Together with his long time collaborator, Darius, Alexander centres his research on voice within the context of performance theory, ancestral healing, radical imagination, and ecology. Using a a combination of text, sonic acts, and performance, his work attempts to imitate a space with speculative pasts, presents, and futures as a means of investigating the non-linearity of Blackness. By doing so, he aims to establish new relationships between human/nonhuman/more-than-human bodies, time, and space to produce energies which disrupt and transform oppressive colonial systems.

Sound is a summoning; intimate immensities and other such things is a performative lecture based on alexander.comma’s PhD research in voice. The piece will contextualize sound and voice theory through spoken word performance art and live sonic experiments. This work will also be in collaboration with Darius P. Jenkins.

Singing Club Rotterdam (est.2019) is the anti-choir for all voices. Excerpts from the co-created manifesto read: Learning not to give a fuck; (Not rehearsing, not getting better); Listening to all my voices; Can be a bit cult-y at times. It is a club-based, member-led sonic experience. Together with a rotating pool of facilitators, artists, movers and sounders, the Singing Club has developed into a space for exploration of facilitation and artistic development on the part of the session leaders and the positioning and strengthening of a community of vocal explorers in Rotterdam.

Singing Club Rotterdam wants to explore the interlock between the collective vocal experience and the voicings of everyday life. Since there is not enough space for song in our society, we encourage our members and the audience to engage with their voices as a space for connection and exchange. The basis of our performance is collaborative vocal improvisation – a co-creative process that echoes the time, space and people we engage with.

Larry SHUEN is a Hong Kong composer, sound artist, and media artist. Heavily inspired by classical music and composition training, Shuen’s works are often derived from music, sounds, and listening. His artistic practice includes concert music, film scoring, interactive programming, video essay, sound art, installation, and media art, through which Shuen expresses his thoughts on life and surroundings.

Traditionally, musicians’ performance gestures are often not artistically addressed in music scores, which primarily focus on the sonic outcome of the gestures, i.e. the music. However, these gestures have an intimate connection to the music itself, serving as an instrument to transcribe and embody the underlying audiovisual relationship, mediation, and performance experience.