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.
Repetitive, mesmerizing rhythmic workouts, to pieces of stark and rigorous introspection, where notes picked and slid in isolation, scatter like mercury around the listener.
A 3-day exploration – through performance, screenings and discussion – of the art and politics of wayward communities who refuse to be bound by the fictions of race and sex.
The struggle for sex workers’ rights and how we can understand it in the continuum of care work and other forms of invisibilised and precarious work.
Live in person at Performance Space New York and live-streamed everywhere! Watching Storyboard P dance feels like glimpsing into another world.
The first of two workshops that highlight correspondence as a way of working. Somewhere between song, speech, and logistical arrangement, these workshops invite participants to consider care as infrastructure.
The ongoing development of [b]reach, an abolitionist black queer retelling of Marge Piercy’s incredible feminist utopian novel Woman on the Edge of Time.
Slowly evolving ultra-subtle harmonics and multi-tracked, otherworldly drones that only reveal their true power at high volume.
A recreation of one of Gustav Metzger’s celebrated auto destructive performances.
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.
In many ways, this Episode is our attempt to engage with Fred’s incredible writing: with his proposal that all black performance (culture, politics, sexuality, identity, and blackness itself) is improvisation.
An evening of live performances, readings & saucy rococo cakes celebrating the launch of Truth and Lies – An Anthology of Writing and Art by Sex Workers.
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.
