19. Echoes in the Fold

pantea

Echoes in the Fold

8:25

Echoes in the Fold

pantea

This piece works with recorded sounds that are barely altered—just enough to reframe them. The focus stays on what’s recorded, remembered, resurfaced, and how different sonic moments speak to each other when placed in the same space. The samples span sounds from and within Iran: wartime alarms, home recordings, village life, a lizard and swifts, radio frequencies, and improvisations. The piece progresses through the overlapping of Sant Joan in Barcelona and Chaharshanbe Souri, an Iranian fire-jumping tradition. The festivals—so alike in spirit—fell on the same week war began in Iran. That coincidence gave the work both weight and urgency: a way to process grief, disorientation, and disconnection. It’s also a contribution to the Khamoosh Sound Library and community, in which I’m a member and co-founder—an evolving archive as much about the present as the past. And a reminder that sometimes, just listening—closely, actively—is a radical act.

This composition uses the following sounds:

Artist bio

pantea (b. 1992, Tehran) is an artist and writer from Iran whose practice explores how sound translates ecological connection, collaborative survival and the unheard. Her work spans listening, walking, writing, cooking and making – things, relationships and forms of hospitality. She is especially drawn to wetlands, plants, especially the Sundew. She is a member of Khamoosh – a community archiving Iranian sonic heritage through everyday sounds. Her broader work has been performed and exhibited internationally. She is currently pursuing a practice-based PhD in Music at St George’s, University of London. More recently, she has been navigating the slow violence of immigration systems – and thinking through how struggles across different contexts connect.