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Graphic design by Recspec

We acknowledge that we exist on the ancestral and traditional homelands of the Indigenous Peoples of Central Texas and Turtle Island, which may have included: the Lipan Apache, Comanche, Tonkawa, Carrizo & Comecrudo, Coahuiltecan, Caddo, Alabama-Coushatta, Kickapoo, Tigua Pueblo, and the many other Indigenous nations and communities who have cared for these lands since time immemorial.

We recognize that the displacement and forced removal of Indigenous Peoples made possible the development of the society that exists here today, and we honor the resilience, stewardship, and enduring presence of Indigenous communities past, present, and future. As we celebrate and care for this land, we do so with gratitude and respect for those who have long nurtured and protected it.

In August we are collaborating with Music Research Strategies on a community building activity:

De-Center for Unknowing at Carver Library ** August 13 & August 14 **
Listen Like Wolves near Peace Point – Lady Bird Lake ** August 15 & August 16 **
Listen Like Lovers at Crashbox ** August 20 through 22 **

On Saturday August 15, Sunday August 16, you are invited to contribute six digital files of the movement of water, as illustrated in the provided graphic score, to a digital community archive that be sourced for a public installation screening as part of a performance curriculum for a Walk-in Choir, Audience-led Creative Music Conduction and Live Sound Track Recording for the developing of a 50-state, De-Center for Unknowing (DCU) Initiative to address the concerns presented in “Dispatch 1-3” and the realization of the ENLA: Floating Signifier, a solo performance vernacular digital community archive, single and multi-channel video composition, walk-in choir, audience-led conduction and documentation.”

The graphic score is Schematic 1 from this link: https://disclaimer.org.au/contents/unsettling-scores/dispatch

Presented with Collide Arts with support from the City of Austin’s Elevate Grant Program, the Texas Commission on the Arts, and the National Endowment for the Arts.

Here is a web version of our mailing list invite which was sent out in June/July.

To prepare your minds, you may consider reviewing this material:

“Thinking Spaces: Raven Chacon and Candice Hopkins.” in conversation with Vijay Heble, Chair and Founder of the International Institute of Critical Improvisation Studies at Guelph University, Guelph, ON and the bilingual Journal of Critical Improvisation Studies.

“Dismantling Racism in Public Art” produced by Soros Fellow and former San Francisco Arts Commission Senior Grants Manager

Corinne Gould (Ohlone), from Sogorea ‘Te Land Trust, in Living on Ohlone Land: Building Reciprocity with Indigenous Communities (2017) and “Living On Ohlone Land” (2018) and Barbara Mumby-Huerta’s (mestiza) Dismantling Racism

Contact Music Research Strategies with specific questions.

On April 29, April 30, May 1, May 2, May 3 we facilitated open rehearsal time for our peers. During this time works in progress may be rehearsed and a limited number of friends invited by the artists may provide feedback. Some artists may use this time to collect documentation for self evaluation and proposal building.

Participating artists included: Adam Hilton, Aux Aux, Drew Silverman, Keegan Streicher, All Our Last Names, Easy Compadre!, Chido Machine, Mongoose, and Vocamov Rites.