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 do you know what you want? Should freedom be doing what you ought, not doing what you want? How might a philosopher and artist turn this thinking into an enabling condition in the context of noise and improvisation?
The second in a series of workshops for workers and non-workers who care. What does the sharing of vulnerability entail? Can such a sharing inform progressive social relations?
Work for cello, percussion, contra bassoon and cherbulum commissioned for Instal in collaboration with Paragon
Smith/Stewart set up allegorical situations over which they often have little to no control, but which instigate explorations of dependence and trust, the body, sex and death.
In this interactive workshop, Dean Spade, author of Mutual Aid, will share key principles, explore common challenges in mutual aid work, and offer tools for working through them.
Underground movement legend boychild hosts this workshop—on improvisation, cosmetics, movement and lip-sync.
“Introduction to Protactile Theory” is a legendary seminar that facilitator John Lee Clark has designed to bring diverse communities into conversation with the Protactile movement.
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.
An contradictory guitarist, he’s equally at home in slow, halting acoustic improvisation or piercing minimal examinations of electric guitar.
Listening to people listening to their own homes. Musicians and actors will listen back to recordings made in local peoples homes on headphones, and interpret/ translate what they are hearing.
A chorister attempting to sing Vivaldi, with live accompaniment, while trampolining for 20 minutes.
Harrowing but musical confrontations with the very real, physical and aural trauma of a woman screaming.
