[04 A] : 11.12.2020

[Sonic] dialogues:
Embodied aural experiences driven by intuition and intellect operating in orbit.

In a musical scenario skill and instinct operate simultaneously to form the communicative exchange and arrive at clarity and precision. Simultaneous musical components work collectively in an exchange.

This exchange, started by the tenor saxophone – is limited to the melodic and rhythmic as driving factors for the dialogue.

In this dialogue each respondent edits the bandlab project file to create, reshape and restructure the collective sound – the way it’s heard and felt - editing the audio files in the software to create an arrangement from the contributions that begins to structure the narrative.

Exchange excerpt 01:
Muhammad first call,
Mangoma responds,
Dhruv responds,
Shailesh resonds

Exchange excerpt 02:
Dialogue continues
(with reshaping rearrangements and edits by Dhruv) 

Exchange excerpt 03:
A moment between Shailesh & Othnell 

“Through their continuing praxis, men and women simultaneously create history and become historical-social beings.
Action and reflection occur simultaneously.

A critical analysis of reality may, however, reveal that a particular form of action is impossible or inappropriate at the present time.
Those who through reflection perceive the infeasibility or inappropriateness of one or another form of action (which should accordingly be postponed or substituted) cannot thereby be accused of inaction.

Critical reflection is also action.

Because liberating action is dialogical in nature, dialogue cannot be a posteriori to that action, but must be concomitant with it.
And since liberation must be a permanent condition, dialogue becomes a continuing aspect of liberating action.”

Paolo Friere - Pedagogy of the Oppressed

[04 B] : 20.01.2021

Critical reflection(s)
Kinsmen x Othnell Mangoma Moyo x Siyabonga Mthembu in dialogue  

Meeting points
Shared landscapes
Dialogue & future-making
What stories do we have to tell each other?
A picture of people talking,