Adam Joolia is the driving force behind Brighton-based AudioActive, a charity which helps disadvantaged young people get into music.
During his 18 years at the helm, the charity has played a part in the journey of many critically acclaimed musicians including Rizzle Kicks, Celeste, SpectraSoul, Frankie Stew & Harvey Gunn and ArrDee.
Now he has been named as one of seven “game changers” in art and film, alongside Bend It Like Beckham director Gurinder Chadha and founder of Yorkshire Sculpture Park Sir Peter Murray.
Created using state-of-the-art cognitive technology, the AI data painting uses the brainwaves of the seven ‘Game Changers’ to create a projection inspired by their work.
Marking 30 years of the National Lottery, it is a UK-first artwork for Istanbul-based Ouchhh Studio, who use cognitive technology to illuminate iconic buildings across the world.
Adam said: “He flew over from Istanbul, stuck a brain wave reader on my head and interviewed me. The brain data is the “paint” and the algorithm is the “brush” – I genuinely don’t know what to expect but I’m excited.”
Entitled “Symphony of the Game Changers”, the piece was projected onto the V&A’s Exhibition Road courtyard building (Image: James Speakman/PA) Entitled “Symphony of the Game Changers”, the piece was projected onto the V&A’s Exhibition Road courtyard building in London on the evening of November 1.
Having trained and worked as a social worker in “troubled” Nottingham – then named gun capital of the UK – Adam moved to Brighton in 2005. He took up what was then the only position at AudioActive.
Fast forward 18 years and the organisation runs hubs in Brighton, Worthing, Crawley and at other locations across Sussex, offering music mentoring, free drop-in workshops and grassroots talent development programmes for disadvantaged young people.
Young people can learn to use music production equipment, rap and do song writing.
Jordan Stephens and Harley Sylvester, who form hip-hop duo Rizzle Kicks, attended AudioActive from the age of 14 and are now patrons of the charity. Rapper Riley Davies, better known as ArrDee, became involved aged 13 through one-to-one music mentoring and was “locked in from the off”, according to Adam.
Jordan Stephens (left) of Rizzle Kicks stays in close touch with Adam Joolia and Audio Active (Image: PA) Successes aside, Adam insists “we’re not a fame factory”.
He said: “Formal education is not for everyone. Often the people who come in and shine, don’t work in formal spaces. They might be disruptive, in artistic terms they’re strong traits but can be challenging traits in a formal space.
“We don’t provide courses and qualifications. We’ve got all the kit and all the expertise and ask people what they would like to do. It’s a less prescriptive structure. People who traditionally fall through the cracks thrive in this environment
“Some people can be talented but are failing because they’re not able to find a way. As long as that paradox exists, I want to keep doing this.”
Providing a music education which is not “prescriptive” is something which is influenced by Adam’s own experience.
He said: “I had a horrible experience of music education growing up. I had piano lessons for eight years, but I didn’t enjoy doing it. I didn’t enjoy doing my scales and learning and reciting pieces of music.
“As soon as I was allowed to stop, I did and I never touched the piano again. It’s one of the biggest regrets in my life.”
Rapper Arrdee spent four years with AudioActive after getting involved through one-to-one mentoring aged 13 (Image: James Speakman/PA) The organisation relies on grants from bodies like The National Lottery, The National Foundation for Youth Music and The Arts Council, but has struggled with maintaining spaces in recent years.
Adam said: “Wherever we set up shop, it gets knocked down and turned into flats. We lost a significant talent house in the Botega rooms in Brighton. It’s due to be demolished and turned into residential.
“It’s a hotbed which slipped away into the night. It was responsible for fostering some of the people who have become critically acclaimed and put Brighton on the map.
“Creative spaces across the city are slipping away without people noticing. We need to set up a forever home rather than moving in and out of cheap rented spaces every two years.”
Adam said he has “consciously stayed out of the limelight” but is “absolutely honoured”.
He said: “After 18 years of really grafting, it’s nice to have a bit of recognition and to be selected for something we didn’t apply for. I feel very lucky.”
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