Jad Saliba will share his research project Lām(ل)

At the beginning of the Great Palestinian Revolution against British colonial forces in 1936, the Tarweeda emerged as a sonic tool for coded communication between detainees and their families, cleverly disguised in the form of songs. Exclusively sung by women, the lyrics employed symbolic phrases and techniques such as repetitive syllables—notably the letter Lam (L)—to convey messages of resistance and logistical coordination without arousing suspicion from colonial forces or occupiers.

Framed within an ecology of affect and exploring the potential of active sonic resistance, the Tarweeda, as an encrypted song, establishes a robust foundation for imagining a tangible sonic space. By embedding resistance within its structure, it offers insights into how sound can serve as a medium for both subversion and solidarity.

This project envisions the letter Lam as an early form of a « glitch »—a deliberate stutter that activates a nurturing sonic environment and acts as a catalyst for decolonization. It reclaims and transforms radio warfare technologies, relying solely on voice as the primary weapon of resistance. The inherent glitch within the Tarweeda introduces a distinct sonic realm, suggesting the possibility of uncovering a sonic code—a temporal and rhythmic arrangement that leads to fragmentation and transformation.

Within this context Jad’s research focuses on aspects of sonic resistance, solidarity and sonic identity, using modern drum machines as a primary medium to communicate with the concept of Tarweeda. Moreover, he asks: What forms of collaborative sonic practices could emerge from this interplay? Ultimately, what can the Tarweeda teach us about the process of decolonizing sound?