For the author and performer Fallon Mayanja, sound creations are the spaces where new words can be introduced and shared. They are a kind of “thinking machines” that put words and sentences into new contexts. Musicality is an essential aspect of this. Mayanja manipulates sound, allowing it to circulate so that it gains a broad right to existence in discursive spaces. She herself thinks of her work as assembled audio fragments. The auditory experience is important because it ensures that the viewer or listener has the chance to discover an unexpected cosmos of sound. In thematic terms, she introduces issues such as social justice, politics and the environment.
The work she has created for Contour Biennale 9 is derived from excerpts from various activists’ speeches. Mayanja uses them to create her own narrative discourse. Three melodies invite the listener to embrace this discourse. Fallon Mayanja uses the words of others to recreate her own speech. It is a speech about identity and daily life, based on ideas such as intersectionality, blackness, gender and sexuality.
Her artistic work aims to investigate bodies and identities. She defends plurality and the existence of plural identities. This performance opens itself to the voice of others and creates new opportunities through the imagination. Using immobility and slowness, Fallon Mayanja imposes a time frame other than our own as her soundscapes immerse the viewer in an intimate story. The performance reflects on the different modes of the body. She begins by investigating the body itself: it contemplates in order to become gradually visible and tangible.