Haramacy acts as catalyst for cross-cultural engagement for artists from Black, Indigenous, and People of Colour (BIPOC) communities. It creates a space for BIPOC artists to collaborate and create works that explore intersectional social issues (race, gender, class, and ethnicity) that exist within their communities and those of their peers.

Haramacy is comprised of an online residency program and an evening of combined arts performances; bringing together storytelling, music, visual, and more to celebrate outsider narratives.

The title Haramacy, is an amalgamation of the Arabic word ‘haram’, meaning indecent or forbidden, and the English word ‘pharmacy’, implying a safe, trustworthy space that prescribes the antidote to ailments caused by intersectional, social issues.

Now in its 3rd edition, Haramacy is presented by COMMUN in London, Bristol, and Birmingham to advocate for higher BIPOC participation in the Arts.

The earlier you book your tickets, the better the price will be!

Participating artists include:

Jamila Boughelaf

Jida Akil

John Antony

Kumail Rizvi

Nia Fekri

Nikta Mohammadi

Olivia Melkonian

Pritt

Rahemur Rahman

Sakina Saidi

 

Tickets: 

Final Release: £20 (current price)
Doors: Subject to availability (ticket prices may increase)

Discounts will be automatically applied once you select the number of tickets and click ‘Next’ (when applicable).


About COMMUN

COMMUN is a combined arts co. and charity with a focus on community building for emerging and mid-career Black, Indigenous, and People of Colour (BIPOC) artists. Through projects, events, and digital media, COMMUN creates opportunities for BIPOC artists to collaborate and create works to achieve a greater understanding for ‘othered’ people in our society.

Follow Haramacy on Instagram.

Engage with COMMUN online.

Funded by

Arts Council England

Foyle Foundation

COMMUN

 


 

We are constantly monitoring the government’s COVID-19 guidelines. Should the situation change, the event will be postponed and bookers will be notified in regards to their options.

Supported by the Garfield Weston Foundation through the Weston Culture Fund