
Where Good Souls Fear
Alice Sheppard
An occasion for commotion, and a chorus of motions. Choreography rotating your revolutions and then some.
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.
An occasion for commotion, and a chorus of motions. Choreography rotating your revolutions and then some.
Sax/Drums duo of raucous, pealing noise, and cries of beguiling lyricism, whispered sax phrases float in a timbral cloud of bowed metal and rumbling toms.
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.
Akio Suzuki and John Butcher performing in a large multi chambered industrial ice house.
We wanted to ask a bunch of the best high-energy-improvisers around; can musical form really taking shape via a group energy? Can individual concentration lead to a group consciousness?
A back and forth between Fred and Fernando on the transits and obstructions between mathematics and poetics, and how both help us to think from the other side.
One of the most revered and legendary underground acts of the past 20+ years, Current 93 is the constantly evolving creation of David Tibet.
A changing pool of people (40 or so at a time – artists, audiences, etc) talk for 90 minutes in a simultaneous series of open-ended round-table discussions, structured like speed dating, and mixed live as both a concert and for radio broadcast.
A celebration of the release of four books written by members of, and focused on about the House and Ballroom scene.
Killer of Sheep is an undisputed masterpiece of African-American filmmaking and one of the most poetic, perceptive dramas ever made about family and community.
A performed film lecture exploring how the ‘Rumberas’ of Caribbean cinema of the 40’s and 50’s subverted demeaning images of themselves through dance, sound and a sociality that insisted on blackness as being a cultural performance, not simply due to skin colour.
How do we make the connections between the mutual aid practices of our daily lives and anti-capitalist efforts to dismantle wider systems of exploitation?