As part of the Beyond 1932 residency series, Bint Mbareh explores how music is learned, shared, and preserved, with a special inquisitive focus on the conservatory model, self-teaching, and invisible mundane structures which allow for learning. Bint Mbareh has spent the past two years, since being invited to participate in the Beyond 1932 Residency, playing the buzuq a little bit almost every day - the results of this mundane practise will be shown during the performance. Rooted in her practice on the buzuq, her performance unfolds in two parts: a solo set developed through small daily acts during the Beyond 1932 residency, followed by a participatory choir session. The choir session is a practise that questions who is a musician and how we learn music, especially targeting non-musicians. The exercises include sound-making guided by Bint Mbareh, collective readings of texts, spontaneous harmonisations, and some body percussion exercises. Between these two sets, a short reflection invites the audience to pause and consider the act of listening in times of cultural erasure. Working between sound research and communal performance, Mbareh asks how music pedagogy might move beyond institutions - how repetition, echo, and shared vocalisation can become tools for alternative ways of knowing and learning.

The doors will open at 6pm, with performance start at 7pm. Location: Kunstraum, 21 Roscoe St, EC1Y 8PT

Artist Bio:

Bint Mbareh is a sound researcher with a focus on water in Palestine. Her interest in the physical parallel between the water wave and the sound wave leads her into questions of border dissolutions (between bodies, between states, between tenses), and into the possibility of being enveloped by the voice, by sounding communally similarly to being enveloped by a water body. She challenges Settler colonial epistemology by taking seriously Palestinian ways of knowing, from rain-summoning music to shrine pilgrimage as an instigator to political revolution.