On a full-moon night in Jamaica, Nyabinghi, one of the most ancient Rastafari ceremonial practices, unfolds as a living ritual in which drums, chants, and fire gather bodies into a shared field of clarity. “Tonight we a chant,” a young Rasta tells German Iraki. “We a do the opposite of what the evil man a do. We use the moon for prosperity and to fight evil spells.” Nyabinghi uses rhythm to cleanse; it is a kind of spiritual technology, transforming communal presence into a practice of grounding, healing, and collective awareness.

Beginning with a theatre piece about a man in love with a silicone sex doll, Simon(e) van Saarloos, author of Against Ageism: A Queer Manifesto (SPBH, 2025), explores attachment without reciprocity and the material conditions of care and projection. Turning to animegao kigurumi, and through a dialogue with Oshiruko Chan, a forever seventeen-year-old fictional character with large blue eyes and blonde hair, Simon(e) explores how masks and garments shape behaviour rather than express identity, positioning age as a structuring fiction and the self as an architectural phenomenon.

From the sweat-drenched chill-out rooms of early-90s Brixton to the algorithmic sprawl of contemporary ambient rave: how a music born to hold bodies through altered states became a survival grammar for the dissociative drift of digital capitalism in a world that never quite comes down.