| | | The Resynthesising the Traditional theme is explored in two more articles within CTM Magazine. In »Qazaq Music as a State of Being. Tradition, Experiment, Sacredness« the poet and cultural producer Anuar Duisenbinov speaks to intergenerational voices in Qazaqstan’s music and art community who each in their own way connect to traditional musics and forms. Through discussions with Yermek Kazmukhambetov, Tokzhan Karatai, Saida Yelemanova, SAMRATTAMA, and Medina Bazarğali we hear of spirituality and landscape; of history, colonisation, and archives; of how traditions are shaped and transmitted in aural cultures; and how all of this might extend into contemporary, pop, and club cultures. The Caribbean-Canadian artist/researcher and »Femmehall« practitioner Alanna Stuart, who explores how one can resynthesize sound system technologies and redraw the traditionally male-dominated sound system culture. Her deeply personal research, titled »Rewind/Forward: Resynthesizing Sound System Culture in Toronto’s Queer and Female Caribbean Diaspora« takes her back to her family’s roots in Jamaica, the birthplace of sound system culture, and focuses on how contemporary queer and female communities in Toronto – home to the third largest Jamaican diaspora – are actively shaping the heritage of sound system culture across various generations. Linking back to our CTM 2025 festival edition, the artist and organiser Victoria Yam aka rEmPiT g0dDe$$ maps a burgeoning and tireless queer music scene in the capital city of Kuala Lumpur. Her article »The Ritual of Performance : Queer Belonging in Malaysia's Rave Scene« portraits artists and initiatives nagivating multiple levels of control, from legacies of British and Western colonialism to the challenges of the current state-endorsed monopolies on religion, society, and identity in Malaysia. CTM Magazine | | |
