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.
A confrontational and somehow shamanic stance; introspective silences shattered by savage jabs at the strings, whirlwind strums dying into spartan chords
Copying without Copying is 3 evenings of events that are about what happens when we speak, or when we hear someone speak on our behalf, when we share a collective moment of hearing and maybe understanding.
Slowly evolving ultra-subtle harmonics and multi-tracked, otherworldly drones that only reveal their true power at high volume.
Edinburgh. Cask-strength electrohypnol and shroom damaged folk croonings by Lapsed Electronics empire builder.
A programme that looks at how sound and image can be treated as variants in a collection of ordered objects; at how to create meaning from the similar, and to notice difference.
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.
In Our Hands is a ten week programme of workshops facilitated by Lisa Fannen, Omikemi and Clay. The sessions explore radical approaches to health and collective care in the context of movement for liberation and social justice.
A collaborative duo performance, Anoyonodekigoto sets up a sort of negotiation between a musician, a dancer, the audience and the space we’re all sharing.
Arika is working in partnership with Decriminalised Futures on a multi year collaboration featuring multiple creative projects exploring sex worker lives, experiences and movement struggles.
A recently reanimated Ascension, with mighty Leeds drum hero Paul Hession bringing a dense polyrhythmic torrent into play with Jaworzyn’s reinvigorated piercing guitar.
Dundee. Progressive rhythmical guitar squall vs. post-highland discorporate dusk-jockey.
Dworkin asks: What would a non-expressive poetry look like? A poetry of intellect rather than emotion?
