Wadada Leo Smith & John Tilbury
John Tilbury Wadada Leo Smith
How might two of the great musicians working within contrasting traditions of freedom collaborate? What might this produce: musically, socially, allegorically?
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.
How might two of the great musicians working within contrasting traditions of freedom collaborate? What might this produce: musically, socially, allegorically?
Conceptual writer and practicing lawyer Vanessa Place performs and talks with Mark Sanders, author of the brilliant “Complicities: The Intellectual and Apartheid”
Sarah Washington uses electronics and wind-up radios, running out of charge to repsond to the festivals’ Self Cancellation provocation.
Databases carry the same seeds of creativity that early documentary makers saw in film. Both can empower people by helping them to master information, both can be claimed to represent some kind of reality or truth.
I wanna be with you everywhere is an everywhere gathering envisioned for and by disability communities and anyone who wants to get with us. IWBWYE returns to Performance Space and any space on June 21 for an outdoor pop-up and hybridized event.
Can we use sound, repetition and difference to personally and collectively engage with space, time and labour?
The most sophisticated synthetic music around: timbrally otherwise body music as sonified fictions and auditive sociograms.
Can a musician create a sonic photograph; something with a depth of field, where you can hear sounds and their interconnections, much as you see objects and their relationships in a photo? Could a filmmaker use musical concepts to represent landscape?
Folk poet, actor and bon viveur Kan Mikami in duo with Jojo Hiroshige, a founding member of Japanese Noise band Hijokaidan.
Post consideration and post rationalisation… How do we think about experimental music and film after the performance?
How does this practice, that simultaneously resists and honours the distinctions between these genres, materials and senses, determine the inhabitation of another: a convergence of aesthetic and social experimentation?