MIRA新伝統 began in the underground art scenes of Tokyo, where electronic musician Raphael and performer Honami first merged their practices into an experimental dialogue between sound, movement, and theory-fiction. What started as an exploration of sonic landscapes soon evolved into immersive, ritualistic performances—acts of world-building that resist cultural homogenization and reimagine non-human mythologies.
Since relocating to Athens, they have been performing across Europe, bringing their hybrid audiovisual rituals to festivals such as 3HD Festival (Berlin), La Station Électronique (Paris), Unsafe and Sounds (Vienna), and Krama Festival (Greece). Their work blends electronic music, speculative storytelling, and live ritual to summon alternative futures.
MIRA新伝統 began in the underground art scenes of Tokyo, where electronic musician Raphael and performer Honami first merged their practices into an experimental dialogue between sound, movement, and theory-fiction. What started as an exploration of sonic landscapes soon evolved into immersive, ritualistic performances—acts of world-building that resist cultural homogenization and reimagine non-human mythologies.
Since relocating to Athens, they have been performing across Europe, bringing their hybrid audiovisual rituals to festivals such as 3HD Festival (Berlin), La Station Électronique (Paris), Unsafe and Sounds (Vienna), and Krama Festival (Greece). Their work blends electronic music, speculative storytelling, and live ritual to summon alternative futures.
MIRA新伝統 began in the underground art scenes of Tokyo, where electronic musician Raphael and performer Honami first merged their practices into an experimental dialogue between sound, movement, and theory-fiction. What started as an exploration of sonic landscapes soon evolved into immersive, ritualistic performances—acts of world-building that resist cultural homogenization and reimagine non-human mythologies.
Since relocating to Athens, they have been performing across Europe, bringing their hybrid audiovisual rituals to festivals such as 3HD Festival (Berlin), La Station Électronique (Paris), Unsafe and Sounds (Vienna), and Krama Festival (Greece). Their work blends electronic music, speculative storytelling, and live ritual to summon alternative futures.
MIRA新伝統 began in the underground art scenes of Tokyo, where electronic musician Raphael and performer Honami first merged their practices into an experimental dialogue between sound, movement, and theory-fiction. What started as an exploration of sonic landscapes soon evolved into immersive, ritualistic performances—acts of world-building that resist cultural homogenization and reimagine non-human mythologies.
Since relocating to Athens, they have been performing across Europe, bringing their hybrid audiovisual rituals to festivals such as 3HD Festival (Berlin), La Station Électronique (Paris), Unsafe and Sounds (Vienna), and Krama Festival (Greece). Their work blends electronic music, speculative storytelling, and live ritual to summon alternative futures.
MIRA新伝統 began in the underground art scenes of Tokyo, where electronic musician Raphael and performer Honami first merged their practices into an experimental dialogue between sound, movement, and theory-fiction. What started as an exploration of sonic landscapes soon evolved into immersive, ritualistic performances—acts of world-building that resist cultural homogenization and reimagine non-human mythologies.
Since relocating to Athens, they have been performing across Europe, bringing their hybrid audiovisual rituals to festivals such as 3HD Festival (Berlin), La Station Électronique (Paris), Unsafe and Sounds (Vienna), and Krama Festival (Greece). Their work blends electronic music, speculative storytelling, and live ritual to summon alternative futures.