AFRIKADAA
29 Sep 2015
AFRIKADAA encourages you to send essays, articles, photos, creative works of all sorts, poems, sound bites, etc. Share your musical playlists to illustrate your article, as a kind of sonic addendum to the #10 issue – THE POLITICS OF SOUND
How do creators implement SOUND into the way they listen to the world and into their artistic production? Sounds hidden in the environment encourage us to better hear the word, which, too often, is masked by the gaze.
Listen differently!
This issue is to be understood like a sonic voyage. Using discordant and accordant sounds, sonic art is often an art of affect. Showing an interest for sound means opening experience wide, as we drift and travel, to stories, sound narratives. We explore memory to break away from oblivion. In identifying various sonic phenomena, we can learn about listening habits and different means of production. Not only do we listen with our ears, we listen with our bodies. We imagine this issue in the spirit of sound studies, by associating sonic practices and issues, sonic memory and sonic writing, sonic poetry and sonic rhythm, silence and noise, sonic space and sonic paths.
Sounds are not enough to satisfy the needs and visions of artists who associate them with other forms of artistic expression…
“Don‘t call it music if the term offends you.”
Create sounds alien to Nature. Create sounds that have not yet been heard. Previously unheard sounds can be implemented in a work. Their acceptance and integration can help decolonize perception and unnerve knowledge itself.
Stepping into a gallery or museum is not merely a visual experience… Painting and sculpture steer our attention toward sound.We are always subjected to sound experimentation, even in complete silence.
This issue of AFRIKADAA examines links between art and sound. Art History evolved into contradictory relationships between drama, pressure, and a subliminal tale. One can find sonic information in the visual arts.
”The world is Music” claims John Cage. If only…
The dense hybridity between sonic and plastic arts enables us to have new insights into the history of art, music and the semiotic utopia currents of all. It is important to draw attention to the exchanges between the visual and aural, which can at times can be quite idealistic.
Does the history of art have the ability to create fictions and revisit past, present and future events? The sonic fictions of this coming issue will allow the various musical trends that have influenced the civil rights and Panafrican struggles to be approached from a socipolitical level. These sonic narrations can be the product of political creations, such as the fictional eccentricity of afro-futurism, or the extraterrestrial genealogy of Sun Ra, or the interplanetary journeys of Doctor Octagon returning to Earth via a fax. Music holds the promise of a different world.
These are the topics we will examine in this issue dedicated to sound.
Here’s a bonus incentive to inspire your reading of this next issue, which should be part of your holiday pack: Lee Scratch Perry, Miles Davis, Gil Scott Heron, Sun Ra, Linton Kwesi Johnson, Public Enemy, Last Poets, Afrika Bambaataa, Nina Simone…
– Articles should be between 600 and 2,000 words (approximately 2,600 to 10,000 characters) and be in the .doc format.
– Pictures and photo documents should be jpegs with a resolution of at least 300dpi.
– Each photo file should include title for the work, a technical description, date and photographer’s credentials.
DEADLINE FOR THE RECEPTION OF THE ARTICLES : September 29th 2015
You can send your articles to : contact@afrikadaa.com or pascaleobolo@afrikadaa.com
