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.
What does it mean to listen with the mind as well as the ears? A solo performance from the great avant-garde pianist.
William cradles, hammers, and rains down blows, plucking and using 2 bows to attack the strings above and below the bridge, all in the service of a fiery and passionate creativity.
Moor Mother is a musician, Philadelphian housing activist and black quantum futurist.
Slapstick comedy, monologue, and a kind of live sculpture transformed through video, props, musical instruments and make-up.
A confrontational and somehow shamanic stance; introspective silences shattered by savage jabs at the strings, whirlwind strums dying into spartan chords
A party and fundraiser to support Sex Workers’ struggles and LGBT Unity with music and performances from the sex workers’ community and allies, plus DJ’s and dancing.
Guitar solo where inscrutable, minute electric sounds are excavated by palms that smother and strangle, that wring sound from the fretboard, from behind the bridge.
In Ramayya’s visionary poetry, the body assumes as many forms as love produces states: attraction and repulsion, excitement and exhaustion, selfishness and the dissolution of self.
Poems are kisses, fists, and underground rivers. For all these reasons and many more, I am a poet.
A chat with Rashad about the communist, conceptual methodology that informs his ground-breaking synthetic music—a form of speculative sonic fiction writing to produce hyperreal non-representational auditive experiences.
IN OUR LIFETIME, is an anti-imperialist resource, edited by Hussein Mitha, produced by Arika for Episode 11, featuring poetry, essays, questions, prompts, letters and works of anti-colonial imaginary.
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.
