Transversal Evening Classes

mid air I on site I ​chain reactions I ecologies​ ​I ​transposition​ I ​untranslatables​ I ​neighbourhood and neighbouring theories​ I sheep methodology


mid air ​describes overarching research themes, interlacing threads to be further developed collaboratively


mid air: sheep methodologies

Sheep Machine​ is a meditation on the act of seeing. What do we see and how do we describe it? (Vi Khi Nao) —— I was learning to distrust language​, a distrust necessary for a writer, especially one writing ​in a foreign language.​ [...]. This may mean discarding grammar, throwing syntax out, subverting images from within, beating the drum and cymbals of rhythm...  (Dambudzo Marechera)

What can the strangely compelling figure of the ​Black Sheep​—at once attractive and disturbing, playful and subversive—do for our modelling of ​sustainable futures​? Perhaps it can prevent the premature foreclosure of the ​green imagination? ​Black sheep spoil the composition, crack the mirror—and in doing so, provide a necessary distance or breathing space that might allow one to reconsider one’s own position. Encounters with black sheep remind us that things could be done otherwise, it shames and infuriates us for taking our place in the universe too seriously. Exploring and ​conceptualising with the black sheep might lead us to consider the literal and metaphorical qualities of its wool, to economy and craft, capitalisation of nature, models of ecological sustainability, radical knitting as forms of coding, weaving and the renewed consideration of aesthetics in patterns.

Black Sheep animate our shared histories in arts, music, science, ecology, figures like Marechera, Ayi Kwei Armah, Johnny Dyani, Charles Mingus, Amos Tutuola, Goody Leye, Taban Lo Liyong, Brenda Fassie, Ornette Coleman, Winnie Mandela, Antonin Artaud, Julius Eastman, Bessie Head, Henri Lefebvre, Ruth First etc. stand as iconoclasts, radical individuals outside of systems, but what if we take them collectively, as a movement, a flock, a community, a black sheep chorus—what counter-narrative emerges? Working from what Sarah Franklin calls ​"following sheep around", we seek out new radical entanglements and interwoven narratives towards a black sheep methodology, a library, a collective audio-visual novel...

mid air: ​I saw the future and it works 

When a woman writes a book. Where that leads. Backwards, in any rate, and to an awareness of how inter- laced things are, and how much of one’s self derives from others.​ (Frieda Grafe, ​The Ghost and Mrs Mui​r)

Mid air history lessons follow several traces unchronologically, remaining flexible in its “curriculum” and responsive to other courses, depending on which temporal and thematic lines are opening up. ​Reading Ruth First and Sylvia Winter ​to understand processes of transition through the methodology of female historians analysing male power politics (in dialogue with Adom Getachew, Susan Williams, Gail Gerhart, Jean Allman).

“I saw the future and it works” ​is a quote by Abdulrahman Mohamed Babu (1924-1986), Zanzibar. ​To comprehend his vision and search might lead to a different understandings of the ​lasting impact of the 1980s; ​to carry out case studies of sidelined, “black sheep” entrepreneurial spirits, to revise the provocative thesis of the “emerging new postcolonial realism,” as Chika Okeke-Agulu and Okwui Enwezor have proposed in their book ​Contemporary African Art since 1980 ​(2009).

Learning with ​Little Magazines​—​as sources to locate and understand literary beginnings and their dissemination, to unfold and trace soft power politics, magazine diplomacies, entrepreneurial and pedagogical endeavours as being part of political struggles; to comprehend the production of a magazine within the context of their places and spaces, practices and networks. Case studies with ​Joe, ​founded by Terry Hirst and Hilary Ng'weno 1973 in Nairobi; ​Lamalif, launched by Zakya Daoud and Mohamed Loghlam 1966 in Casablanca; ​New Culture: A Review of Contemporary African Art founded by artist and architect Demas Nwoko in I​badan among others; a research, not least attentive to female editors, writers, designers, administrators—figures, who don’t appear at first sight. -— ​Experimental pedagogies and their histories: ​extra-mural studies, film club cultures, travelling academies, itinerant schools, Mbari Clubs, New Culture School, the Kenyatta College of Art etc.


on site ​classes have a local starting point of reflection, their own timing and visibility, but in correlation with classes in other places. 


Trondheim: Slow Education VOL 1

Rådhussalen  September 29 — December 09 2021

How do we learn, engage and communicate through and with music? How does it shape our views, attitudes and ways of thinking?

Slow Education offers a series of public listening sessions, which will be led by researchers, musicians, enthusiasts, and artists who will narrate with and through music. The Trondheim folkebibliotek’s truly international vinyl selection will serve as a starting point to invite, present and share an array of listening habits and tastes, to unravel polyphonous narratives of and through popular and unpopular culture. Record labels and release dates will unfold entangled history lessons and single tracks might take us on long journeys, training and tuning our rusty auditory tracts.

With Lisa Størseth Petterson, Chicks on Speed & Unnur Andrea, Oscar Debs, Martinus Suijkerbuijk, Martin Palmer, Kyrre Laastad, Nabil Ahmed, Mister Fix among others. 

[Hosted and curated Annett Busch and Prerna Bishnoi, in collaboration with Stian Stakset/Trondheim folkebibliotek. Supported by KIT/NTNU and co-funded by Trondheim Kommune.]

Kigali: Dutaramane-Buhanga​

with Assumpta Mugiraneza, IRIBA center, in collaboration with Goethe-Institut Kigali Dutaramane-Buhanga​ (​ invitation to evenings dedicated to sharing knowledge)

Gusiga, Gusiga... n’Inshoberamahanga. Gusiga, the aim to grasp the content of the previous, INSHOBERAMAHANGA, literally, what makes you lose the meaning​—will be a course-like structure in which matters of languages will be addressed from different perspectives. The fact of constantly being ​in translation/in transition ​between Kinyarwanda, French, English, Swahili, the experience of being in and out of Rwanda, immediately leads to questions of knowledge and power, to history and memory, to different practices of speaking, positions, situations, experiences, necessities.

Dutaramane-Buhanga, as ​a series of evening classes, will develop around questions, elements, perspectives on the untranslatable​—memoir, voice, image, future, sounds, experiences, silences etc. in order to become a space of coexistence, a theatre play, a dictionary, a library, a song, a writing session. The evening classes will be shaped in collaboration with Stacy Hardy, among other guests. The events will be hosted by IRIBA Center and will be admission free.