Football is intricately linked with transit. Players travel to participate in international competitions alongside teams from around the world, and often relocate to join football clubs.Their roles very often extend beyond the playing field, becoming inspirational or even celebrity-like figures to their communities back home or for their respective diasporas. Players with migrant backgrounds in particular bring with them their exceptional talent and expertise as well as their memories, traditions, and distinct rhythms. Diego Maradona, who would celebrate his goals by dancing to cumbia villera, brought the electronic beats, synthesizers, and repetitive melodies of this popular subgenre of cumbia from Buenos Aires to resonate in stadiums around the world and to greater prominence. Just like Roger Milla’s famous ‘corner pole dance’ after each goal he scored for Italia ‘90 was a physical and performative manifestation of Makossa, Assiko, Mangambeu, Bikutsi and Rumba music, dances and philosophies on the football pitch.

The impact of sonic migration in football becomes especially palpable during major events like the World Cup or the European Championship. During the 2010 men’s World Cup in South Africa, in a moment of unity, the stadium crowds often found themselves singing along to the chorus and phonemes of ‘Zamina mina (Zangaléwa)’, a 1986 hit by the Cameroonian group Golden Sounds/Zangaléwa, which was left uncredited and brought to global prominence by Shakira’s ‘Waka Waka (This Time for Africa)’, the official song of the tournament.

In the spirit of acknowledging diasporic and sonic migration through football, the Music and Sonic Practices programme celebrates the Afro-diaspora in Ballet of the Masses around three pivotal sonic pass moments:

On 7 June, the programme opens with a concert by Meiway & The Zo Gang and a DJ set by Hanaby. Meiway is a prominent musician and songwriter known for his contributions to Zoblazo, a popular urban music genre that originated particularly in the early 90s. It is characterized by its fusion of traditional Ivorian and Ghanaian rhythms, such as those from the N’zema, Bété and Baoulé, along with influences of funk, pop, electronic music, and which gave rise to Coupé Decalé. Zoblazo music became widely popular not only in Côte d’Ivoire but also in other West African countries and among African diaspora communities around the world. 

After the performance by Meiway & The Zo Gang, Berlin-based DJ Hanaby brings the night to a close with a set that promises an experimental and visionary fusion that draws inspiration from the global diaspora, Hanaby seamlessly integrates elements of gqom, dancehall, kuduro, and more, crafting a rich and dynamic sonic mosaic. 

On 27 June, the second moment takes the form of an interlude. On this date, Music and Sonic Practices intersect with Literature and Oraliture practices via the sonic intervention Tell Me What You Listen and Dance To, And I Will Tell You Who You Are led by Angolan writer and musician Kalaf Epalanga, internationally known for fronting the Lisbon-based collective Buraka Som Sistema. Epalanga’s contribution revolves around musical tastes and moments from significant football tournaments like the World Cup and the African Cup of Nations, inviting the audience to reflect about identity constructs shaped by music and sports.

The third and final moment of the programme on 11 July marks yet another intersection, this time with the Sonic Pluriverse Festival: Terapia. DJ and curator of Music and Sonic Practices Edna Martinez kicks off the night with a set of sounds spanning from the Caribbean to West Africa. Following this, Kwashibu Area Band featuring highlife music legends Pat Thomas, Charles Amoah, and K.O.G. take to the stage for a unique performance in celebration of the 2024 release of Ghana Special from Soundway Records, resonating with the Burger-Highlife movement of the 1980s and 90s. During this era, Ghanaian musicians migrated to Europe, notably to Germany, where traditional highlife seamlessly fused West African melodies with disco, boogie, and funk. This fusion reflects the incorporation of different technologies into these genres, showcasing the evolving sound of the Ghanaian diaspora.

To close the night, the crew behind Oroko Radio, an independent radio station based in Accra, take to the stage. With a mission to connect, inspire, and empower through conversation, collaboration, and community engagement, Oroko Radio seeks to reclaim and center narratives from African and diasporic artistic communities. Residents in Berlin perform a live B2B DJ set broadcast by Nico Adomako and Moneyama, bringing the vibrant sounds of Oroko Radio to HKW.