
Cyrée Jarelle Johnson
Cyrée Jarelle Johnson
Poetry of raw fearless truth and the realest crip insight fully embedded in absolute lyrical lounge.
Arika have been creating events since 2001. The Archive is space to share the documentation of our work, over 600 events from the past 20 years. Browse the archive by event, artists and collections, explore using theme pairs, or use the index for a comprehensive overview.
Poetry of raw fearless truth and the realest crip insight fully embedded in absolute lyrical lounge.
What kind of listening and acknowledging do we offer each other? What is it to listen to an ‘elsewhere’, and do we ever do anything else when we listen to music?
Can a collective performance of NourbeSe’s poem of black life as it exceeds containment enact alternative forms of selfhood that emerge in and out of African diasporic experience?
Noise music for the eyes. A 6 screen 16mm projection performance of intense audio and visual stimulus.
Repetitive, mesmerizing rhythmic workouts, to pieces of stark and rigorous introspection, where notes picked and slid in isolation, scatter like mercury around the listener.
One of the most arresting and unique improvisers in Japan, creating an original and powerful body of free music.
The worlds leading radio art station brings you: a performance, a radio show, an installation, an endurance test.
A cinema of the mind, a film to take place in the viewers’ imagination(s).
For day three of Ultra-red’s project, the investigation will take up protocols for listening to the sound of freedom composed and facilitated by Nancy Nevárez.
Three intense solo performances for drums (both played and screamed through), cymbal, voice, credit card, bird whistle, and guitar amplifier/leads.
A saxophone. Handheld fans. Shrill squeaks. Splutters, gargling. An incredible diversity of sounds, intensely focused by an inventive musician.
Autobiographical detail becomes a lens to reflect and refract the deepest aspects of personal and social life in Delany’s ground-breaking non-fiction writing.