4 + 3 = 1


These Radiobooks are one of the chapters through which our project 4 + 3 = 1  unfolds. In these chapters, we follow the question: How do we recompose a common in a society marked by separations?

In the form of a research process, a series of storytelling sessions, radio books, workshops, zines, and an exhibition accompanied by a discursive and performance programme, the project FourPlusThreeEqualsOne seeks to enact the common denominators that tell (hi)stories about the city of Berlin and its becoming. It engages with the possibilities of repairing and restoring societal balance(s).

This project unfolds in multiple chapters, each tailored specifically to work with Berlin based PoC communities. We also invite international voices, and experts in their field of work to travel across borders and binary thinking. We weave various formats that at times gather participants in intimate settings, and other times we meet in the performative through story with audiences to recalibrate balance systems.

With the RADIOBOOKS, we create, produce and delve into multi-format 1-hour-long radio features which will air monthly on SAVVYZΛΛR. The radio invites people from all walks of life, including artists, philosophers, writers but also informal communities living in Berlin to think of radio as both a tool of research, but also a book of its own. Each session will transmit from Berlin and carry on the knowledge shared onto the next listener, and the next one, creating a ripple effect of transmissions and conversations. The radio program accompanies the project throughout its whole duration, and each month will visit one segment, question, chapter of our framework. 

Book 1: Subtle Energy in Poetry with a Beat  
With Eliyas and Lynhan Balatbat-Helbock

In the beginning, there was the Mixtape:
Mixtape Menage, a poetic-philosophic reading travel to verbalisations and sound reverberations, sets us into the musicality of electricity and its relational magnitude. Created, arranged and tuned by Eiliyas, and accompanied by a guest, the sessions sonorise-visualise notes loudly unheard-of. 

In this first 4+3 RadioBook dedicated to Subtle Energy, Eiliyas is joined by curator Lynhan Balatbat-Helbock, to manifest and enhance inscriptions by authors like Kodwo Eshun, Elise Kermani, RAMMELLZEE, and Saul Williams. They remind us of formulas of the living, encoded in subtle energies of hip hop and beyond. Or, to say it with Nikki Giovanni: it's poetry with a beat. 


Book 2: Subtle Energy in Poetry with a Beat  
With Tanka Fonta

Tanka Fonta takes over the thread from the first RadioBook with Eiliyas to weave further with the SUBTLE ENERGY IN POETRY WITH A BEAT.


Book 3: Cosmos | Time-Space / Ceremony
With Nkisi

The direction we give into our lives depends on who we think we are.

Engaged on the way back to light,
we must know that while living on earth, we are children of the stars.

This knowledge or awareness is fundamental because
it is only from this moment that our incarnation unfolds...

The interstellar emptiness can be terrifying and
cosmic immensity is everything but reassuring.

As much as we are, as many others are,

It is the contact with each other that gives meaning to our lives, that reassures us.

How do you wake up remembering your night dreams?

The field of dreams is the first portal from which we access
the world beyond our material dimension.

We must therefore give importance to this oneiric universe.

We are everywhere at the same time,
a star-gate is a portal, as time is a frequency.

The stars are singing inside of you...

What gives life?

The invisible within is our inner sun.

Our inner fire.

The invisible shield...


Book 4: Cosmos
With Léuli Eshrāghi

In this RadioBook, we continue the thread of the Cosmos with Léuli Eshrāghi, Sāmoan/Persian/Cantonese interdisciplinary artist, writer, curator, and researcher working between Australia and Canada, to discuss Indigenous pleasures. With them, we move with the Samoan sciences teaching of multi-temporalities in simultaneity while expanding on notions of desire and its languages, planes of resistance, joys, longings, and heterogenous unities. Léuli speaks alongside project curators Kelly Krugman and Arlette-Louise Ndakoze. 

This session features an excerpt from “Quiet riot 1: 'Fa'afafine towards decolonization” – a panel discussion moderated by artist Shigeyuki Kihara in 2015 . Fa’afafine is a Sāmoan word used to describe those who are gifted in the spirit of more than one gender. The word is also used to broadly describe those in the Sāmoan community who are Lesbian, Gay, Bisexual, Transgender, Transsexual and Intersexed persons in the Western context. Moderated by interdisciplinary artist Shigeyuki Kihara, this panel brought together Sāmoan Fa’afafine – human rights advocate Tuisina Ymania Brown, lawyer Phineas Hartson and curator Léuli Eshrāghi – to discuss the Sāmoan Fa’afafine experience in the postcolonial era both in the Sāmoan Islands and the diaspora.  This RadioBook is traveling through harmonised sounds by Te Vaka, Horomona Horo, Komuhauru Panpipe Band, and Liz Maureen Fuimaono-

Book 5: CEremony
With bela

Wishes are how we frame the future.
Wishes become sketches and structures, and many wishes collide and merge as they rush towards the now, solidating into the present (or, being fulfilled) as the great hand of the clock sweeps.

Wishes are some of the most precious concepts that can only be in the future.
As soon as a wish crosses the threshold of the now, it was.
As such, wishes are the immaterial shards of many universes, cosmos.

The number of wishes that float into our minds then float out is far greater than the number of wishes that are written into locks, wind lanterns, diaries, prayers, and cards.

Wishes make the future.
Rich with voids and smokes and the shining shards of what is to come.
Manifesting is realizing the future by focusing on the future you want.
It is a way to exist throughout.
Our wishes show us the forking pathways and it is us who help decide what the future will look, sound, smell and feel like, despite the harrowing weight of societies.
Wishing is a way to live in a non-linear timeframe.

Even when the past is almost set, the future is still full of infinite wishes beyond imagined possibilities. Hence, the immaterial structure can resemble a shape of a tree for every one of us.

(It is the wishes that became stories that feed the wishes to come: Past -wishes- Future -fulfillment- Past -wishes- Future and so on... an ouroboros of problem-solving)

In this fifth RadioBook, we listen closely to reflections of wishing and rituals by bela: there is a sacrificial aspect in focus, contemplating that you must first give in order to receive.

We hear echoes of Jeonghwasu (fresh morning water used for ceremony or a prayer) or human sacrifice and rituals, as told in the tale of Sim Cheong or the tale of Baridegi (stories of reincarnated female figures). Physical aspects like cleansing yourself, being on your knees, and putting your hands together are in spirited presence. The emotional aspect of being afraid to wish for something or the fear of witnessing the failure of your wishes may be present; the modern loneliness felt when you realize your wishes aren't singularly yours to activate. The reality of the inability to generate a wish, enerved by disaffection and alienation. The courage you must carry in dark times as you wish for a brighter future. 

In this piece, the Korean bamboo flute of bela’s biological father stands as an offering. bela’s voice, 3/3 Korean rhythms, and iPhone recordings of exchanged wishes and sound coalesce with synthesized drums and noise. Electroacoustic music, spoken word, dub jangdan, and club music are interwoven. Join us in a steep and whirling travel into bela’s time-space ceremony. 

Book 6: Subtle Energy in Poetry with a Beat
With Mayra A. Rodriguez Castro

Poet Mayra A. Rodriguez Castro is focusing on the Marimba de Chonta, a sacred instrument tuned by water. In the Pacific littoral of Colombia, the marimba is constructed entirely by hand from peach palmwood. The tree grows by the shore, where moon cycles pull on the tide, and seawater dampens the palm to produce a distinct musical timber, measured by ear for each instrument. The marimba bars are cut, polished, and dried to reach their internal tone. The artisan listens until the instrument sings its voice.

An improvisation in five parts interpreted by Washington Torres Quiñonez (Bordón) and Wilmer Vente Gómez (Requinta) in Buenaventura, Colombia. The Marimba de Chonta sings the rhythms of Juga, Bambuco Viejo, Agua Larga, Bunde, and Torbellino, notated by Mayra A. Rodríguez Castro in parallel scores for unborn poems.


Book 7: In Between | Spirits
WIth D'Andrade

Name Changer, a Soundscape

Name Changer, a journey through sounds and noises, uses field recordings and the methodology of tarot reading as a guide for listeners to pass through colors, shapes, and landscapes of sound. The question that permeates is: how can we create a point of transmutation where it is possible to die and be reborn with a new skin, a new name, a new body?

The process of creation within Name Changer moves predominantly within the spheres of sound poetry and the healing capacities of sound, modifying not only audible but also environmental frequencies. It is broadcasting as a mystical, telepathic, and tangible means of disseminating ideas for the end of war, towards escape, and the mollifying of broken hearts. It is the use of aural transmission as art’s potential to cool emotions struggling within the brunt of capitalism’s uneven weights, the wounds of racialization, and the colonial spectrums’ influence on the mind and body. 

Through the soundscape, a visual mapping of emotional potentials is paired with an intuitive deepening of the mutability of character: where we can change our names, or expressions, to change the world we live and build, in relation.


Book 8: Cosmos | Time-Space / Community
With Raisa Galofre

By echoing mutual resonances through the presences and voices of the cantaoras (ancestral female singers) we are taken on a journey with the Afrocolombian baile cantao (sung dance) bullerengue. Traveling for centuries from generation to generation – since its birth in the first town of free enslaved people in America, San Basilio de Palenque, Colombia –  this force and knowledge emanates and manifests through los tambores (the drums), los cantos (the chants) and the collective support by las palmas (the collective clapping). Rooted in African traditions and using repetition on a call-and-response basis, bullerengue defies the linear conception of time bringing and projecting at the same time past/present/future as dimensions where encounter, healing, storytelling, empowerment, and shared community are possible. 

In this sound piece, this multidimensional and relational space of circular temporalities is lived and embodied in la rueda de bullerengue (bullerengue circle). The cantaoras stay at the core of this communal becoming, as storytellers and guides for present and future generations. While initially women had been the source as the storytellers and singers in bullerengue, for many decades now, the role of the cantaora has become open to all genders to sing and to recount.

With Graciela Salgado and Las Alegres Ambulancias, Rosalina Cañate Pardo, Emelia Reyes Salgado „La Burgo“, Joselina Llerena Martínez, Diana Miranda Herrera, Rosa Caraballo, Luis Carlos Cassiani Simarra, and Raisa Galofre.

This RadioBook was recorded in San Basilio de Palenque (Bolívar), María La Baja (Bolívar) and Barranquilla (Atlántico), Colombia 2021–2022. The recordings of Sambangolé and Chi man nkongo by Las Alegres Ambulancias were taken from the documentary film La Hija de La Luz (2010) by Roberto Flores Prieto (Kymera Producciones and Universidad del Norte, Barranquilla), where Raisa Galofre worked as direction assistant and script.

With immense gratitude for the support in the production of this RadioBook to Tyler Miranda, Xenia Cortés and Marvin Systermans.

Book 9: Subtle Energy/ Cosmos / Community:The Invisible Kindred for Survival
With Angelo Plessas 

We flow and unravel together into the 9th RadioBook for 4+3=1 – moving towards the manifestation of the physical exhibition rising at SAVVY Contemporary next month.

Angelo Plessas leads us through a meditation and reflection. The meditation will vocalize prioritizations of care towards queerness, transmutational identity, and empowerment across interconnecting scales of nature, trauma, karma, and panspiritism. The meditation will be a manual for all who wish to practice resistance through kindness, resilience, and generosity towards re-establishing planetary commitment on all levels, in sensitive alliance.

Angelo Plessas lives and works in Athens.  His work highlights the ambiguous approach of spirituality with technology delving into a broad set of cosmologies, activating modes of communal interconnectivity, social relations, and identity. Plessas’ activities range from performances to artist residencies; from self-publishing to interactive websites; from quilted sculptures to live-stream events and educational projects. Over the last years, he has organized the annual, weeklong gatherings of the Eternal Internet Brotherhood/Sisterhood and Experimental Education Protocol in different remote places in the world. 

His work has been exhibited internationally such as recent shows 8th Biennale of Gherdëina, the 13th Gwangju Biennale, S. Korea, documenta 14, both in Kassel and Athens; The Museum of Contemporary Art in Chicago, the Jeu de Paume, Paris; the DESTE Foundation, and the National Museum of Contemporary Art, Athens. Plessas is the founder of P.E.T. Projects in Athens, a Fulbright alumnus, and he has been awarded the DESTE Prize in 2015.

Book 10: لحظة من اليابسة
With Leila Bencharnia 

لحظة من اليابسة  (an instant of dry land) is a multilayered sound flux where elements crackle, break, blow, and burn in constant active metamorphosis. Gushing out from the deep within, music appears as glimpses of solid grounds before sinking back into gulfs. With this sonic conversation, Leila Bencharnia takes us across times, elements, and spaces.

Born in El Kelaa, Leila Bencharnia is a sound artist, acousmatique interpreter, and musician based in Milan. Daughter of a traditional Moroccan musician, her passion for music began in the western desert of Morocco where she grew up. Her sonic landscape is made out of analogic material – such as tapes, vinyls, and synthesizers. She uses the listening practice as a modality of transmissions of knowledge. Seeking to decolonize listening practices is a way for her to impact directly on social and political issues.

Featuring: natural recordings; microphonation on slime that records the expansion and depth of mangrove roots; microphonation on frozen river monitoring oxygen bubbles breaking through ice depths; synthesizer; continum mini

Track list
Eliana Radigue: OPUS17 
Rain Forest: Spiritual Enslavement 
Henning Christiansen: Stone song 
Walter Marchetti: Antibarbarus
Carl Gari & Abdullah Miniawy: The act of falling from the 8th floor 
Abde Azrié: Eau et vent 
Bledi Remix 
Wadi Al Safi

BOOK 11: Cosmos | Time-Space / Community
With Dr. Chanda Prescod-Weinstein
Interview research by Arlette-Louise Ndakoze and Kelly Krugman
RadioBook edit by Elizabeth Glauser

Through the RadioBook's virtual pages, we digitally connect with theoretical cosmologist Dr. Chanda Prescod-Weinstein who is Assistant Professor of Physics and Astronomy and a Core Faculty Member in Women's and Gender Studies at the University of New Hampshire. Her theory research focuses on the crossings of particle physics, cosmology, and astrophysics. Informed by Black feminism, she moves from analysis on dark matter to lineages of ancestral storytelling, the vitality of queerness, and the urgencies of intersectional liberation across marginalized spheres of science and beyond. With her, we move along the material and immaterial visibilities and contemplations of our cosmos from within and without, to complexify the relations and processes of modern science and observational astronomy’s technical presuppositions. 

 As Dr. Prescod-Weinstein's work addresses the needs for ethical inquiries to be underpinned by nuanced interpersonal questions, our RadioBook retains the essential links between the cosmic, the social, and the systemically emancipatory.

Book 12: Teri Khatir 
With Devika Chotoe
Edited & Mixed by Paula Montecinos

How do we connect to histories that have been silenced or intentionally erased? How do we trace embodied archives and invoke the voices of those who were not registered into hegemonic texts, to re-trace and re-attune our affective registers of the now? Can we coordinate ourselves to infra-low frequencies: sounds that must go beyond hearing alone to also being felt?

This RadioBook is a live recording of Teri Khatir: a moment of simultaneous mourning and celebration where infinite loopings of the voice are evocative practices to activate, record, amalgamate, and shapeshift different bodies and their knowledges. Teri Khatir is a sonic and physical journey through multiple languages, rhythms and communal selves. With the conviction that rhythm, just like self and shared actualities, are reinforced through repetition: repetitions that can certainly be subverted to re-equalize common denominators.

Devika Chotoe is an artist whose work emerges from a concern for justice and a desire to heal and transform embodied systemic oppressions. The aim being self and collective empowerment. They view their artistic processes as a resistance praxis: a space for resilience where care, support, (co)dependency, vulnerability, and healing are centered and form the main conditions for constructing processes and realities of transformation. Creating work within a queer intersectional framework, she uses performance art and language as entry points into understanding how hegemonic technologies of power shape bodies, times, spaces, and their interrelationality. Striving to translate desires of predecessors, ancient rhythms and queer futurities move within prefigurative politics and a poetics of change.

Book 13: Roots of Techno – Alice Coltrane, Betty Carter, and Dorothy Ashby
With DJ Lynnée Denise

In this episode, Lynnée maps trails into the regional roots of techno, arguing how it includes three Black female jazz musicians from Detroit: Alice Coltrane, Dorothy Ashby, and Betty Carter. 

The collective discographies of these women are not removed from electronic funk music that emerged from Detroit in the 1980s. In fact, their contributions to the sonic structures of techno and the overall soundscapes of Detroit are inseparable. Even so, Lynnée Denise notes that is difficult to find a woman who holds equal weight to the men credited with inventing techno or jazz, for that matter. More perplexing is that regardless of their groundbreaking sonic signatures, Alice, Betty, and Dorothy are hardly ever referenced in conversations about techno, even when their contemporaries, Yusef Lateef and Ron Carter, are constantly cited. To know techno is to know that as musicians, this trilogy of jazz and soul innovators are crucial in their sonic inscriptions – as they helped to usher in several genres on their merit and innovative contributions, and should be included in any form of techno music analysis.

The palatable re-packaging and uprooting of techno from its Detroit roots, coupled with the replanting of techno under the generic umbrella term EDM, has made it difficult to conceive of how Detroit Black female musicians and DJs were influential forces in techno in all its historical future-oriented possibilities. No form of music is possible, nor does it have a future, without non-men and queer people. More specifically, the unique contributions that Coltrane, Ashby, and Carter made to spiritual and cosmic jazz, bebop, and free jazz, not only changed the course of jazz but set one of the paths for techno to be imagined. 

DJ Lynnée Denise is an artist, scholar, writer, and DJ whose work reflects on underground cultural movements, the 1980s, migration studies, theories of escape, and electronic music of the African Diaspora. Denise coined the phrase "DJ Scholarship" to re-position the role of the DJ from a party purveyor to an archivist, cultural custodian, and information specialist.


1.     “At Les” Carl Craig
2.     “Transfiguration” Alice Coltrane
3.     “What is this Tune?” Betty Carter
4.     “The Moving Finger” Dorothy Ashby
5.     “My Favorite Things” Alice Coltrane
6.     “My Favorite Things” Betty Carter
7.     “Invitation” Dorothy Ashby
8.     “Om Supreme” Alice Coltrane
9.      “Open the Door” Betty Carter
10.  “Myself When Young” Dorothy Ashby
11.  “Galaxy In Satchidananda” Alice Coltrane

Book 14: El Bullerengue en Libertad // The Bullerengue in Liberty Town
With Doña Isabel Martínez

Doña Isabel Martínez relata la importancia del Bullerengue y el baile cantado en las culturas afrodescendientes del Atlántico Colombiano. Doña Isabel es una mujer afro, campesina, creadora del semillero Afro por la paz en la subregión de los montes de María, que se dedica a salvaguardar y desarrollar los conocimientos tradicionales de su cultura. Doña Isabel comparte sus experiencias durante la época de la violencia en esta región de Colombia y el roll que su cultura jugó en ese complejo momento para la comunidad.

Doña Isabel Martínez recounts the importance of the Bullerengue and the Baile Cantado in the Afro-descendant cultures of the Colombian Atlantic Coast. Doña Isabel is an Afro-descendant woman, peasant, and creator of an Afro-seedbed for peace in the sub-region of Montes de María, which is dedicated to safeguarding and developing the traditional knowledge of her culture. Doña Isabel shares her experiences during the time of violence in this region of Colombia and the role that her culture played in that complex moment for the community.


Cast: Isabel Martínez de Guzmán and Glesion Vanegas
Original Music: Isabel Martínez de Guzmán and Glesion Vanegas
Percussion: Augusto Pinzón Parraga, Camilo Conde Aldana
Choirs: Luisa Igüa
Direct Sound: Ayaris Isabel Guzmán Muñoz, Natalia Muñoz Berrío
Script and Production: Camilo Conde Aldana


Book 15: Endangered Indigenous Songs: Music for the Living and the Dead
With Citlali Gómez Escobar

This sound piece by Citlali Gómez Escobar is dedicated to the preservation and revitalization of indigenous songs that have been part of Latin American cultures for centuries, with a special focus on the Kichwa peoples of South America and the Zapotec peoples of Mexico. Indigenous musical traditions today are subjected to a variety of pressures imposed by the political and economic legacy of colonialism, which still plays a major role in indigenous peoples’ lives. These phenomena are affecting the dissemination of cultural knowledge between generations to such an extent that today indigenous populations in many parts of the world are faced with losses of their ancestral songs and worldviews linked to their performances. Thus, in order to keep these songs alive, this sound piece is one effort in the broader web of work in resistance, that has been developed in collaboration with local musicians from the above-mentioned communities, who through a mix of music and interviews reflect on their lives, cosmovisions, music, and celebrations as mediums of re-telling their own (hi)stories to recover and honor their collective memories and reinforce their roots of indigenous identity.

All featured songs are collective copyrights of the Kichwa and Zapotec communities.


Citlali Gómez Escobar

Carolina Bautista, voice and flutes; Vilma Escobar, voice; Teresa Escobar, voice; Citlali Gómez, piano; Alejandro Jordán, guitar;  Alí Lerma, voice and harp; Martín Malán, voice and guitar; Edison Maldonado, flute; Sisita Maldonado, flute; Ariel Ortíz, violin; Matilde Pineda, voice; Verónica Solano, voice; Marco Yupangui, guitar and percussion; 

Hugo Vallarta & Citlali Gómez

Audio recording, editing and sound composition
​Citlali Gómez Escobar

Citlali Gómez Escobar is a Mexican pianist, composer, and social designer based in Vienna, Austria. She holds a Master Degree in Social Design from the University of Apply Arts Vienna, and a Bachelor Degree in Piano Performance from Mexico’s Faculty of Music. Her artistic practice engages with the importance of music as a transmitter of social knowledge, collective memory, and sense of identity.

Citlali’s last projects and performances include the musical re-composition and recording for solo piano of Beethoven’s opera Fidelio (2020), which sets the story in a contemporary time and places it in Tijuana, the northern border of Mexico with the United States, where the characters of the play unfold in a violent city and are affected by the drug war. The creation of the Indigenous Music Archive IMUSA (2020–2023). Sound design for the film No trespassing by Alexander Glandien (2022). Live piano music to the silent movie Safety Last at Wild im West Art Space (2023).


Book 16
With Peder Niilas Tarnesvik

Peder Niilas Tarnesvik brings us a radio book that is a mixtape-of-sorts, inhabiting some of the different spaces Niilas has been experimenting and exploring within the last year. The mix carries a clear mark of experimentation within, and contains unfinished sketches that contain the multiplicity and potential of works that aren't defined to their end point. Niilas is a Sámi composer and electronic sound artist who blends genres, instruments and electronics into a unique expression. 


Book 17: Slippery internal logic
With Bint Mbareh

How do we hear? How do we lean into what we hear? How do we register what we hear? 
„Slippery internal logic“ by Bint Mbareh follows these questions. The piece includes field recordings, compositions and beats, listening prescriptions and found sounds while it explores how listening can be a medium that facilitates world building exercises. Summoning our attention and imaginations, Bint Mbareh calls upon us to listen widely and actively, inviting our ears to tune closely into the textures we are submerged by while also welcoming in the sounds of our environments. We re-envision our processes of listening, drawing in new filters of seeing and sensing that enable entrances into versatile worlds and imaginaries within our own.

Bint Mbareh works with all formats of sound (radio, live, installation and many others) and is driven by the superpowers of communal singing, both human and more than human. She conducted research initially to combat the myth of alledged water scarcity in Palestine. The songs that she learned helped communities summon rain, and at their core helped people build a relationship with their environment: together, deciding what time of year it is and communally determining how to share resources, mainly the resource of time, fairly. Bint Mbareh makes music and sound today because she believes these faculties can still be evoked, rather than purely "remembered". She now studies death and rebirth as analogies for necessary communal upheavals, still looking for these significations in Palestinian landscape, now in the shrine of Nabi-Musa (AS), the prophet Moses. She has been a practicing artist since 2018.


Book 18: Conversation of Sky and Earth
With Otucha Collective

Where does a traditional song come from?
from a belly, from pelvis, from a forest, from the soil.
And if song is a vessel, what does it carry within?

We investigate the origin of songs in the life of people from eastern european villages.
We try to encode who and what inhabits the voices of women there.

We weave a story around female voices, their songs, environments they are living in and the essential purpose of singing.
We research in the frames of our own practice of so-called white-signing or shout-singing and ask: how can traditional songs be replanted into the contemporary world and keep growing for the next generations?

Is it possible to build a stable bridge, bonding voices from the past with the modern times and their challenges?

In this episode you will find the original recordings from Polish and Ukrainian female singers of diverse ages, stories, poems, quotes and a simple practice to build a connection with your own voice.

Otucha Collective is a Berlin based vocal ensemble of female vocal artists, activists, and educators with an immigrant background. Otucha places their interest in explorations of healing & empowering qualities of the human voice. They mainly work with vocal traditions of rural areas of Eastern Europe and somatic practices. They do performative and public interventions, offering workshops and holding safe spaces for sharing experience of a deep, transforming togetherness in collective sound flow. Otucha is a Polish word describing an act of care between two or more beings. To give "otucha" is to lift up, to surround with encouragement and comfort. 

Book 19: Circular Readings: Art Mediation as Multisensory Storytellings
With Samira Ghoualmia & Emily Sarsam

The 19th radiobook is a collaborative sound piece by Samira Ghoualmia and Emily Sarsam. Searching through different (im)materialities of intuitive knowledge birthed from sonic and spoken storytellings, the piece traverses relations between nomadic spaces of imagination and the transgressive pedagogies of art mediation. Circling in re_searches touched by the poetics of relation, as departing from the tracings of Édouard Glissant, Ghoualmia is moving through seemingly conflicting differences and longings between the practices of art education and storytelling in relation to North African cosmologies. Formally educated as an historian of African art in Berlin, the city in which the continent was colonially divided in the Berlin Conference of 1884–1885, Ghoualmia speaks about the corset of rigid taxonomic fictions that attempt to take away the breath of experimental practices and the imaginations of the spaces in between things.

Ghoualmia takes us through the confrontations with institutional splits of white dominated art spaces and academia that reinforce heavily felt visceral social barriers which Sarah Ahmed calls “atmospheric walls”, leading to petrifying disembodiment that closes off critical curiosity and imaginations. While these “atmospheric walls” separate different practices between the written, spoken, imagined, and other creative forces, art mediation can hold a space for synchronising conflicted hybridisation to try to find common grounds between differences. 

How can we be together and practice transgressive pedagogies? How can we create spaces of co-learnings that welcome differences and flow freely without petrifying our insides? How do these experience open spaces of collective co-learnings and storytelling?

Art mediation is a corporal practice. In relation to the multiple histories of collective storytelling and embodied forms of knowledge practices throughout forms of non-western cosmologies, it can provide space for neglected stories in relation to our direct environment. The body of the art mediator can function as a guide through traversing storytellings, everyday spills of anecdotes, ancestral whispers, to our relation of public space and institutions. 

This sound assemblage was birthed between Tunis and Berlin. Fragmented snippets and observations in spoken word flow into sonic murmurs, healing hums, collective rhythms, and voice messages weaved together by Tunis based sound artist Emily Sarsam. 


:: Sound recording of waves from the coast in Ras Jebel, Tunisia
:: Sound recording of our neighborhood in Lafayette, Tunis
:: Baka women drumming on water, recorded on River Lupé in 2018 
:: Wandering Voices choir collective: An improvisation performed and recorded in Tunis, February 2023
:: Wandering Voices choir collective: reading and performing “Who am I without Exile?” by Mahmoud Darwish, recorded in Tunis, October 2023
:: Jeanne Lee: Sundance
:: Baka women drumming on water, recorded on River Lupé in 2019

Samira Ghoualmiais a cultural coordinator, writer, educator, and independent researcher based in Berlin. In her practice, she moves through non-linear forms of knowledge that merge into messy readings aka cross-references undoing fixed boundaries of hierarchies of learning. She is interested in multisensory forms of diasporic storytellings. Recently she co-curated the residency program Forum of co-learning Berlin Cycle 2 in correspondence with Publishing Practices at Archive Books. She is a member of Archive Ensemble and has co- curated and coordinated the art mediation program of the 12th Berlin Biennale and worked as an art mediator for the 11th Berlin Biennale, KW Institute for Contemporary Art, and Haus der Kulturen der Welt. 

Emily Sarsamis a Tunis-based independent researcher, artist and cultural programmer whose work revolves around independent publishing, sound, poetry, and food. She is especially interested in the politics of olive oil, commoning practices in rural and agricultural contexts, and the impacts of colonialism on farming, food systems and eating habits. She also researches, develops and facilitates embodied learning environments within the arts in the form of workshops, co-learning programs and residencies.