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 film as a translation of Monique Wittig’s landmark feminist novel Les Guérillères, in which a plural protagonist of militant feminists inhabit a fantastical, enigmatic and hallucinatory miasmatic space-time of post Hurricane Maria Puerto Rico.
Glasgow. Power electronic klutz behaviour by Kovorox sound head-honcho. Bruised bodies and broken microphones.
A sung-through Nubian musical ballet. A darkly humorous take on sexual trauma and what magical and ancestral tools might heal it.
Our Zooms are unmuted, our mics are open, and our hearts and bodyminds are receptive. We give the floor online and in person to you…
Conceptual choreography as critique, in Ligia’s film of Caribbean plots and scandals, and the possibilities of anti-colonial revenge, rest and repair.
NVA asked Arika to curate and programme the sound aspects of their 2007 Half-Life production in Kilmartin Glen. Arika worked with Toshiya Tsunoda, Lee Patterson, Rhodri Davies and Angharad Davies.
Watching films and chatting with Karrabing members about those films: as they attend to the memory and practice of the ancestral present and the ancestral catastrophe that Karrabing and their more-than-human world find themselves facing.
Juliana’s performances chart the dissonant space and discrepancy between the presumed fixed norms of social life and the fluid lived experience those norms don’t allow for.
What’s the relationship between the eternal hum of the oceanic beloved and the persistence of vorticity in fluid dynamics? And how does Alice Coltrane’s harp help us stay there?
Moor Mother is a musician, Philadelphian housing activist and black quantum futurist.
Umeda is a Japanese artist who is as fascinated in setting up interesting situations to observe, as he is in creating performances.
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.
