Adam Seid Tahir (they/them) is a choreographer and creative technologist. Their two roles involve crafting performative work, coding websites, making video installations and crafting sensor-based instruments. Adam uses speculative imagination as a tool of resistance and centers their work around creating loud immersive black queer fiction. They are interested in mythological beings, daydreaming and crafting affective machines. These interests often intersect through water, where they take the shape of sirens, waterfalls and submerged transatlantic communication cables.

During the next years Adam will continue to tour their and Amina Seid Tahir’s piece several attempts at braiding my way home. Showing this year at Ravnedans and Kampnagel Summer Festival.

In 2024 they will be making a new work EMBRACE together with their collective Embrace (Lydia Östberg Diakité, Meleat Fredriksson and themself). Here they will work with the braid and braiding as a social practice to care and heal within chosen and blood families. Premiere May 2024. In the next 2 years Adam will be developing another piece siren where they’ll dive into myths about sirens, näcken and the mermaid. Stories about beings that lure with sound. Adam is interested in the performativity of seduction and creating time-space portals through music. They’ll be creating 2 musical instruments that will be part of a longer research into combining their choreographic and creative technologist practices. Premiere May 2025.

More: adamseidtahir.xyz

Adam Seid Tahir (they/them) will share some early fragments from their ongoing research on fictive archaeology. They’re conducting this research as both a longer research project and the starting point for their new work Dawn.

In this research they’re diving into the creation of fictive artifacts from a queer Afro-Nordic folklore.

Adam is interested in the idea of the time capsule: the deliberate practice of leaving something behind for the future. The process of archiving an experience or wish. Adam is interested in the time capsule as a method for story-telling, as well as the political considerations of what to leave behind and how. This stands in stark contrast to the often violent and colonial methods of extraction that characterizes much of the tradition of archaeology. In their research so far Adam has worked with metal etching and somatic excavation. Now at Veem, Adam is interested in exploring methods for printing on hair and looking at the history of runes and their connection to the Vikings’ contact with northern Africa.

On 28 September Adam will present part of their research in the studio of Veem at 19:00.

Dawn is the first work in a series by Adam Seid Tahir that reinterprets the oldest Nordic runic alphabet through a queer Afro-Nordic lens. This runic alphabet is called the "Elder Futhark," and its origin is disputed, both in terms of mythical stories and geographical source.

This piece departs from the rune Dagaz, a rune symbolizing day, dawn, light and hope. But what can hope mean in the margins? Like all runes of the Elder Futhark, Dagaz carries many myths.

Through these stories Dawn forms reinterpretations and alternate associations for hope. With practices of engraving, etching, dragging and riding big matters, the room transforms into a shifting landscape in a never-ending cyclical dawn.