Co-produced with Portland Institute for Contemporary Art
Closed Captioning, Tickets available here
*There will be a live Q&A following this event*
Album available to order starting September 19 at
We are celebrating the official launch of the Radio III / ᎦᏬᏂᏍᎩ ᏦᎢ record with a virtual listening party hosted by Elisa Harkins, Hanako Hoshimi-Caines, and Zoë Poluch. They are excited to share with their processes and experiences that went into creating this work as well as pausing for a collective listening experience.
Radio III / ᎦᏬᏂᏍᎩ ᏦᎢ is the first collaboration between Hanako Hoshimi-Caines, Zoë Poluch, and Elisa Harkins. It is an Indigenous futuristic concert, a beautiful and uncomfortable dance performance, and a perverse triangle of shifting power that seeks to be unfaithful to both minimalism and postmodern dance’s claims to so-called “neutrality.” This collaboration combines disco and Indigenous languages in an effort to alter the fate of these endangered languages through active use, preservation on pressed vinyl, and radio play. Radio III / ᎦᏬᏂᏍᎩ ᏦᎢ features songs by Elisa Harkins, some of which are in Cherokee and Muscogee (Creek).
The Radio III / ᎦᏬᏂᏍᎩ ᏦᎢ double LP is produced by the artists, Western Front, and Portland Institute of Contemporary Art.
Elisa Harkins is a Native American (Cherokee/Muscogee) artist and composer from Miami, OK. Harkins has a BA from Columbia College Chicago, and an MFA from the California Institute of the Arts. Her work is concerned with translation, language preservation, and Indigenous musicology. Harkins is a Tulsa Artist Fellow, and an enrolled member of the Muscogee (Creek) tribe.
Hanako Hoshimi-Caines is engaged with dance, performance-making, and philosophy as a way to see, feel, and love better. She is interested in the performativity and humor of alternate logics. Her independent and collaborative works have been shown in Canada and internationally.
With an artistic practice that takes shape in different rooms and puts into motion different mediums, Zoë Poluch’s deeply critical eye for the contemporary dance scene is based on a long term and practice-based interest in the politics of moving and sensing. As she dances, talks, teaches, writes, and thinks, she does it with a precise gymnastics of the senses.