A Song for the Slippages

I am thinking about converging tales in the city. I am exploring slippages, and glitches in the built environment. Rooting this tale in Stapleton Road, in a soundscape and performance, I am exploring the idea of a hidden or parallel world and the stories communities have carried with them. Using the magic realism of urban myths, this tale will reveal how porous our worlds are.

Asmaa is a multidisciplinary artist, writer and filmmaker based in Bristol. Their solo exhibition Except this time nothing returns from the ashes, made in collaboration with Gouled Ahmed, was presented at Spike Island, Bristol in 2023.

Jama's first film work Before We Disappear (2021), was an interactive moving image piece commissioned by BBC Arts, followed by The Season of Burning Things (2021), also made in collaboration with Ahmed, was commissioned by  the Bristol Old Vic (2021).

Their work has also been presented at the Venice Architecture Biennale in collaboration with the Goethe Institute and Theatre Neumarkt’s 100 Ways to Say We Programme (2021), and was the official selection at Blackstar Film Festival, Aesthetica Film Festival and Sharjah Film Platform 5 (2022).

Jama’s writing has been commissioned by Jerwood Arts, Hayward Gallery, Arnolfini and Ifa Gallery, Berlin. Their written works have been published in places like The Poetry Review, Nataal and Magma. In theatre, they have written for, and are performing in, Dorothee Munyaneza’s Mailles, and have written for Radouan Mrziga’s Akal. They were a Film London FLAMIN fellow (2022); a resident artist at Somerset House Studios and a Barbican Young Poet.


Since We Last Kissed.

I grew up in Bristol. Hillfields to be exact. A forgotten estate on the outskirts of the city. I discovered so many new parts of Bristol at the same time as discovering my queerness. New partners, serious ones or serious one-night-stands, would lead me to new alley ways, or clubs or parks. When I recently moved back to Bristol, it felt like everything had changed, and also had stayed the same. It felt so familiar yet distant. So, I reached out to some people I have kissed, and we recreated that kiss at a spot of Bristol we cared about, and I asked them: “how has Bristol changed since we last kissed?”

Travis is an award-winning writer, performer and theatre maker. Born in Bristol and recently relocating back to the city, Alabanza is fascinated by how the city is changing and about the things that will never change. Whether creating theatre, live art, or poetry, the performer’s work shows those with marginalised identities deserve to be both seen and heard.

Alabanza’s writing has appeared in the BBC, Guardian, Vice, Gal-Dem, in numerous anthologies including Black and Gay In the UK, and previously had a fortnightly column in the Metro. After being the youngest recipient of the artist in residence programme at Tate Galleries, Alabanza’s debut show Burgerz toured internationally to venues including The Southbank Centre, London, UK; Mostra Internacional de Teatro de São Paulo, Brazil; HAU Berlin, Germany; and the Edinburgh Fringe where the show won the Total Theatre award (2019).

In 2020, their theatre show Overflow debuted at the Bush Theatre to widespread acclaim and later streamed online in over 22 countries, and most recently their new show Sound of the Underground was staged by the Royal Court in London (2022). Their work surrounding gender, trans identity and race has been noted internationally, including talks given at the University of Oxford; Harvard University; and the University of Bristol. Noted for their distinct voice, in 2019 the Evening Standard listed them as one of “the 25 most influential under 25-year-olds”; as well as being listed in the Dazed100; The Guardian asking if ‘they are the future of theatre’, and recently listed in the Forbes “30 Under 30” List.


Untitled: My work explores the city’s urban counter-culture, most specifically the skater community who occupy ‘unloved’ spaces such as the Cumberland Basin and M32 underpass. Using film to document and interview the people who use those spaces, my project delves into self-governance, transience and how people help shape the city’s landscape.

Ryan is a Bristol-based portrait and documentary photographer working with still and moving imagery. The foundation of his practice stems from an inherent connection to space and urban planning. He is interested in social structure, psychogeography, spatial practices and the multifaceted use of space. Particularly, Convery-Moroney is interested in understanding how we observe, feel, act and behave accordingly to space due to our individual or collective knowledge, intentions and interests.

He was first drawn to photography through riding BMX where he also developed an appreciation of concrete, urban space and architecture. He went on to study photography at Portsmouth and has since relocated to Bristol. Ryan was Artist in Residence with MAYK in 2021-22.


There you go, lovely.

I have been working in residence at The Galleries shopping centre: getting to know the people who work there and pass through; recording interviews with shopworkers, cleaners, security guards and visitors; digging into the history of the shops and how they have changed over time. I have begun weaving these conversations into music – layering people's words and historical information about the shop units (along with a handful of tripadviser reviews) into a set of vocal pieces.

Verity Standen is an award-winning artist, composer and choir leader who works with trained and non-professional singers to create rich, beautiful soundscapes and performances. She likes to play with vocal music in ways that ask us to listen differently, gathering people together to sing, and exploring different ways that people can experience music.

Her projects take a range of forms – concerts, theatre pieces, films, installations, community events – but they always start with the voice. A lot of Standen’s work explores the relationship between music and intimacy, such as HUG (2015), Symphony (2016) and Undersong (2018).

In response to the Covid-19 pandemic, Standen spent time playing with the possibilities of intimate recorded voice. She created, with sound designer Yas Clarke, an installation built out of audio interviews with people across the country speaking about their voices, which is ‘performed’ by a room full of speakers in.