من مانيلا إلى دبي: كشف رحلة سونشاوني من خلال الموسيقى والفن

by Dara Morgan

من مانيلا إلى دبي: كشف رحلة سونشاوني من خلال الموسيقى والفن

27 Dec 2024

On December 21, the first STR in-store record session took place at the Flip Side Dubai, featuring the multi-talented musician and DJ Sonchauni. Known off-stage as Assi Abogado, Sonchauni’s eclectic approach seamlessly moves between sticky and seductive beats to textured, laser-like soundscapes. Their sets weave intense atmospheres, blending experimental electronic music with a distinctive, storytelling flair.

Listen to the recorded session at STR.

— As a multidisciplinary artist, your work spans a variety of mediums. Could you share more about what your creative journey has looked like so far?

— I have been engaged in visual arts for quite a while, beginning with my formative education at the Philippine High School for the Arts, where I cultivated a strong foundation in my traditional practice. This was later complemented by my studies in Multimedia Arts during college. Having spent most of my life in the Philippines before relocating to Dubai three years ago.

My practice spans illustration, painting, sculpture, performance, and more. With each project, I try to incorporate multiple facets, steering away from traditional formats to explore diverse visual languages.

A significant influence on my work came from being chronically online, especially around 2016–2017, when I began exploring various subgroups and subcultures online. would say this was my golden period, which essentially funneled my interests and defined the trajectory of my work. By 2018, I started becoming more present in Manila’s nightlife scene, particularly through a queer techno party called Elephant. It was a warm, welcoming space that nurtured my interest in music and eventually DJing. Over time, I became more involved, taking on the role of visual director for the event.

— You have had quite a journey in this field.

— Definitely! It has never been linear — it involved many stops and shifts. But the thread tying it all together has been a genuine curiosity and a drive to find where I belong. I have often found myself gravitating toward communities and interests that resonate with me, seeking that sense of belonging.

When I moved to Dubai and started working at The Flip Side, I dove straight into exploring the scene here, with many of my friends now noting how quickly I integrated. I guess it aligned with my constant pursuit of connection and finding people within that wavelength of interest. Working with groups like Dancewerk, Hani and Suzanna has been an extension of that exploration.

Instagram: @sonchauni; Courtesy of Art Jameel

— How do your different artistic practices influence each other?

— I think this question leans toward understanding how these influences merge. Art and music both have distinct communities, but there are numerous intersections. Though I’d say I am more somehow immersed in the music scene than fully tapping into the art scene in Dubai.

My visual art practice often reflects themes of yearning, identity, and searching. Similarly, in music, I try to convey narratives — stories that help people feel a sense of belonging. When I work on my sets, it is not just about mixing tracks but crafting a narrative that unfolds throughout the set.

— Do you adapt your music to different events?

— Definitely. My background spans various music scenes, and I have drawn influences from a wide range of genres. For example, I have been inspired by 90s queer house music from my time in Manila. However, I also gravitate towards more left-field electronica, which I feel is less represented in Dubai’s current scene.

Throughout my sets, I balance genres in a way that caters to the audience while introducing nuanced selections. At the end of the day, people want to dance, and if your music becomes overly snobbish then it can fail to resonate. Audiences often gravitate toward something familiar, and the challenge lies in presenting that familiarity with your touch to it. It is about understanding the theme while aligning with it and maintaining a strong sense of personal curation.

For STR Sessions, I am taking a more experimental approach, leaning toward selections that reflect what I feel is missing in Dubai’s scene. Mostly from artists I have grown to love over time but hasn’t yet gained significant prominence here.

— What projects and collaborations are you excited about?

— Recently, I illustrated for a Berlin-based magazine called Majin. Their second issue focuses on the concept of Kapwa. I created two diptych artworks for an essay in the issue. It took about two weeks, and I enjoyed experimenting during the process. I don’t have a fixed method; I work traditionally and digitally, depending on the project.

Majin Illustrations

— Do you need to push yourself to finish your work?

— It is a mix. Sometimes the creative process flows effortlessly; other times, I get tunnel vision and nitpick endlessly. When I feel stuck, I try to shift into another project to sustain that creativity buildup without forcing it of course.

— Many creatives end up shelving unfinished work.

— Exactly. For me, maintaining a positive relationship with my art is essential. If it starts to feel like I am not having a good time with it, I step back and focus on something else. I believe our relationships — with people, ourselves, and even our work — shape how we interact with the world.

— You once mentioned you were considering taking a break from social media. Did that happen? How did it affect you?

— That was just a meme reference! I said I would take a break to focus on the “voices in my head,” but I never actually did. I am conflicted. I have curated my algorithm to show mostly what interests me. Social media can be overwhelming, but I value staying informed about the world around me. It is all about balance — staying present online while avoiding overconsumption.

— What music are you into these days?

—The Wicked Soundtrack (I was almost a theater kid).

by Dara Morgan