Nearly Sighted/unearthing the dark
Kayla Hamilton
Beyond time, colorlines, ability, and sexuality, a movement exploration into what it means to see and be seen, how hearing contrast with what is actually being heard.
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Beyond time, colorlines, ability, and sexuality, a movement exploration into what it means to see and be seen, how hearing contrast with what is actually being heard.
The pieces in the programme switch between silent film/ imageless sound, but we wanted to have a think about how ideas can take up residency on either side of the sound/ image border, without having to inhabit both at the same time.
First live show outside the USA featuring one-off film pieces and live theatre from the ringleaders of the ‘weird new America’ psych folk explosion.
Ex Ganger guitarist’s solo performance for guitar and fx, featuring breathless processed guitar, complex in structure and melody.
Introducing and setting intentions for a crip grief transformation and witness altar. A place to sit and breathe, remember our dead, wash our hands and leave offerings to and for loved ones we’ve lost – and for ourselves.
Vanessa Place talks at The Friday Event series at the Glasgow School of Art about her practice as a writer.
This performance brings together film, text and speech and temporarily constructs a filmic space to think through questions of resistance, and the choice and consequence of action vs. inaction: what does it mean to choose to not take part?
Blissed-out sun-dappled drone ragas of the highest order, with a metal-tinged signature sound of plucked and bowed strings.
A poet, playwright and activist, Sanchez emerged as a seminal figure in the 1960s Black Arts Movement, writing in the name of black culture, civil rights and women’s liberation.
Taku’s actions strip back musical performance to one of its original proposals: what is an action and how does it create a situation for spending time together, for paying attention?
Thought and action, writing and protesting. A chat with Nat Raha, KUCHENGA and Jackie Wang asking what can be learnt from writing across genres by agitators, activists and abolitionists?