Moor Mother – a Philadelphia artist praised as part of “a new generation of visionary black storytellers” (The New York Times) – premieres a new video as part of Indexical’s continued online programming. Weaving through haunting slave narratives as dystopian allegory, negro spirituals, and Black ritual, Moor Mother’s work points to a liberated future through Black Quantum Futurism, a project in partnership with author Rasheedah Phillips. Through a time of ecological and social disaster, she says, “I’m not saying, this is the end, we’re all doomed,” but rather that “I believe there is another way. So it’s about trying to get the audience to understand another way of digesting the truth.”
Anna Friz is a Canadian sound and media artist and media studies scholar. Since 1998 Anna has predominantly created self-reflexive radio for broadcast, installation or performance, where radio is the source, subject, and medium of the work. Her compositions for theatre, dance, film, installation, and solo performance reflect upon public media culture, environment and infrastructure (human and extra-human, acoustic, and electro-magnetic), time perception, and speculative fiction.
Oakland-based composer-musicians Zachary James Watkins and Sally Decker work with feedback and no-input circuits to create sounds that are alternately piercing and weighty. These two fixtures of the San Francisco Bay Area scene will collaborate in various combinations with the relentlessly experimental duo RAGE THORMBONES (Weston Olencki & Matt Barbier), throughout the course of the evening.
Micaela Tobin (WHITE BOY SCREAM) combines experimental voice and contemporary opera into a compelling live set. On her latest release, “BAKUNAWA,” she dissects her voice through the use of electronics as a means of exploring identity and ancestral trauma. “BAKUNAWA” is an homage to the pre-colonial mythology of her motherland, the Philippines. Part sonic ritual, part diasporic storytelling.
Solo performances by composer-performer-instrument builders Stephanie Cheng Smith and Liam Mooney, followed by an ensemble performance of Sarah Hennies’s “Everything Else,” featuring the composer and friends.