Differential Ensembles

Finding Cladina along the points of burning

Radical Not Knowing

Confined To Hardcover

The Recognitions

Introduction

Jigsaw Dancing

Share

Love is my only Shield II - Watering the Stapelia and Mint

A Certain Air

Darling The Pickled Fish

I Care enough to Introduce The Pigeon

Peach

Download full album at Bandcamp: healeroran.bandcamp.com

To Huff And Puff And Fluff

Useless Fathers

A sound design piece I worked on while I was assisting at the GoetheonMain exhibition "To be Determined" by Johannesburg based artists Skye Quadling and Karin Tan. 

The piece explores the meaning of my identity as a "coloured" person in South Africa. It was a form of therapy to look into the meaning I hold in my own eyes, and how my 'heritage' influences my current narrative. 

The term "coloured" has always been taught as a classification to me rather than a "race" or simple grouping. And I've fully abandoned it, primarily because there has been no new thought linked to it. 

Many South Africans talk about the culture and heritage surrounding mixed race people, which is in fact built on stereotypes formed by society, that we've carelessly accepted in order to join the various discussions at hand. But in accepting that place handed to us we've adopt the flawed arguments our confused elders have forged, either from colonial or religious rule. 

This activity in the wider socioeconomic discourse forces us to ignore the open canvas we've been given, therefore hindering our ability to actually bring newer ideas. 

This piece is my expression of appreciation for this open canvas I've been handed, and an active attempt to reject the ideals that govern my place here. 

The racism that moves so carelessly at family gatherings, the patriarchal nature of my elders, the definitions surrounding gender that are supposed to be challenged but haven't. etc.   

Work in Progress #4 -

This is a loop I created that forms part of of exhibition entitled "If we burn there is ash" by Talya Lubinsky and the Anthropology Department at the University of the Witswatersrand. 

Have worked with the archival tapes of the music of Tsonga people from the 1960's, I felt a great disconnect from the source material due to the flawed and outdated methodologies used by the researcher which framed the performers as "subject" rather than understanding or putting forth their experiences and culture. 

I felt I needed to find my own way of connecting with the material handed to me and the only way to be true to the recording is to be true to oneself. By stripping away various aspects of the recording and leaving the essential, I wanted to express the true meaning behind the music recorded. 

The carvings in burnt tape (loop)

The opening track to the new release that I will putting out later this year! A collaboration I've worked on. A mix of punk, krautrock, noise and field recordings I've collected.

Hula

A performance for "Welcome to Frontier Country", an exhibition by artist and filmmaker Simon Gush, which opened at Stevenson Gallery in Cape Town in 2019.

The performance is a collection of pieces composed for the exhibition's accompanying film of the same name.

An exercise in engaging with creations developed over a year and a half, with simple guitar and piano compositions, small improvisational bursts, and feedback experiments which had been morphed and resketched a few times before the final result.

The live performance was made up of film compositions rehashed, remixed and reinterpreted.

03 - Healer Oran - Only Sunsets

02 - Healer Oran - A Button Without A Hole

01 - Healer Oran - Sentimental

Healer Oran is a noise and industrial music project from Johannesburg
Bandcamp: 
https://healeroran.bandcamp.com

Facebook: https://www.facebook.com/healeroranza

Bookings & Press: healeroran@gmail.com

Healer Oran

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