With Edition IX Bodies and Technologies (2022-2023) If I Can’t Dance tackles the complex and plural entanglements between bodies and technologies. This Radio Emma show stages a conversation between the If I Can’t Dance artistic team – Frédérique Bergholtz, Anik Fournier, Sara Giannini and Megan Hoetger – and research fellow Devika Chotoe who talk about their own entry points into this edition’s field of inquiry.

Readings, Music and conversations about other languages. With Rijksakademie residents Salim Bayri, Lungiswa Gqunta, Özgür Atlagan, and Bert Scholten. Hosted by Arif Kornweitz and Radna Rumping. Recorded on 31st of October 2019 at the Reading Room of the Rijksakademie van beeldende kunsten in Amsterdam.

“The hell started at about half past one on the morning of... the fourteenth of June” - (Nyelele & Drake, 1985) A broadcast of the sound piece on Gaborone, 1985 (2021, 3:38 min) marks the start of the residency of artist Kim Karabo Makin, who lives in Botswana and is one of four artists selected for a Ja Ja Ja Nee Nee Nee radio residency during 2022. "on Gaborone, 1985 considers the June 14 raid on Gaborone by the South African Defence Force (SADF) as a traumatic turning point for Botswana’s creative development – resulting in the demise of Medu Art Ensemble overnight. Positioned centrally to my Master of Fine Art body of work – the doors of culture shall be opened (2021), on Gaborone, 1985 notably includes a Radio Botswana jingle interspliced with segments from the South African Broadcasting Corporation’s (SABC) Truth and Reconciliation Commission (TRC) Special Report, as well as then-President of Botswana Masire’s reaction to the raid, and South African 80s group Future’s song, Party Weekend (1985). The featured mix unpacks an intertextual reimagining of Gaborone in 1985, where it is significantly described as the year that Botswana’s capital ‘lost its innocence’. This work importantly refocuses my initial disappointment in Botswana’s limited national archive of Medu into a generative starting point – considering the manner in which the archive lives on today. In addition, I consider how at the time, my grandmother’s radio cabinet may have brought news of the SADF raids on Botswana to my family, and the extent to which the story resounds unsuspectingly in contemporaneity, through the local lives that received this impact. on Gaborone, 1985 also introduces the cyclical nature that underscores the exhibition – by considering the extent to which the sound mix may constitute a socio-cultural symbol, and thus a tool in activating spaces as sites of memory. By looping on Gaborone, 1985 four times, I aim to recognise and commemorate June 14 as one of four raids by the SADF in Botswana in 1985. By broadcasting on Gaborone, 1985 via Ja Ja Ja Nee Nee Nee’s platform, I aim to engage an international audience through aural storytelling, where I am particularly interested in reflecting on Medu’s suppressed narrative in Botswana as a contemporary Motswana artist myself. In addition, the hour-long broadcast (including moments of silence) is intended to provide a space to reflect on themes of transnationality, with respect to both Botswana and the Netherlands’ historical entanglements with South Africa. In this way, I hope to extend a conversation on Medu’s lasting memory across borders, and further delve into archival research on culture as a weapon or tool for change. Furthermore, with this broadcast I am interested in providing some analysis of the post-traumas of Botswana in the anti-Apartheid struggle, with respect to the Netherlands. In so doing, the broadcast of on Gaborone, 1985 via Ja Ja Ja Nee Nee Nee will inaugurate the beginning of my residency. Going forward, I hope to reflect on the historic context of Botswana’s capital Gaborone – my hometown and the home of Medu, with a specific look at the ‘Culture and Resistance Conference’ that took place in 1982. By comparison, I will draw connections between Gaborone and Amsterdam, as the Dutch capital and self-declared anti-apartheid city, with respect to the ‘Culture in Another South Africa’ (CASA) conference that took place in Amsterdam, in 1987. In partnership with Ja Ja Ja Nee Nee Nee, through this residency I aim to provide a space that reflects on themes of transnationality, with respect to both Botswana and the Netherlands’ respective positions in the Anti-Apartheid struggle." - Kim Karabo Makin

“I’ve probably inherited my mother’s exhaustion and my grandmother’s exhaustion...There’s such a thing as intergenerational debt – and it’s not just economic, it’s also energetic.” - Navild Acosta interviewed in Schon Magazine How can we think about notions of human ‘productivity’, sleep as a space for resistance, and the enduring power structures that permeate current ideas around work and rest? Bringing together Flavia Dzodan, Quinsy Gario, and Joy Mariama Smith, we’ll engage in conversations around the politicised and racialised structure of sleep inequality and rest, the impacts of 24/7 productivity, the productive body, and activism as it intersects with these systems. How can we talk about these questions in light of our present moment of enforced ‘rest’ for some and enforced work for others. How can we respond to the structures, fragilities, and failures of systems that are being made visible, now more than ever? Our guests speak from the perspective of their individual (and collective) practices about the intersections of activism, productivity, and rest. In these conversations we want to highlight the relations, and metaphorical weight, between being ‘asleep’ and being ‘woke’, between being a political activist or doing nothing—questioning whether these labels can be inverted and whether there is also a power of resistance in ‘doing nothing’, in disengaging as a form of engagement. Is there a parallel to be drawn to the current situation of enforced quarantine? This idea of collective rest—and because of that collectively arriving in a safe state—is not as ‘collective’ as it seems. What are the anxieties and fears, over finances, jobs, and health, that emerge from the shut down of certain parts of our societies? And can we reach a collective state of solidarity when ‘rest’ means something different for each of us and the economy is demanding again? Should we be more ‘active’ than other times? The lockdown and the period of opening up again might be a good moment in time to rethink patterns and behaviour and to invent new habits and routines. The collective experience of the crisis is largely felt in isolation, but within its fractures new meanings of collective solidarity can emerge. This conversation is hosted by Framer Framed, and is the second radio show in a set of two events initiated by Petra Heck and Margarita Osipian that explore the act of resting and the politicization of sleep, specifically as a weapon of resistance against "systems of oppression that have controlled and subjugated people of colour, women, and queer and gender-dissident communities"*. We are building on, and are inspired and educated by, the years of work that has been done on these topics by Navild Acosta and Fannie Sosa in their Black Power Naps project. Questioning the politics behind who gets to rest, the exhaustion of activism and its necessity, and whether the act of doing nothing can be a productive power by itself. * the words of Agnish Ray in their interview with Navild Acosta and Fannie Sosa. DONATE. In solidarity and support you may donate via PayPal to Color Block: Pandemic Edition 2020. Funds will be used to support costs for BIPOC to engage in Color Block’s physical and online programming for a much needed retreat for healing, rest, and care. Donate here. Part I: Listening to...the power of doing nothing, took place on Saturday May 30th 2020, 16 - 19.30h. This event is made possible through the generous support of the Stimuleringsfonds. Bio's A native Philadelphian currently based in Amsterdam, NL, Joy Mariama Smith’s work prim...

A 3 part sound collage & audio-visual broadcast for Ja Ja Ja Nee Nee Nee Duration: 25 minutes Production by Thabiso Keaikitse This broadcast marks the end of the residency of artist Kim Karabo Makin, who lives in Botswana and is one of four artists selected for a Ja Ja Ja Nee Nee Nee radio residency during 2022. Artist statement by Kim Karabo Makin: An intertextual audio essay which endeavours to explore the transnational space that Medu Art Ensemble has occupied historically ‘in another South Africa’, with a focus on the route that connects Gaborone, Botswana and Amsterdam, the Netherlands (via Chicago). Satellite Activism notably traces the life and legacy of Medu Art Ensemble in contemporaneity, with a particular look at themes that connect the Culture and Resistance Festival and Symposium, 5 – 7 July 1982 in Gaborone, to the Culture in Another South Africa Conference, December 1987 in Amsterdam. Additionally, with particular reference to the Art Institute of Chicago publication The People Shall Govern! Medu Art Ensemble and the Anti-Apartheid Poster 1979-1985, the project extends off of my exploration of ‘the living archive’ – a live sounding of the archive as expressed through lived experiences and shared storytelling, where my practice considers the DJ as an archivist. *Use headphones for optimum listening experience. I do not, nor do I claim to own some of the selected clips, sound/video archives. These are all available online by their respective owners for free and fair use. This collage is for research and educational purposes only. Please contact for full reference list. Part 1: out of site, out of mind 2022 duration: 6 mins The voice of former poet laureate of South Africa (2018) and founding member of Medu Art Ensemble, Mongane Wally Serote opens with an analogy that explains how committed cultural workers collectively formed Medu’s ethos around 1978. Picture Hugh Masekela and Jonas Gwangwa playing their trumpet and trombone respectively ‘underground’ – what might it sound like as you walked underground towards the jazz hall, and eventually ‘opened the doors of culture’. What does art in the underground look and sound like? And in what ways might this have left an imprint on the site associated with Medu’s powerful red, black and off-white poster, Unity is Power. 2935, Pudulogo Crescent, Gaborone – across from the University of Botswana (established in 1982 as the first institution of higher education in Botswana), and adjacent to the Alliance Française (a cultural centre and hub for language, arts and culture locally, notably also engaging in cinema festivals and symposiums that include both European and local film). I am interested in unpacking and sounding this specific site as holding a particular cultural significance internationally, for it’s ties to Medu, despite not having been monumentalised in our local memory. In addition, out of site, out of mind is particularly concerned with exploring methods of recording the spatial and temporal dimensions of this site, with respect to my positionality in engaging this history, as well as themes surrounding exile. Part 2: open culture 2022 duration: 13 mins Open culture closely documents and contrasts the Culture and Resistance Festival and Symposium, 5 – 7 July 1982, in Gaborone, with the Culture in Another South Africa Conference, December 1987, in Amsterdam. In fact, my research highlighted that there was another conference that took place in Amsterdam from 13 – 18 December 1982, entitled The Cultural Voice of Resistance, South African and Dutch Artists against Apa...

‘’ is an extended conversation hosted by Kim Karabo Makin along with artist friends and colleagues – Ann Gollifer and Thero Makepe, at the home of the Art Residency Centre in Gaborone, Botswana. The conversation unpacks Makin’s final outcome of her radio residency with Ja Ja Ja Nee Nee Nee, a sound piece entitled Satellite Activism. In so doing, Makin engages a conversation with Gollifer in considering her practice as an archivist, as well as in unpacking the potential for an exploration of the archive as ‘living’, with specific regard to the strong presence of oral traditions in the context of Botswana. In addition, Makin engages Makepe in reflecting on the role of the DJ as an archivist of sorts, in curating the living archive. Furthermore, with a look at the cultural significance of radio in the local soundscape, the three collectively present the sort of intergenerational passing on of knowledge that Satellite Activism embraces. In considering the life and legacy of Medu Art Ensemble in and out of Botswana, the conversation also reflects on particular moments included in Satellite Activism. Through shared storytelling, Makin, Gollifer and Makepe also unpack themes surrounding dislocation, exile, community-building, and the potential for Makin’s radio art practice going forward. This broadcast, alongside "Satellite Activism", streamed last November 13th, marks the end of the residency of artist Kim Karabo Makin, who lives in Botswana and is one of four artists selected for a Ja Ja Ja Nee Nee Nee radio residency during 2022.

Barrel of the soul’s many inhabitants slurp alongside the stillness which slithers past the cries, and deep beyond the breath is that sensorial forgetfulness held by these walls. Recommended listening method: headphones, and a comfortable seat. Mikatsiu’s research during the Ja Ja Ja Nee Nee Nee residency focused on remote sensing, consideration of the different communication abilities of dancing spiders, questioning what is needed to sense the detached regions of one’s own body, and tuning enunciation towards melodies as they unravel stories into perceivable frequencies.

In the audio essay 'Iconographies of Belonging' artist Endi Tupja maps out several coordinates and journeys that others misread, questioned or were simply not interested in. Albania, the country where Tupja was born and grew up, is described as a place of belonging and longing that is constantly questioned: ‘where are you from? Go back to your East’. New fractured identities are born as a result. Tupja crafts a rhythm of urgency, yet within a steady pace of clear forwardness and determination. Her voice will not stop until the threads have been revealed in all their entanglements.The artist navigates between factual descriptions and a guttural flow, where anger is allowed to flourish in new forms of tenderness. Anger about the impossibility to carve a space of discernment from outside projections, about white feminism that doesn’t live up to its good intentions, and anger about the tragic life of activist Adelina Sejdini, who was kidnapped from Albania and forced into prostitution in Italy. This audio piece contains moments of violence (rape, suicide) that can be triggering, while it simultaneously provides a space for liberation, transformation and endearment. 'Iconographies of Belonging' is commissioned by Ja Ja Ja Nee Nee Nee, as part of our series 'Near Histories', curated by Radna Rumping. For 'Near Histories' artists are invited to develop an audio piece related to a history that is 'near', whether it’s in literal close proximity, or rather a history that is still unfolding. Here the essayistic format offers a (partly) subjective take on an event or situation that isn't fully historicized. A transcript of the audio essay with footnotes can be downloaded here. Credits: Concept, text and voice: Endi Tupja Sound scape: Dirar Kalash Soundtrack: Featuring track by composer and musician Dirar Kalash Popular women's Dance from Martanesh at the Folklore Concert of Popular Albanian Music 1988, Gjirokastër, performers: T. Koxheri and L. Gjoni Song: “Me Lot Bukën Tuj Gatue” (Making Bread in Tears) performed by Drita Suҫi at the Folklore Concert of Popular Albanian Music 1988, Gjirokastër Recording of a Call to Prayer in a mosque, soundsnap.com

“A collision with the past” is a year-long attempt at approaching the history of the Kalenderpanden, a former squat located in the East of Amsterdam. The squat was in operation between 1996 and 2000, and, after its eviction, it was turned into luxury lofts. The piece uses archive material that the squatters from that time made available: a documented timeline of both the squatting and the eviction. It also tries to touch upon how the practice of squatting changed in the past decades, since the 2010 squatting ban, and weaves in and out of how one can still get access to the Kalenderpanden building, two decades after. While putting together the piece, between November 2020 and November 2021, there has been a resurgence of squatting as a housing practice in Amsterdam, as well as nationwide. So with this in mind, the piece links the Kalenderpanden to the newly squatted Hotel Mokum as well as a building on Spuistraat 59 and one on Ringdijk 8, both squatted by the Anarcha Feminist Group Amsterdam. As if to say, “Wet of geen wet, kraken gaat door” (“Law or no law, squatting continues.”) This audio essay is commissioned by Ja Ja Ja Nee Nee Nee, as part of our series 'Near Histories', curated by Radna Rumping. For 'Near Histories' artists are invited to develop an audio piece related to a history that is 'near', whether it's in literal close proximity, or rather a history that is still unfolding. Here the essayistic format offers a (partly) subjective take on an event or situation that isn't fully historicized. A .pdf script of the piece is available here. Colophon: Inspired by Rachel Sellem and Elki Boerdam, creators of the "InputParty". Additional Voices: Ana-Maria Guşu, Jörn Nettingsmeier, Jelle Baars. Recording and Sound design: Jörn Nettingsmeier. Music by: De 4 Touze Matroze; DJ Lulu; Kuijs Reinder Kakes Makelaardij Hypotheken Verzekeringen and Euronext Amsterdam, formerly The Amsterdam Stock Exchange. With material from: entrepotdok.squat.net; funda.nl/koop/amsterdam; Youtube user "vriijepiijptv"; a recent housing survey of the Onderzoek, Informatie en Statistiek department of the City of Amsterdam; and news outlets: itsgoingdown.org; Vice.com/NL; and Trouw.

The literary figure of the ekphrasis is a verbal description of a visual work of art. It has been part of literature and art discourse for centuries, and it has been crucial to the exhibition I saw it by ear, initiated by Muro Sur in Rozenstraat in Amsterdam. Discussions of ekphrasis always seem to produce fertile associations and repercussions when thinking about the crossed boundaries between art and literature, imagination, representation and the unfolding and reproducibility of certain knowledge. With Ilse van Rijn, Martín La Roche and Arif Kornweitz, this episode explores the history of the figure of ekphrasis, the traditional difference between poetry and painting (tradition of paragone), and how more recent poets and writers approach this categorical separation, to shed light on the exhibition I saw it by ear. Find a list of references mentioned in the show, and for further reading on our website www.jajajaneeneenee.com Also, this episodes contains two pieces of the vinyl record Écfrasis. These pieces stem from 2018, when Muro Sur invited 29 Chilean artists to contribute a rhetorical description of piece of art they would like to exhibit in a show in Amsterdam. The resulting descriptions are collected on a double vinyl, created with Martín La Roche and Giancarlo Pazzanese.

This show was recorded and produced in collaboration with If I Can't Dance, I Don't Want To Be Part Of Your Revolution. It is part of the Radio Emma series by If I Can't Dance, and unpacks key terms from their research into Bodies and Technologies (the field of inquiry during 2022-23) with invited local guests from various disciplines and practices. You're welcome to join the broadcast live at If I Can't Dance in Amsterdam, Westerdok 606-608. Please arrive no later than 12.30, there's a free meal included. Taking pedagogical practices as a crucial site where bodies and technologies converge, Devika Chotoe has invited three guests to share their insight on what it means to queer pedagogy and vice versa: how to feature queerness as topic of pedagogy. Together they will touch upon the different initiatives Sorab Roustayar, Feargal Agard and Elioa Steffen initiated to foster queer teaching and knowledge creation, ranging from archival and performative practises to organising kink workshops and play parties. ‘‘...we are queering the word ‘‘education’’, queering who is doing the teaching and who is doing the learning, queering ‘‘school’’ as we build ecoversities out of our homes and on the land, queering our bodies as we relate differently with ourselves and heal from the too small boxes they tried to fit us in, queering society as we build collective knowledges together outside of colonial institutions’’ (Kate Morales). With: Guests: Sorab Roustayar, activist and founder of Fite Qlub; Feargal Agard, archivist IHLIA LGBTI Heritage and founder of Humans of Film Festival; Elioa Steffen, creative consultant, writer and performer. Host: Devika Chotoe, performance artist, writer and community builder, and currently research fellow at If I Can’t Dance.  

Amara Higuera is an artist and writer from Los Angeles (the ancestral and unceded land of the Gabrielino-Tongva and Chumash peoples). She is exploring histories of precarity, resilience, and (re)generation through lens based inquiry and sound. She is currently writing poetry and making sound works as a practice of personal exorcism and artistic research. This show consists of 3 episodes: Ch. 1 embodied search(ing) Ch. 2 embodied remembering Ch. 3 Lungs Don't Fail Me Now Amara Higuera, our artist in residency during the winter of 2023 presents the outcome of this period. In the words of the artist, “Estoy Llamando, Regresando Tu Llamada” is a three piece audio collection searching for what needs to be said. "If you're going to say it, can you say it here? Are your lungs strong and ready? Or more so, can you say it safely? I recall the suffocation you mentioned. Of that place where you can’t look at that, you can’t say that. But, let’s say that I did?" English translations: Title: “Estoy Llamando, Regresando Tu Llamada” / “I’m Calling, Returning Your Call” Ch. 1 (No translations) Ch. 2 (First Voice) "Hi, my daughter, why do you want me to tell you that story? No, it’s that, it’s very sad, no you don’t understand… (sigh)." (Second Voice - Original Song) "I hear him asking for me, in my house, the house I never returned to His little hands, his hug, his path, in my house, my house, that I never returned to "Without reason they took you from me, from the house, my house, that I never returned to" Ch. 3 "Talking with you, talking with me" (overlapped phrases in Spanish) Credit to Eartha Kitt, who said it. And also to my family, who remember even when we forget.

From the Archives: Muro Sur Revisitado. Originally aired September 30th, 2022. Artists who have participated in Muro Sur, in its different stages, meet to talk in the kitchen of the loft where the project originated in Santiago de Chile. Together with Rodrigo Ríos Zunino from Radio Tsonami and next to the wall that gave birth to this initiative, they talk about their memories. Topics such as their past experiences with Muro Sur, the recording of their voices in ekphrasis, what has happened to them in recent times and towards which directions could artistic practice go in continuous contexts of crisis, appear in the conversation. The possibility of organizing around a politics of affection and friendship, as well as the contingency of Chile, the result of the new constitution’s referendum and the emotional landscape of this process are also themes that recur in this talk. Somehow, the typical organic conversations that characterize this project in its intimacy are shared publicly in this radio program. This episode counts with the participation of Francisca García, Mario Navarro, Mónica Bengoa, Paz Errázuriz, Joaquín Cociña and Francisca Sánchez. The Muro Sur podcast is produced in collaboration with radio Tsonami and radio Ja Ja Ja Ja Nee Nee Nee Nee Nee and is supported by LAPS of the Rietveld Academy and Sandberg Instituut.

Channelling. Be a vehicle. A path. A hole. Go. Let go. Make way for something to happen. Something, the other. Be others. Guide. Make room and draw a line. Mark a step. Divide. Contain. Carry from one place to another. Create. A plan, a landscape, a spectrum, a call. 'Channelling' connects the medium of audio with other realms. Logistics, infrastructure, landscape transformation. As a practice, channelling takes many forms: tapping into otherwise unheard voices, an invocation, a form of transmission. In this online collective exhibition, three artists explore channelling through sound. Curated by Andrea González, with works by Laia Estruch, Anahit, and Ainhoa Hernández Escudero. Ainhoa Hernández Escudero's contribution to 'Channelling' is titled RAAAW. It is the first iteration of the project She Has A Message For You, which researches the phenomenon of spiritism that in the 19th century was an enabler for women and other excluded voices to be heard: a medium to speak through otherness, claiming a space of visibility in the intimacy of private spaces. Ainhoa describes her project as follows: In RAAAW, I channel voices, stories, thoughts and presences from my room. The audio clips that you will hear are the result of seven different sèances I recorded at dawn during the month of October 2023. It is a practice I’ve kept up for many years, but this is the first time I have recorded it and shared it with others. The recordings are made with a binaural microphone, with the intention for you to to listen with headphones and your eyes closed. Remember, the message is in your way of reading it. Note 1: Some recordings are spoken in Spanish, while others are in English. If you would like a translation, please contact me at the address below. Algunas partes están en español y otras en inglés. Si necesitas traducción, escríbeme a la dirección a continuación. Note 2: I want to continue channelling and recording in different spaces. If you have a suggestion for a place you want me to channel, please write to me:   List of recordings in RAAAW: raaaw (18 sec.) cantar_def (6 min. 4 sec.) miau_def (1 min. 19 sec.) corre_def (5 min. 18 sec.) ear massage_def (45 sec.) ya pasó_def (3 min. 46 sec.) She has a message for you (1 min. 22 sec.)

From the Archives - originally recorded July 6, 2020.   15:00 06-07-2020 Writers Sabrine Ingabire and Munganyende Hélène Christelle speak to Rita Ouédraogo, about the [back then] soon-to-be-launched publication Being Imposed Upon - a timeless love letter and manual by and for black women, a collection of reflections on being a woman and being black in Belgium. Being Imposed Upon is a project initiated by Vesna Faassen en Lukas Verdijk. It unites non-fiction essays, literary reflections, poetry, activist and academic texts around black women's search for freedom. This book is a tribute to their elderly, heroes and sisters Read more about the book at Publieke Acties. Please note that the publication is in Dutch and French. Recorded in the exhibition WELKOM by Guy Woueté in de Brakke Grond. This show has been made possible with support from the Vermeylenfonds.

Channelling. Be a vehicle. A path. A hole. Go. Let go. Make way for something to happen. Something, the other. Be others. Guide. Make room and draw a line. Mark a step. Divide. Contain. Carry from one place to another. Create. A plan, a landscape, a spectrum, a call. 'Channelling' connects the medium of audio with other realms. Logistics, infrastructure, landscape transformation. As a practice, channelling takes many forms: tapping into otherwise unheard voices, an invocation, a form of transmission. In this online collective exhibition, three artists explore channelling through sound. Curated by Andrea González, with works by Laia Estruch, Anahit, and Ainhoa Hernández Escudero. 'Confirmers of the Present', 8min 41s 'RX_004_Tr1_Stereo to master' 5min 3s In these sound works, Anahit engages with two conflicting notions of channelling. The first refers to a contemporary need for hyper-presence in our synchronous society: an ever-flowing stream of sensory experiences generated by relentless synchronisations, where one sensation swiftly displaces another, leaving scant opportunity for any to fully blossom. The other recalls the primordial experience of being in time: attunement to natural cycles, the eternal flows of water channels, the ominous tolling of melting. To capture this last aspect, Anahit made field recordings in Argentine Patagonia – suspended over crevasses, capturing micro-rivers of runoff from the Perito Moreno glacier. The resulting piece ‘Confirmers of the Present’ prompts the listener to immerse themselves fully in a single, uninterrupted soundscape. Against these beckoning drips, the channelling impulse of the synchronous society calls: the first part of the piece is an algorithmic composition, made up of data sonifications from the logs of continuous software updates on Anahit’s phone. These channels flow into one another: the inexorable ebb of water against the deluge of global data generated in our hyperconnected society.

Channelling. Be a vehicle. A path. A hole. Go. Let go. Make way for something to happen. Something, the other. Be others. Guide. Make room and draw a line. Mark a step. Divide. Contain. Carry from one place to another. Create. A plan, a landscape, a spectrum, a call. 'Channelling' connects the medium of audio with other realms. Logistics, infrastructure, landscape transformation. As a practice, channelling takes many forms: tapping into otherwise unheard voices, an invocation, a form of transmission. In this online collective exhibition, three artists explore channelling through sound. Curated by Andrea González, with works by Laia Estruch, Anahit, and Ainhoa Hernández Escudero. Channelling 1: Laia Estruch 31 October 19.00 jajajaneeneenee.com Reflexiones Impro Plato, 22 julio, 2022, 20 min 43s Reflexiones Copicat, 22 julio, 2022, 10 min 32s The voice and the body are the elements that structure Laia Estruch's research, an artistic practice situated between sculpture and performance. Laia Estruch conceives of the voice as a sculptural medium, a vehicle with the power to synthesise and render audible. Her projects delve into the emotional potential of a capella and the untheatrical body, exploring the performative nature of language, sound recording, and its oral archive. Laia presents two pieces in which her voice voices: multiplies again into other voices through matter. In "Reflexiones Impro Plato," July 22, 2022, Laia reverberates her voice with a cymbal. Crouched beneath the cymbal, the improvised voice bounces and resonates. In "Reflexiones Copicat," July 22, 2022, she manipulates the recording while she records, creating loops and feedback.

Alec Mateo, our artist in residency during the spring of 2023 presents a 30 min audio piece as the outcome of this period. "Part of a perpetual negotiation with narrative, the 3rd or maybe 4th installment in the Gotchu performance series, this time recorded.For have thoughts on movement in transit to London. Anthony speaks to Abuelito. You watch lectures and cartoons, reminiscing. Your favorite part is in the middle. The story is ultimately about the stupor of sobriety, discipline, and adventure. These ideas are more complete in their text. One is the refuse of the other. Collage! ;)" For more information and shows visit our website:https://jajajaneeneenee.com/

For this year's Valentines day, we "literally" bring back from the dead the fourth episode of Elif Satanaya Özbay's and Andrea González Garrán's beloved "Vampires Can't Have Anything".  In this episode "To Love Forever", they discuss the theme of Love, The Eternal Love, the Vampire Love refering to Film, Literature and other mediums of cultural . They will cover some iconic relationships, triangles, and lustful obsessions of and for their beloved creature of the dark, for half an hour. For all the other Episodes of the latest season, check out website www.jajajaneeneenee.com

“What does it take to create a culture where it is allowed to fall into the bottomless abyss of heartache?”, asks Raoni Muzho Saleh. This poetic contemplation is the literary equivalent of Raoni’s ceremonial gatherings, which he calls “Mourning Socialities”. Throughout this episode, Raoni contemplates on the power and significance of the moan as an expression of mourning and how this sound connects with the profound states of loss and suffering. Interrogating himself, the listener and the societies of which they are a part, Raoni explores these questions in monologue and through moaning. By braiding the moan into the fabric of his speech, Raoni invites listeners to come together in a polyphonic groan to experience the commonality of grief. This bemoaning contemplation calls for a renewed relationship with the body and embodiment, where grief and loss are not only approached mentally and rationally but also experienced and expressed physically. A transcript of the text is available here. Raoni Muzho Saleh is a choreographer and performer based in Amsterdam. Born in Afghanistan and raised in Pakistan, his thinking and work is shaped by fugitivity as a radical movement. By dancing through the gender spectrum, Raoni has developed a unique movement practice that emphasizes “becoming other”, a continuous state of incompleteness. Through the use of materials such as textile, dough, voice, and text, Raoni invites a serious kind of play into space where all can become immersed in otherworldly stories. This broadcast is the second of a three-part series on embodied listening and non-verbal vocal expression, curated by Radna Rumping. Other episodes: 'Laraaji - Guided Laughter Release' (out now) and ‘Laraaji, Raoni Muzho Saleh & Radna Rumping in conversation’ (3 October). All episodes will stay available through our archive.   For more information vGathering in a Polyphonic MOOOOAAAAAAANN Safeguards Solidarity Listen. Listen again. ahhhhhhhh... Take a moment to bring awareness to your breath. sighhhhhh What is present in your breathing at this moment? Listen again. ohhhhhh... Is there someone close to you? Listen to the space between you. Can you imagine what lies hidden within your comrade? hmmmm... Listen. As a choreographer and a dancer, I have been taken and persuaded by the moan in recent years. The moan as a choreographer, the moan as an ancestor, as a mentor, and the moan as an old friend. siiiiiiggghhhh This research has taken the form of both performances and collective lamenting events that I call "Mourning Sociality." For today I will share with you a bemoaning speech that questions how we can create a culture that guarantees the commonality of loss and grieving processes. I invite you to let this bemoaning speech sink into you with a gentle sigh. hhmmmmm What is our current cultural relationship with mourning, and how sustainable is this cultural behaviour? ohhhhhhh... Why is it normal to keep death hidden and confined to cemeteries and obituaries? For whom and for what is it beneficial to deal with mourning in this way? ahh ahh ahh aiiiiii The Western culture dominated by an imposed rationality, being the opposite of emotionality, prevents us from being present with death, with that age-old feeling of loss and mourning. aahhhhh-ahhhhhhhhhh We live in a culture where emotional disconnectedness and apathy have become normalised. Not too long ago, in this continent, the family of the deceased would hang white sheets from the windows to indicate that they had lost a loved one. The white sheets stood in solidarity with the family's mourning. In this way the grieving family signalled their pain to the outside world. The white sheets, which veiled the eyes of the house for a whil...