• Sonja Eismann
    Hinterteile sind in Videos von US-Popsängerinnen ein wichtiges, aber streitbares Accessoire. Sonja Eismann über Miley Cyrus' und Taylor Swifts ironisches Twerking und den tobenden Arschkulturkrieg um den Big Booty.
  • Emma Dabiri
    With her video «Orangutan» Italian artist and activist Karima 2G responded on racist comments of Italian politicians in the context of the election of Italy's first black government minister Cécile Kyenge in 2013.
  • Hannes Liechti
    Aniruddha Das understands sampling as a political, yet militant instrument. In the interview he gives insight into his sampling practice and talks about musical exoticism, political meaning, and his use of distortion.
  • Ziad Nawfal
    Hamed Sinno is the lead singer of the Lebanese alternative rock band Mashrou' Leila. In this podcast he talks about belonging, identity, and representation. And about what does it mean to make music as a Lebanese artist in a global context.
  • Noko 440
    They love to provoke and they love to extravagate. London-based underground musician Bishi Bhattacharya and her musical partner Matthew Hardern talk about their biographies, race, and their common project «Albion Voice».
  • B Camminga
    In Post Apartheid South Africa a new generation of young artists are drawing on the country’s idiosyncratic past and its unsettled present. They express queer visions for the future. See Dope St Jude at the 8th Norient Musikfilm Festival 2017.
  • Philipp Weichenrieder
    Some call it a hybrid of breakbeat and house, some call it «apocalyptic riot music». But for the producers from the townships of Durban, South Africa, Gqom is more than a clubmusic style.
  • Louise Gray
    The music of the british artist Bishi Bhattacharya works perfect as a comment on Brexit. In her songs and artwork, she is hijacking and redefining notions of being «british» and claims a multicultural commonwealth.
  • Javier A. Rodríguez Camacho
    It is one of Norient's most favored music videos from the past years: «Nunca Tendremos Mar» from the Bolivian underground band Gato Diablo. A commentary by rock critic Javier A. Rodríguez Camacho.
  • Julian Warner
    Der Autor beleuchtet, inwieweit sich Akteure im bayerischen Mundart-Rap hegemonialen Diskursen um Sprache, Repräsentation und Rassismus widersetzen.
  • Anta Helena Recke
    Number 2 of our dossier: Alexander G. Weheliye speaks about Said's dissociation from Black Studies and feminism, the iconography of the exotic and the feminized Orient.
  • Didi Neidhardt
    Der Sampler «Personal Space. Electronic Soul 1974–1984» vereint 17 Schätze aus der Geschichte des elektronischen Soul, kontert dem kanonbestimmenden Mythos der ‹Blackness› und zeigt, dass auch Soul einmal afrofuturistische Visionen hatte.
  • Anna Trechsel
    Gleich zweimal Hip-Hop aus dem Libanon zeigen die zwei Kurzfilme «Life from the BBC» und «Visit me once a year».
  • Wilma Rall
    «The Shukar Collective Project» ist mehr als ein Dokumentarfilm über ein interkulturelles Musik-Projekt. Es ist eine Dokumentation des Zusammenpralls zweier Welten.
  • Ueli Bernays
    Afroamerikanische Produzenten dominieren die Popszene. Ihren Einfluss machen sie in Song-Produktionen weisser Stars geltend. Dabei zeigen sich an der Geschlechtergrenze sowie an der Demarkationslinie zwischen schwarzer und weisser Popmusik neue Identitätsmuster.