Heptagon is an audio project exploring social, cultural, and artistic avenues within the limitless genre of electronic music.
The Heptagon Project
Sara Gómez: Her Contribution
“We are alone facing our historical consciousness — that makes us fully responsible, and so the reason for alienation has disappeared. Our work is creative, we live to create — to create something that will exist beyond time, beyond any possible existential anguish, like art. Is that clear?” Thoughts on the work of Cuban filmmaker Sara Gómez.
What is Fela’s True Legacy?
Fela was no gentleman; he used music as a weapon. He believed in a free Africa and had problems with authoritarian and military regimes.
Magpies Mix Tape: The Merry Blues
A mix tape of the music of Manu Chao and friends
Fruits of Labor: The Beginning of The Cinema of Moral Concern
Agnieszka is battling a country that refuses to accept its past, and thus cannot learn from its repeated mistakes.
How Serbia’s Students Are Trying to Change Their Dysfunctional Country
“To see the dignity, strength and enthusiasm of the students, their refusal to be drawn into violence, and their commitment to spreading compassion and unity is remarkable.”
Corridos: (Mostly) True Stories in Verse With Music
Although mass media and scholars regularly document, analyze, and interpret important events, such documentations and interpretations are seldom from the perspective of the common folk, el pueblo.
Socialist Singer Barbara Dane Was a True American Radical
“Refusing to sacrifice her socialist principles for commercial success, folk-blues-jazz singer Barbara Dane dedicated her life to bringing music from around the world back to where it belonged: in the hands of the people struggling to change it.”
He Who Strikes First, Hits Twice: The Urgent Cinema of Santiago Álvarez
“Álvarez’s work … was a shining example of a poverty row aesthetic forged from necessity. His films were … an example of “urgent cinema”, keyed to raising public consciousness about current issues such as racism, housing conditions and police brutality in various parts of the world.”
Rai Tide Rising
Two Algerian rai tunes made the top ten of the Village Voice music critics’s poll in 1989. Why were post-liberation Algerian pop singers winning a wide Western audience while an earlier generation of popular Arab singers like Umm Kulthoum, Muhammad ‘Abd al-Wahhab and Fairouz never did?
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