Asha Tamirisa’s long-form improvised performances incorporate various combinations of digital, analog, and tactile media—such as analog synthesizers, sounding objects, moving image, and generative text—and often seek to use the site of the performance as part of the instrumentation. Most recently, historical allegories, memories, and archival materials have been finding their way into her sensorial multimedia performances.

A woman sitting in the middle of a room filters through her body the sounds of a past communal experience in Santa Cruz. The sound triggers the intensity of a light emerging from the body of the performer, inundating the room and the senses. In this moment in time, dislocated by isolation, and at a time of painful virtuality, The Light That Heals seeks to soothe and affect the audience’s perception using the poetic sonic action of memory and the possibilities of its transfiguration to envision possible futures.

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.”