fugitive frequency, season 5 episode 1:anti-fascist noise/movement research

Now into season five, things are sure to shuffle around in 2025. To begin with, fugitive radio is on mastodon.social, a decentralised social media based on “federated” websites hosted on a number of independent servers. You can find out more here and consider following.

This first episode for 2025 is a split. The first part is an audio fanzine and sonic meditation on “anti-fascist noise.” It pulls together audio recorded at a rally in Berlin protesting the war in Gaza held on the last day of 2024, including a speech by representatives of Palestine Spricht alongside a recording of that speech Nan Goldin delivered [YouTube] at the opening of her retrospective, “This Will Not End Well” at Neue Nationalgallery, Berlin, 22 November 2024. It then harks back to the turn-of-the-century with a track by Berlin-based anti-fascist cyber-techno-punk band Atari Teenage Riot (ATR), Deutschland (Has Gotta Die!) (Remix) (1997/2013) [Bandcamp]. Below is an excerpt of its lyrics penned in the 1990s, and that might well speak to the present:

Wake up! Wake up! Get off your knees
Where will the west strike next?
The war is still between east and west
Money talks! Money! You’re so bored and sick!
Let’s burn Germany!
Building up economy of dead bodies! That’s what they want!

ATR were notoriously arrested for inciting a riot while performing on the back of a truck at a demonstration protesting NATO’s bombing of Kosovo, in Berlin 1999. While critical of “the west” and its economy of war, I was curious to note this incident on a Wikipedia entry:

In advance of a December 2016 concert in Tel Aviv, Israel, ATR used Facebook to declare their opposition to the Boycott, Divestment and Sanctions movement, calling it “a support mechanism for Palestinian terrorist groups in their efforts to de-legitimize and ultimately destroy Israel”, accusing Seeds of Peace [a non-profit peacebuilding and leadership development organisation based in New York City, ed] of promoting “anti-Israel activities”, and proposing that “working together is the best way to create a better future.”

Which, I suppose, positions the band on a political spectrum alongside the leftist “anti-Deutsch”.

This first section is a montage of recorded media that I’m thinking about in relation to “critical race media theory”—to follow a prompt from media theorist Wendy Hui Kyong Chun—and that I will be referring to in a forthcoming text.

Segueing through a piece of music by (conceptual) techno-noise artist Russell Haswell, iDEAL tape trk (take 2) (2017) [Bandcamp], part two is a short DJ mix. Recorded live, it teases out a kind of fractured-funky-acid sound that I expect to be hearing more of this year. It is also prompt to think about noise in relation to “movement research.”

Over two sections this episode brings together different kinds of noise circulating in popular social media and in the public sphere. They prompt a reflection on how noise—as disruption, criticism and affect—is an indicator of the health of democracy and the political conditions from which dissensus arises (with reference to Jacques Ranciére). This episode conflates the anti-fascist noise of civil rights, anti-racist and anti-war movements with the aesthetics of music made for sound systems and dance floors, and I’m interested in how these different kinds of critical social soundings modulate each other.

Tracklist
01. “iDEAL tape trk (take 2)” – Russell Haswell
02. “Hack Jammer (WTCHCRFT Remix)” – Posthuman
03. “Grift” – Průvan
04. “Glances” – Amazondotcom
05. “Too Hard” – Mark One
06. “Push The Body” – Doctor Jeep
07. “Symmetry Finder” – Client_03
08. “A Pulmón” – EL PLVYBXY
09. “EROTIC RAPTURE” – rEmPiT g0dDe$$
10. “Shake A Lil’ Faster” – DJ Taye
11. “Run It Bak Attak” – WTCHCRFT
12. “VII (Jlin)” – Second Woman

Onassis AiR Open Day #6, 12 May: “fugitive feminist empathics”

A view of Vio.Me workers’ co-op, Thessaloniki. A skeleton structure, with the frame of a roof and a concrete base raised above a concrete carpark. Barrels can be seen behind a fence under the roof and wooden pallets are stacked in front. A short staircase is to the right.

Listen back to the broadcast on Movement Radio.

​​Anastasia Diavasti of NTIZEZA [Instagram] and Sumugan Sivanesan of fugitive radio planned to research around a common interest in Cassie Thornton’s book The Hologram (2020) and their different approaches to (performative) radio. Spurred on by a timely meeting with Cassie when she was laid over in Athens in March, the duo set about working intuitively. They made recordings at the recent student occupations at Olympia Theatre [Instagram] and Rex Theatre [Instagram], visited the Vio.Me workers co-op in Thessaloniki and primed themselves for telepathy.

For Onassis AiR Open Day #6 they will host a live broadcast to play out their recordings and interviews, and reflect on the themes that emerge with invited guests. These include: dance, solidarity, SF, teargas and cats. It will combine spaces at Onassis AiR, Athens, with spaces at the Jan van Eyck Academie, Maastricht.

Guests include: Julie Bintje, Jitsa Kon and Mariam Elnozahy, Zahra Malkani & Derica Shields.

Listen in between 18.00–21.00 CEST / 19.00–22.00 EEST on {openradio} and Movement Radio Live 2.

fugitive frequency, season 2, episode 12: Rádio Santos Dumont

Rádio Santos Dumont mise-en-scéne. A white steel gate is in the foreground of a street scene, framing the base of a rounded building. A group of are gathered on plastic chairs an tables in front of a shopfront. A Row of motorcycles is to the left and a white ‘Kombi’ van to their right. The asphalt is wet with rain.

Foto: Gabriel Carnelós 2022

A conversation with Toronto-based radio artist Andrew O’Connor [Instagram] and Todd Lanier Lester one of the founders of Lanchonete.org, an urban research and artist project based around a neighbourhood lunch counter in Conjunto Santos Dumont in central São Paulo.

Late in September 2022, Andrew installed a site-specific radio artwork in the laneway of Conjunto Santos Dumont, featuring a series of interviews he conducted with residents in collaboration with architect, urbanist and interpreter Gabi Ushida.

On the first weekend of October we collaborated on “Rádio Santos Dumont” a day of workshops, events and performances. We were joined by Merien Rodrigues of Itinero Grapho [Instagram] who hosts workshops in a mobile printmaking studio that unpacks from her Kombi van. Also on board was journalist Amber Cortes and illustrator Carl Nelson who had both traveled from the US to be in Brazil during the presidential elections (2 October). Local musicians Gabriel Edé [Instagram] and Vitor Wutzki [Instagram] contributed a very successful songwriting workshop. Carol Godefroid [Instagram] and Gabriel Carnelós [Instagram] provided live translations and photo-documentation, and their voices feature in this episode alongside those of Francisco Josepha de Castro AKA Chico and Nadija.

Woven through this episode are excerpts from Andrew O’Connor’s radio installation and edits of a recording of São Paulo-based musician Felinto [Bandcamp] whose performance closed the first day of the event.

Special mention must go to the people of Conjunto Santos Dumont who welcomed us: notably Liduina whose fruit shop was a base for our activities and Tarcisio, whose bar is the base for Lanchonete.org.

fugitive radio rádio em fuga in Brazil 2022 is supported by the Australia Council for the Arts.

Crisis Coronacast: Live Mourning Radio

An email sent to some partners on this project in April, that seems worth revisiting as I prepare the first podcast that marks the beginning of ‘Fugitive Radio’ (it could be that Barraca do Sound System becomes one aspect of Fugitive Radio…let’s see how things pan out).

I’m now in Berlin, and the conversations I’ve had with people here in the time of Corona often acknowledge just how privileged we are. After checking the stats and listening to the popular Coronacast with Christian Drosten with my housemates (and keeping an appropriate distance), I spent some time yesterday exchanging messages with friends around the world. I’m self-quarantining and I noticed Berliners seem pretty at ease with it. Maybe it’s the weather? The last couple of days have been superb. After dealing with my health care paperwork and applying for some emergency funds, I had an exchange with some friends in Bangladesh. A Channel 4 news report circulating on Facebook discussed a leaked government document that projected up to 2 million COVID-related deaths there. It mentioned poor but vibrant neighbourhoods that I visited when I was in Dhaka in February, and where friends are running long-term community-focused projects. A dear friend, A, an artist, activist and journalist, told me the city has been evacuated. Many of the businesses are closed, but not all, and some people are forced to keep working. His office is closed but he continues to work long hours from his apartment because people rely on the news. Him and K, another friend in the chat, were both alarmed by the Channel 4 segment, and we scheduled a conference call later in the week. I checked in with a Bangladeshi friend in Berlin and asked her how I could support and she replied that she is simply collecting money and donating regularly to organisations there that she trusts.

Later in the evening a friend in Colombia checked in on me. C wanted to know if I’d arrived in Berlin OK. She was visiting family when the pandemic hit. The state went into total lockdown, even citizens were not allowed back in. C and her family were at that time visiting relatives in Mexico and had to rush back. All seventeen of them were forced to stay in a small apartment where they could register on arrival. Police perform regular check-ups so they have to remain there. She said it was better to do so, because when people get scared and anxious the violence also escalates. Last night she messaged to say she had moved to another apartment that was free for a fortnight. Her brother drove her across town but she had to hide in the back of the car because they would otherwise be pulled over. In Bogotá the lockdown laws are strict. Other than accessing medical services, people were only allowed out to shop for groceries, to walk a dog or for short bursts of exercise. Furthermore, the days you are allowed out are determined by your ID card number. This had proven to difficult to manage, and the mayor recently announced that this process would be from now on determined by gender: females on one day, males on another, couples on a third. Obviously, this significantly affects gender non-conforming people, who were already the target of police harassment and violence. C said aside from those working in essential services, people with press passes were also relatively mobile. Many of them were now organising food drops and running errands. C brother’s drug dealer is also a bus driver and thus an essential worker. He could get you anything and then would deliver it to your door in uniform.

I fell asleep thinking of other friends around the world with whom I’ve been checking in lately; folks in India, Sri Lanka, Malaysia, Pakistan, Brazil, Spain and Australia. All of them in lockdown and often trying to get to places with better infrastructure or facilities, or isolating away from urban centres. My mind kept re-working that well worn cliché: ‘the pandemic is everywhere, it’s just not evenly distributed.’ Before waking I dreamed about ‘Kimberly Crenshaw’ — not the Kimberlé Crenshaw — but the host of a popular Canadian talkshow, ‘The Crenshaw Connection’. Friends were sharing her live webcast on social media. I’d never watched her program or even knew what she looked like. Her partner had suddenly died in the last 24 hours from the Coronavirus. He was not a celebrity and he was Black. She was broadcasting her breakdown live and people were sharing it as a kind of collective grieving.

I woke up and wrote down what I could recall and began to think about a live radio project that would connect and collect these different experiences of the virus. I made a list of people I know, making connection across much of Europe, Asia, Latin America and Australia.

Barraca do Sound System

Today is the first day of a year-long artist-research project Barraca do Sound System and I want to mark the day with a clearing gesture. Given the current climate of anti-Blackness I want to begin by acknowledging my debt to Black culture, Black ingenuity and Black resistance. As a project that proposes to investigate and develop anti-racist media activism (initially in Europe), it makes particular reference to Afro-Brazilian practices and innovations.

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daddypus.rex

The above Instagram post is from Daddypus Rex AKA Lee Richards, a multidisciplinary artist/poet/stand-up comedian and yoga teacher here in Berlin, which they published after the Black Lives Matters rallies following the lynching of George Floyd. Listen to Lee and Camille Barton speak about decolonial practices of healing, connection and pleasure during the Coronavirus pandemic.

Anti-racism can seem too general a term as differently racialised, and thus privileged people, confront anti-Blackness in their own families, communities and indeed in their own thoughts and perceptions. As the curator and scholar Kathy-Ann Tan recently demanded on Facebook:

non-Black People of Color need to step up and stand together with Black people to decry anti-Black violence!!! That means you, Asians in the diaspora — you who know only too well, and have internalized, the reductive and infantalizing cultural stereotype of the model minority.

This is a time for radical love, empowerment and care, for the force of anger and the erotic as power. It’s a time for re-connection to those who came and fought before us, because they believed in justice and deeply understood what solidarity meant at all costs. Because they knew that no one is free until Black people are free, no one is safe until Black trans people are safe.

Tan posted an image sourced from Howard L. Bingham’s Black Panthers (1968) to emphasise a history of solidarity and revive a slogan that remains appropriate today: ‘Yellow Peril Supports Black Power’.

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Howard L Bingham, 1968

With Barraca do Sound System I would like to extend an ongoing process of Black, indigenous and people-of-colour (BIPoC) solidarity that I’ve been fortunate to be a part of with the Berlin-based climate justice collective Black Earth. Even in the context of white supremacy, BIPoC solidarity cannot be presumed. I understand it to be a careful process that unfolds in ways that are particular to the communities, places and spaces in which it occurs. Barraca do Sound System proposes to develop such spaces, platforms and infrastructures where such solidarity can develop, online and ‘in real life’.

BharatBand

Barraca do Sound System is a practice-based research project, investigating the overlap of migrant media activism and urban music culture. It combines practice-based ‘DJ-as-method’ media experimentation with urban research and academic scholarship. The project is funded by the Kone Foundation Finland and is being developed in collaboration with Pixelache, a transdisciplinary platform for emerging art, design, research and activism based in Helsinki.

‘Whose Solutions?’ Podcast por el Clima at COP25, Decolonization In Action

This episode presents a chronological sweep of field recordings and interviews taken in Madrid during COP25, December 2019, by our guest host Dr. Sumugan Sivanesan. It begins with the December 6 Manifestacíon in which around 500,000 people marched in the streets of Madrid, before tracing discussions at the Social Summit for the Climate (Cumbre Social por el Clima) at Complutense University and at other actions around the city.

Featuring the voices of: Asad Rehman, Executive Director of War on Want;
Vanessa Nakate, Founder of the Rise Up Movement; Nicole Figueiredo de Oliveira, Director of 350.org in Brazil and Latin America; Marta Bordons Martínez, Climate activist, Fridays for Future Sevilla; Moñeka de Oro, member of the Micronesia Climate Alliance; Nigel Henri Robinson, Denesuline organizer, radio host, and humorist from Cold Lake First Nations, Indigenous Climate Action; Chief Dana Tiyza-Tramm, Vuntut Gwitchen First Nation.

Sound Swarm #5 contra COP25 Madrid 2019

Sound Swarm #5, a radiophonic protest sound performance and choreography organised for the 6 December Manifestacíon in Madrid coinciding with the UN climate conference COP25 by Grey Filastine, a verteran activist and musician. Sound Swarm was first produced by Filastine and the Laboratory of Insurrectionary Imagination for a bike bloc at COP15, Copenhagen 2009.

Enjambre sonoro contra la extinción from leodecerca on Vimeo.

Bi’Bak

Bi’Bak is a kino, event space and archive focused to Turkish culture in Berlin, and more broadly migrant experiences.

Can Sungu presents ‘Please Rewind’ at Bi’Bak Kino

On Thursday 28 November 2019 Can Sungu delivered a talk and screening on Turkish film and video culture in Berlin. It emerged in the 1960s with Gast workers bringing in film reels to Munich. Here they would book out kinos at odd times, eg 9.30 am, and play to full houses of recent immigrants. Soon kinos popped up in major cities such as Stuttgart, Hamburg and Berlin, catering to the Turkish community. The culture expanded dramatically and in the 1980s with the advent of video. Films were also made in Berlin employing a range of tropes and stereotypes to describe the migrant experience and it’s relationship to the ‘homeland’. Video saw the demise of the Kinos, and a video piracy market also developed alongside regular rentals. A dubbing industry for Bollywood films and Danish porn also developed to serve the migrant market!

Books at Bi’bak

We Are Born Free Empowerment Radio

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Today I met up with Moro Yapha one of the producers of We Are Born Free Empowerment Radio, an activist radio founded by refugees broadcasting live out of Kreuzberg on Fridays, Saturdays and Sundays between 13.00–16.00.

Moro told me the radio which launched in 2015 in a Projektspace made available to them from the inhabitants of Waldemarstraße 46., following the Oplatz Occupation nearby (October 2012–April 2014).

The media activist radio took part in Kotti FM, which ran 24-hours-per-day over September 2016.

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Alongside Moro, from Gambia, the station is run by Muhammed Lamin Jadama, also from Gambia, and Bino Byansi Byakuleka from Uganda. Located in a supportive Keiz, the radio station/media centre connects directly with the neighbourhood, with a street front door and locals reguarly dropping by during broadcast hours. The projektraum also hosts meetings and workshops. With the cramped studio housed in a small windowless room around the back, Moro tells me it is a space that nevertheless inspires self-confidence and is a safe space for his brothers and sisters. It is place they can some to hang out, cook food and socialise, not like a ‘proper’ radio studio where they would be allocated a timeslot after which they would have to leave.

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The station which broadcasts in Berlin via Reboot FM also has a significant audience in Africa, who most often listen in via Facebook. It also connects to students at Humbolt University and their partners in the US. Moro also tells me they have collaborated with a number of organisations to produce remote broadcast events including SAVVY Contemporary, YAAM, Haus der Kulturen der Welt, Africa Avenir and have also run workshops for refugee youth housed at the former Templehof airport.

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Alongside refugee issues, the radio also advocates for range of minority rights including gender, race and ablism.