Cacophonic Clinic: Fire

Jota Mombaça, Não há um Lugar para Nós [There is no Place for Us], 2021. Film still. Courtesy the Artist.
Jota Mombaça, Não há um Lugar para Nós [There is no Place for Us], 2021. Film still. Courtesy the Artist.
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What protocols and procedures define the scope of colonial listening? What forms of politics might dismantle its sonic constraints?

Led by Jota Mombaça, Nottingham Contemporary’s writer in residence, this performative study session focuses on cacophony and multi-vocality as strategies of dissident convergence. Using the body as repository of knowledge and listening in its transformative potential, the session reckons with the agency of fire as a non-linear and opaque extension of 'destructive care' (Mombaça, 2018). Exploring cacophony and polyvocality, the session incorporates a series of collective readings to unfold speculative fictions and histories of encounters with the element: the turning into ashes of archives, of bodies, of forests, of buildings, of that and those that cannot be controlled, as well as, burning as communal practice and ritual of rebirth. Considered as heat, sound provides the ground for the abolition of colonial soundscapes, ethical equations, and epistemologies.


Mombaça, Jota. ‘Can You Sound like Two Thousand?’, The Contemporary Journal no.3 (2020)

About the event

Online. Free. Limited Capacity.
Booking is required.
You can access this event through the Zoom meeting link available on booking.
There will be automated live captioning for this event.
A transcription for this event is not available afterwards due to the intimate nature of the event.
We are unable to provide British Sign Language interpretation for this event.
The duration of the event is two hours. A rest break is included.

Jota Mombaça is a non-binary bicha, born and raised in the northeast of Brazil, who writes, performs and investigates on the relations between monstrosity and humanity, kuir studies, de-colonial turns, political intersectionality, anticolonial justice, redistribution of violence, visionary fictions, the end of the world and tensions among ethics, aesthetics, art and politics in the knowledge productions of the global south-of-the-south.

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