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Moor Mother and Rasheedah Phillips
Afrofuturist noise, punk and poetry from two American visionaries who speak to the violence, trauma and radical political struggles of black history.

THU 25 Jan 2018
7PM
The Substation, Melbourne
1 Market St, Newport

$30 / $20
Tickets

Camae Ayewa (AKA Moor Mother), Photo by Bob Sweeney

Moor Mother and Rasheedah Phillips: Black Quantum Futurism
Kandere
Papaphilia
Neil Morris
Sezzo Snot
Pauline Vetuna
Bigoa Chuol

Black Quantum Futurism (BQF), the radical Philadelphia-based collaboration of musician and poet Camae Ayewa (AKA Moor Mother) and writer and activist Rasheedah Phillips, perform in Australia for the first time.

As BQF Ayewa and Phillips mobilise the revolutionary potential of Afrofuturist thought to manipulate and reorient perceptions of the past and present in ways that make alternative futures imaginable. Their vision derives its facets, tenets, and urgency from science-fiction, futurist traditions, and Black/African cultural traditions of consciousness, time, and space. BQF’s work incorporates workshops, radical pedagogy, community activism, DIY art practice, writing and experimental music.

Camae Ayewa is best known for her work as Moor Mother, a moniker through which since 2012 she has released music prolifically. The Moor Mother sound is deliberately abrasive; a noisy torrent of free jazz, hip-hop, poetry and punk (or, in her own words, ‘project-housing bop, slaveship punk, witch rap‘) collaged into experimental noise poems that speak to violence, trauma and the radical political struggles of black history. The album Fetish Bones, released in 2016, is already considered a contemporary masterpiece. Pitchfork described it as ‘a reminder of the hardships of love under the regime of historical trauma’ – an album ‘you will never be able to unhear’, and The Wire was moved to describe Moor Mother as ‘the most radical Afrofuturist artist to emerge for years’. 

Rasheedah Phillips is a community housing activist, a mother, writer, the creator of The AfroFuturist Affair, the co-creator of Black Quantum Futurism, and a founding member of Metropolarity Queer Sci-Fi collective. In 2014, she published her first speculative fiction collection, Recurrence Plot (and Other Time Travel Tales), followed by an anthology of experimental essays from Black visionary writers, Black Quantum Futurism: Theory & Practice Vol. I.

Kandere is the duo of artists, Lakyn Tarai and Ripley Kavara. Their connection is deeply rooted in queerness and their shared Melanesian ancestry, Fiji and Papua New Guinea. Together they create waves of avant hip hop, synth heavy r&b and darker club influences. With driving vocals & rapping structured around sharp energising production, they create a dynamic and powerful sound. Recently performing alongside Gaika, Elysia Crampton, Juliana Huxtable and Kojey Radical, Kandere will be releasing their debut EP in 2018.

video: ‘BB Goy’
Introducing Kandere and Their Avant-Garde Liquidised Trap, Noisey 2017

Papaphilia is the solo project of Fjorn. For a decade Fjorn explored anxiety-ridden embodiment in live performance through improvised harshed out electronic effects and tape manipulation. Under the Papaphilia pseudonym she aurally interrogates the aesthetics of political representation in the contemporary settler-colonial context, by morphing samples of sensual vocalizations of exaltation from RnB, disco, pop and traditional pop standards, into an experimental electronic palette. Her current releases include 4 Animals Dream of a Shadow on Nice Music and À L’état Brut on Happy Endin’. Together these releases are a two-part exploration of the sonic possibilities of finding political resonance beyond discourses of objectivity and objecthood, proposing disorientation as an embodied and durational opening to recalibrating confluences between poesis and praxis in techne.

’4 Animals Dream of a Shadow’, Nice Music 2016

Yorta yorta song carrier sound breather. Story giver sovereign spirit. Through collages of sound and word fused with various modern technologies, Neil Morris creates art that positions itself in futuristic realms whilst at the same time  continuing reverberations of ancientness into the now with a strong impetus of decolonisation embodied.

‘A Song Universal’, Eliya Nikki Cohen

Sezzo Snot emerges as a club DJ who combines social media commentary and philosophy. In her hometown of Brisbane, she curated the first QTIPOC club nights outside of the normative gay sphere. Sezzo and her collaborator Makeda were the recipients of the Next Wave x Liquid Architecture National Co-commission to be presented at Next Wave Festival in May 2018.

‘CLUBHOUSE CONCEPT 1: PIQUANTé’

Pauline Vetuna is a Naarm based emerging writer (of essays, articles, prose, scripts, poetry) & intersectional feminist. A proud Tolai (PNG) indigenous Melanesian Woman and immigrant, Pauline is quietly following her passion for centering, healing and building solidarity between Bla(c)k and Brown diasporic communities through communication, storytelling, art and culture, with a focus on the Oceanic region.

Bigoa Chuol is a writer, poet, performer and cultural facilitator based in Melbourne Australia. Her art explores socio-political themes and challenges conventional ideas of love, relationships, beauty and womanhood. She has featured at Emerging Writers Festival, Women of the World, Afro Hub, Small Press Network, West Writers Festival, Brunswick Music Festival And Dhaka International Lit Fest. She hopes her art will uplift and empower others to own their stories and even more importantly, being themselves joyfully and without reservation. As a member of the art collective Still Nomads and Akomo Ntoso, decolonising her pen and the continual pursuit of unapologetic creative pronouncement through the sphere of personal agency is central.

Presented by Liquid Architecture, Still NomadsThe Substation and Triple R, in association with Mona Foma.

Acknowledgements

We acknowledge the Wurundjeri, Boonwurrung, Taungurong, Dja Dja Wurrung and the Wathaurung people of the Kulin Nation as the custodians of the land in which this event takes place, and we recognise that sovereignty was never ceded. We pay our respects to their Elders, past, present and emerging.

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