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.
The final iteration of Arika’s INSTAL festivals, the 2010 edition was an experimental festival of experimental music – 3 days of events at the Tramway that explored un-average ideas about sound and music.
Elizabeth’s writing pulls apart toxic settler colonialism and the worldview used to justify it; working towards an alternative distribution of powers, so that ways of being otherwise can endure.
How do grassroots feminist organisations strategise relationships between mothers, parents, carers and their children based on respect and empowerment, in resistance to the practice of putting children in often the most uncaring of places – care.
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.
Taking our festivals south of the border to The Sage Gateshead we set out to offer a few cardinal pointers in the vast array of experimental music practices.
Why won’t the idea of the particle or individual go away? Is the measurement problem in physics a documentary film issue? What can a human be without its crutches of life-time and measure?
A tour with John Butcher and Akio Suzuki that set out to allow the audience to experience (and to listen to) the enviroment around them in different way.
Daniel Carter & Sabir Mateen’s trio with percussionist Andrew Barker; incessantly driving forward through sweat-drenched bursts of pure ecstatic freedom.
Freak-out group for the 21st century perform a live soundtrack to Ira Cohen’s infamous psychedelic masterpiece ‘The Invasion of Thunderbolt Pagoda’
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
A fully transcribed, described, and open-captioned film screening that’s nothing short of their actual open heart.
What might Carter and Parker’s collaboration tell us about our own performances of responsibility and liberty, whether individual, social or musical?
