“Heritage, Memory and Community in Contemporary Electronic Music and Dance Cultures” @ Dancecult Conference
Heritage, Memory and Community is a topic that explores the evolving cultural dynamics, legacies and politics of electronic music and dance scenes globally and locally. This panel talk will examine topics such as how to document and reflect on the ephemeral nature of parties, what is preserved and what is omitted from this collective nocturnal living archive. How do communities deal with these legacies and continue them, and what inequalities and narratives play a role?
Thursday, 14 May, 2026, 20:00
· @planeta.za Na Louži 7, 101 00 Praha 10-Vršovice
w Tereza Patočková (@patockote ), @vibelab_network , @resident_advisor and Freddie Hudson (@fh_1138 ), independent journalist, curated and moderated by Lucia Udvardyová (@lcia_65 ), @easterndaze
Free entrance
More info about the whole conference via link in bio
Graham St John is an intellectual adventurer on the borderline between anthropology and digital spirituality who has devoted his career to mapping the “invisible landscapes” of modern counterculture. As a world-renowned expert on rave culture and psychedelics, he explores dance floors not only as places of entertainment, but also as modern ritual spaces where technology meets mysticism.
—This interview is published in anticipation of the Dancecult 26 conference, organized by Charles University in cooperation with the Center for the Study of Popular Culture and the Academy of Performing Arts, which will take place in Prague on May 14–15, 2026.
⟶ Interview link in bio & easterndaze.net.
📷 Cover photo: @lcia_65
⛰️ Tbilisi-based musician and ethnomusicologist Ben Wheeler @benwheelermusic moved to Georgia in 2012. While living in the region, he has been researching the folk music of the Caucasus. His new album, where he merges elements from Georgian polyphony, Azerbaijani folk music, dark ambient, drone, synthesizer experimentalism, and the melodic aspects of black metalunder under the moniker Bneleti, is released by @inverted_spectrum_records .
—We caught up with Ben to discuss his new release, the ethical aspects of working with traditional music, the current situation in Georgia’s independent cultural scene, and more.
⟶ Ready to read on Easterndaze.net
🎷 "𝙄 𝙙𝙤𝙣’𝙩 𝙩𝙝𝙞𝙣𝙠 𝙞𝙩’𝙨 𝙖 𝙛𝙖𝙪𝙡𝙩 𝙩𝙤 𝙘𝙧𝙚𝙖𝙩𝙚 𝙨𝙤𝙢𝙚𝙩𝙝𝙞𝙣𝙜 𝙩𝙝𝙖𝙩 𝙙𝙤𝙚𝙨𝙣’𝙩 𝙬𝙖𝙣𝙩 𝙩𝙤 𝙗𝙚 𝙘𝙖𝙩𝙚𝙜𝙤𝙧𝙞𝙨𝙚𝙙, 𝙗𝙪𝙩 𝙟𝙪𝙨𝙩 𝙬𝙖𝙣𝙩𝙨 𝙩𝙤 𝙗𝙚 𝙖𝙣 𝙝𝙤𝙣𝙚𝙨𝙩 𝙚𝙭𝙥𝙧𝙚𝙨𝙨𝙞𝙤𝙣."
Michaela Turcerová is a Slovak-born, Copenhagen-based experimental saxophonist and composer whose work explores the physical and sonic boundaries of the alto saxophone through extended techniques, improvisation, and spatial sound.
—Ján Solčání talks to her about her journey into the microcosm of the saxophone.
⟶ Ready to read on Easterndaze. Originally published by @34.sk_magazine .
📷: Jasmin Mebrouk, Karolina Gordziewicz, Emilia Jasmin, Michaela Turcerová
#emguide
In late summer 2025, @cate0hops & @gi.a.k.a.unprofessional travelled to Varna, Bulgaria, for a show at TON 618. The event was a collaboration between Amek & @easterndaze and a part of @listeningbiennial initiative. Both live sets were captivating, personal, and demanding. So, we decided to include them in our EXPERIENCE live tape series.
Listen here and grab a download or a cassette:
/
#amekcollective #cassette #cassetteculture #tapeculture #cassettecollection #livemusic #electroacousticmusic #tapecollection #catehops #unprofessional #varna
🪨 "𝙄 𝙩𝙝𝙞𝙣𝙠 𝙢𝙮 𝙨𝙩𝙤𝙧𝙞𝙚𝙨 𝙤𝙨𝙘𝙞𝙡𝙡𝙖𝙩𝙚 𝙗𝙚𝙩𝙬𝙚𝙚𝙣 𝙧𝙚𝙖𝙡-𝙬𝙤𝙧𝙡𝙙 𝙥𝙝𝙚𝙣𝙤𝙢𝙚𝙣𝙖 𝙖𝙣𝙙 𝙛𝙖𝙣𝙩𝙖𝙨𝙮 𝙧𝙖𝙩𝙝𝙚𝙧 𝙝𝙚𝙘𝙩𝙞𝙘𝙖𝙡𝙡𝙮."
@tomipall is an interdisciplinary artist from Budapest whose work merges digital media, video games, installation, performance, and myth-making to explore the politics of technology, Eastern Europe, and nonhuman storytelling. He is the co-founder of art collectives @ritesnetwork and @hollow.systems .
—Gyula Muskovics (@jule.core ) speaks to his friend and collaborator Tamás Páll on the occasion of the exhibition Emergency Frequencies, where Rumble premiered. The show (featuring artists like Nikita Kadan, Tuan Andrew Nguyen, or Lawrence Abu Hamdan) was part of the 5th @offbiennalebudapest (May 8-June 15, 2025), Hungary’s largest contemporary art event.
⟶ Ready to read on Easterndaze.
#emguide
🎻 "𝙈𝙮 𝙚𝙖𝙧𝙡𝙞𝙚𝙨𝙩 𝙢𝙚𝙢𝙤𝙧𝙞𝙚𝙨 𝙨𝙞𝙩 𝙞𝙣 𝙩𝙝𝙖𝙩 𝙩𝙪𝙧𝙣𝙞𝙣𝙜 𝙢𝙤𝙢𝙚𝙣𝙩: 𝙩𝙝𝙚 𝙠𝙞𝙩𝙘𝙝𝙚𝙣 𝙩𝙖𝙗𝙡𝙚 𝙬𝙞𝙩𝙝 𝙢𝙮 𝙜𝙧𝙖𝙣𝙙𝙥𝙖𝙧𝙚𝙣𝙩𝙨, 𝙩𝙝𝙚 𝙧𝙖𝙙𝙞𝙤 𝙖𝙣𝙙 𝙚𝙫𝙚𝙣𝙞𝙣𝙜 𝙏𝙑 𝙣𝙚𝙬𝙨 𝙘𝙖𝙧𝙧𝙮𝙞𝙣𝙜 𝙖 𝙡𝙖𝙣𝙜𝙪𝙖𝙜𝙚 𝙤𝙛 𝙘𝙝𝙖𝙣𝙜𝙚, 𝙩𝙝𝙚 𝙩𝙤𝙩𝙖𝙡 𝙘𝙤𝙡𝙡𝙖𝙥𝙨𝙚 𝙤𝙛 𝙩𝙝𝙚 𝙚𝙘𝙤𝙣𝙤𝙢𝙮, 𝙖𝙣𝙙 𝙩𝙝𝙚 𝙨𝙚𝙣𝙨𝙚 𝙩𝙝𝙖𝙩 𝙝𝙞𝙨𝙩𝙤𝙧𝙮 𝙬𝙖𝙨 𝙨𝙝𝙞𝙛𝙩𝙞𝙣𝙜 𝙤𝙪𝙩𝙨𝙞𝙙𝙚 𝙤𝙪𝙧 𝙬𝙞𝙣𝙙𝙤𝙬. 𝙈𝙪𝙨𝙞𝙘 𝙬𝙖𝙨 𝙩𝙝𝙚 𝙘𝙤𝙣𝙨𝙩𝙖𝙣𝙩."
Kazakh composer, producer and violinist Galya Bisengalieva @galyabisengalieva was born into a family of classical and folk musicians in the Kazakh capital Almaty in the late 1980s. Her own early childhood overlapped with the latter part of the forty-year period during which the former Soviet Union conducted 456 nuclear tests, creating more fallout than Chernobyl.
—Lucia Udvardyova @lcia_65 speaks to Galya about her album Polygon as well as the reiterations of this release by the likes of The Bug, @hatis_noit@lucyliyou@alvanoto and more.
⟶ Read the interview on Easterndaze.
📷: Alex Schipper, Mariell Lind Hansen. Artwork from the album Polygon Reflections. Imagery from Semipalatinsk in Kazakhstan by Philip Hatcher-Moore. Design by Shrey Kathuria.
📼 “𝘼𝙧𝙘𝙝𝙞𝙫𝙚𝙨 𝙚𝙡𝙞𝙘𝙞𝙩 𝙖𝙣 𝙖𝙪𝙧𝙖 𝙤𝙛 𝙙𝙞𝙨𝙘𝙤𝙫𝙚𝙧𝙮, 𝙨𝙚𝙘𝙧𝙚𝙘𝙮, 𝙖𝙣𝙙 𝙖𝙜𝙚.”
Ketevan Davitashvili, a performer and sound artist from Tbilisi, Georgia, works as an archivist at the Tbilisi State Conservatoire and specializes in the digitization of magnetic tapes of unique recordings of Georgian folk songs.
“Not every archive is explicitly biased, but every archive has its politics. Listening through these materials, it was clear that ethnic minorities were essentially not represented. (...) archives can also be used as a force to promote a singular vision of nationalistic Georgian-ness, by the government or any nationalists. And this is especially dangerous right now because we see that cultural narratives are weaponized on an almost daily basis.”
—Musicologist Ben Wheeler @benwheelermusicofficial spoke with Ketevan @ketrevani about her experiences working in the archive, the potential politicization of its recordings, and her feelings on open archives, engagement, and access.
⟶ Ready to read on Easterndaze.
📷: ამერიკის ხმა Voice of America, Dave Walker
💭 “𝙏𝙝𝙚 𝙛𝙤𝙪𝙧 𝘽𝙧𝙖𝙞𝙡𝙡𝙚 𝙙𝙖𝙮𝙨 𝙪𝙨𝙪𝙖𝙡𝙡𝙮 𝙥𝙖𝙨𝙨 𝙗𝙮 𝙡𝙞𝙠𝙚 𝙖𝙣 𝙖𝙗𝙨𝙩𝙧𝙖𝙘𝙩, 𝙗𝙚𝙖𝙪𝙩𝙞𝙛𝙪𝙡 𝙙𝙧𝙚𝙖𝙢, 𝙨𝙤 𝙩𝙝𝙞𝙨 𝙧𝙚𝙫𝙞𝙚𝙬 𝙬𝙞𝙡𝙡 𝙖𝙡𝙨𝙤 𝙚𝙗𝙗 𝙖𝙣𝙙 𝙛𝙡𝙤𝙬 𝙖𝙧𝙤𝙪𝙣𝙙 𝙩𝙝𝙚 𝙘𝙤𝙣𝙘𝙚𝙥𝙩𝙨 𝙤𝙛 𝙤𝙧𝙙𝙚𝙧 𝙤𝙧 𝙩𝙞𝙢𝙚.”
—@radiokapital ’s Ola Szkudłapska (@austere_popster ) headed to @braillesatellite : a four-day festival taking place in Mushroom Manor, a forest park some 80 kilometres away from Vilnius, presenting a plethora of outsider musicians, bedroom artists, retro legends and other wonderful weirdos.
⟶ Ready to read on Easterndaze.
📷: Ola Szkudłapska
💽 Read our review of the newly reissued Jugoslavija Wave compilation, which curates a rich selection of ex-Yugoslav post-punk and new-wave tracks from the 1980s, emphasising the scene’s diversity, regional nuances, and its unique position within a socialist cultural framework. Originally brought out by World Gone Mad, re-released by @deathisnot .
While praising the compilation’s broad yet accessible curation, musician and ex-Yu expert Nikola Vitković reflects on the paradoxical openness of Yugoslav state-run labels that helped shape a vibrant yet underappreciated underground music legacy.
⟶ Ready to read on Easterndaze.
📷: lead photo by Goranka Matić, courtesy of Museum of Contemporary Art, Belgrade
