned his PhD in 2008 from Goldsmiths, University of London, with a doctoral thesis titled "Sonic Bodies: the Skills and Performance Techniques of the Reggae Sound System Crew." This work drew on his background as a filmmaker to develop academic research into sound system practices. Following the completion of his doctorate, Henriques progressed in his academic career at Goldsmiths, where he advanced to the position of Professor in the Department of Media, Communications and Cultural Studies. He currently holds this professorship while also serving as convenor of the MA in Cultural Studies and the MA in Script Writing.

Research and scholarship

Interests in sonic cultures

Professor Julian Henriques' scholarly interests center on sonic cultures, with reggae and dancehall sound systems serving as a primary focus for examining street technologies and performance techniques. These systems are treated as sophisticated examples of auditory engineering and embodied practice, where operators fine-tune equipment to produce immersive sonic experiences that engage entire crowds through high-volume bass frequencies and precise amplification. Henriques approaches sound systems not merely as musical setups but as sites of cultural and technological innovation that reveal how sound operates as a material and social force. His work explores sonic ways of knowing, which prioritize practical, embodied, and tacit forms of knowledge generated by sound system practitioners such as engineers, selectors, and MCs. Embodiment is central to this framework, as auditory immersion integrates mind and body, with listeners experiencing sound as a full-body vibration that blurs distinctions between hearing and feeling. Henriques draws on affect theory to analyze the intensities of auditory experience and the propagation of affective vibrations that transmit through dancing bodies and collective sessions, creating shared energetic responses. Rhythmanalysis informs his consideration of rhythm as a patterning mechanism that organizes both sonic and corporeal processes in dynamic, relational ways. Henriques further investigates non-representational meaning, favoring relational, proportional, and analogue forms of sense-making—such as a sonic logos—over discursive or symbolic interpretation. Topology and diagrammatics provide tools for conceptualizing auditory relationships and spatialities that resist linear or representational models. His interests also extend to fetal hearing and the auditory environment of the womb, probing how prenatal sonic exposure shapes foundational experiences of embodiment and relationality. These themes collectively reflect an approach grounded in specific sonic phenomena while addressing broader questions of knowledge, affect, and cultural practice, as elaborated in his books Sonic Bodies: Reggae Sound Systems, Performance Techniques and Ways of Knowing (2011) and Sonic Media: The Street Technology of the Jamaican Sound System (2022).

Current research

Julian Henriques' current research is primarily focused on the ERC Consolidator Grant-funded project Sonic Street Technologies: Diaspora, Culture and Knowledge (2021–2025), where he serves as Principal Investigator. This project examines street-oriented, mobile, high-powered sound systems and their associated cultures on a global scale, mapping their distribution, histories, and social, economic, and cultural contexts while exploring the role of such technologies in knowledge production and diasporic connections. Key outputs include the ongoing Sonic Map, a crowd-sourced interactive platform documenting sound systems worldwide, which remains open for contributions following the conclusion of the main funded phase in 2025. Another active strand is the Sonic Womb project, which has developed over more than a decade to recreate the auditory experience of the fetus in utero and highlight the importance of fetal hearing. In collaboration with fetal medicine specialist Professor Eric Jauniaux (UCL), Dr Pierre Gélat (UCL), and Aude Thibaut de Maisières through Sonic Womb Productions Ltd., the initiative uses a scientifically informed "fetal filter" and the Orrb capsule to demonstrate in-utero soundscapes, including the mother's heartbeat and voice transmitted through the body. A central long-term objective is to inform improvements to neonatal incubators by mitigating auditory stress for premature babies in intensive care environments. Recent contributions include a 2022 book chapter on foetal hearing and a 2025 journal article on computer-modelled fetal noise exposure, with a planned Sonic Womb exhibition scheduled for 2026 at the Vesalius Anatomy Museum in Leuven, Belgium. Henriques also directs the Topology Research Unit (established 2011), which investigates auditory topology, diagrammatics, rhythm, and non-representational sonic ways of knowing across sciences, arts, theory, and practice. He is a co-founder of Sound System Outernational (established 2015), an ongoing research and practitioner collective associated with Goldsmiths that organizes events to foster dialogue, dance, and support for global sound system cultures, bridging academic and community knowledge systems. These initiatives sustain his commitment to practice-as-research and embodied sonic knowledge.

Publications

Major books

Julian Henriques has authored and co-authored several major books that bridge psychology, cultural theory, and sound studies, reflecting his interdisciplinary background as a filmmaker and academic. His earliest major publication is the co-authored Changing the Subject: Psychology, Social Regulation and Subjectivity, first published by Routledge in 1984 and reissued in 1998. Co-written with Wendy Hollway, Cathy Urwin, Couze Venn, and Valerie Walkerdine, the book offers a classic critique of traditional psychology while laying foundational ideas for critical and feminist psychology. Henriques' later work shifts toward sound and cultural studies, most notably with Sonic Bodies: Reggae Sound Systems, Performance Techniques and Ways of Knowing, published by Continuum in 2011. Drawing from his PhD research, the monograph examines the reggae sound system as a key influence on music and popular culture, exploring performance techniques and embodied ways of knowing within Jamaican auditory culture. In 2018, he co-edited Stuart Hall: Conversations, Projects and Legacies with David Morley for Goldsmiths Press, an edited collection engaging with the intellectual legacy of cultural theorist Stuart Hall through dialogues and reflections on his projects. Henriques' most recent major book is Sonic Media: the Street Technology of the Jamaican Sound System, published by Duke University Press in 2022. Based on long-term fieldwork with sound system engineers and producers including King Jammy and the Stone Love Movement, the book analyzes the sound system as a dynamic street technology and proposes a Vibration Theory to understand vibrational processes and embodied communication practices across frequencies and cultural contexts.

Other writings

Julian Henriques has authored a range of articles and book chapters that explore sonic cultures, embodiment, rhythm, and affect, primarily within sound studies and cultural theory. His shorter-form writings often draw on Jamaican dancehall and sound system practices as sites for theorizing non-representational knowledge, auditory topology, and vibrational phenomena. Notable among these is the article "Hearing Things and Dancing Numbers: Embodying Transformation, Topology at Tate Modern," published in Theory, Culture & Society in 2012, which examines embodied experiences of transformation through sonic and topological frameworks. Another significant contribution is "Rhythmic Bodies: Amplification, Inflection and Transduction in the Dance Performance Techniques of the “Bashment Gal”," which appeared in Body & Society in 2014 and analyzes rhythmic embodiment in dancehall performance. Henriques has also co-edited special issues on related themes, including "Rhythm, Movement, Embodiment" in Body & Society (2014). In the 1970s, Henriques served as a founding editor of the journal Ideology & Consciousness, which addressed emerging theories in psychology, subjectivity, and social regulation. His articles and editorial work in sound studies and cultural theory provide focused interventions that parallel and extend the conceptual inquiries in his major book publications.

Personal life

References

  1. https://www.gold.ac.uk/media-communications/people/henriques/
  2. https://www.imdb.com/name/nm0377677/
  3. https://khojstudios.org/person/julian-henriques/
  4. https://www.encyclopedia.com/education/news-wires-white-papers-and-books/henriques-julian-1955
  5. https://parmindervir.com/we-the-ragamuffin-and-babymother/
  6. https://sonic-street-technologies.com/teams/julian-henriques/
  7. http://www.screenonline.org.uk/film/id/442572/index.html
  8. https://lucywritersplatform.com/2021/09/15/julian-henriques-babymother-a-black-feminist-triumph-of-a-film/
  9. https://www.imdb.com/title/tt0168475/releaseinfo
  10. https://www.screendaily.com/news/uk-box-office-preview-the-goldfinch-the-last-tree-to-open-against-strong-holdovers/5143261.article
  11. https://www.metacritic.com/movie/babymother/
  12. https://www.nottinghamcontemporary.org/whats-on/artist-talk-denzil-forrester/
  13. https://parmindervir.com/derek-walcott-poet-of-the-island-and-denzils-dance/
  14. https://research.gold.ac.uk/id/eprint/9227/
  15. https://www.africine.org/personne/julian-henriques/3299
  16. https://www.afropop.org/articles/julian-henriques-interview
  17. https://research.gold.ac.uk/id/eprint/22858/
  18. https://sonic-street-technologies.com/
  19. https://sonicwomb.tech/
  20. https://www.gold.ac.uk/topology-research-unit/
  21. https://sites.gold.ac.uk/sound-system-outernational/
  22. https://www.gold.ac.uk/cstc/researchers/
  23. https://research.gold.ac.uk/id/eprint/23990/
  24. https://journals.sagepub.com/doi/abs/10.1177/0263276412450468
  25. https://journals.sagepub.com/doi/abs/10.1177/1357034x14546878
  26. https://research.gold.ac.uk/view/creator/Henriques=3AJulian_F=2E=3A=3A.default.html
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