READER: SONIC WRITING & SOUNDINGS
multiethnic, rhizomatic, international, poetic electronic music
Duration in total: 50’
All pieces were developed together as part of the workshop SONIC WRITING & SOUNDINGSat Darmstadt Summer Course 2023 and will be performed for the first time.
In cooperation with Goethe-Institut.
* The piece Mothertongue includes excerpts from the text “Stories of the Mothership: Charles Uzor and the Mothertongue” by Jessie Cox, from the book “Composing While Black” (ed. by Harald Kisiedu and George Lewis), p. 117
Sonic Writing & Soundings – multiethnic, international, rhizomatic, poetic project, conscious entities whose realities lead them to engage into important discussions while creating and performing: politics, socio-economic realities of the non-Western world, feminism, ecology – a work in progress but not yet popular enough in the field of contemporary classical and electroacoustic music. We use found sounds and found objects, electronics and acoustic instruments, we tell you about some of our daily lives, in various languages and diverse ways of expression. If we had a point of reference, it could be Sing Me a Song of Songmy, İlhan Mimaroğlu and Freddie Hubbard’s masterpiece, heavily inspired by Güngör Mimaroğlu’s socio-political activism. Güngör was an activist engaged against the Vietnam war, opposing racism, etc. She was also Mimaroğlu’s wife. The album from 1971 blends jazz, classical, electroacoustic, Turkish poetry, and political activism.
Lindatumune Mudimba (Voice, Text, Objects)
Farzané (Field Recording, SuperCollider, Ableton)
Sabrina Eka Felisiana (VCV Rack, FL Studio, Field Recording)
Annisa Maharani (Voice, Hand Bell, Kaossilator)
[M] (Sonic Pi, Ableton, Bass, Drums, Polyrhythms)
Mira Tulenova (Flute, Shanqobyz, Voice)
Zelal Ekinci (Accordion)
Cedrik Fermont (Electronics, Processing)
AGF (Field Recordings, The Oscilllator, Voice, Mixing)
Due to the Covid-19 pandemic, the first issue of the SONIC WRITING & SOUNDINGS workshop at Darmstadt Summer Course 2021 took place online. The participants met everyday on platforms such as Discord and Zoom, shared knowledge and experiences and remotely worked on the compositions that you can listen to here (or on Soundcloud).
This is quite a magical experience, thinking about the worlds within this big world.
We didn't know what was going to happen, and I found that interesting. We didn't have any guidelines, like: Make a piece that goes for half an hour and is done with these instruments and that technique.
The course is not intended to be a one-time project. We want to build long-term relationships that will then lead to something new.
The ideas, presentations and even the pieces were developed together. So it wasn't like someone just came along and told us: We're going to do it this way or that way. But we also developed the ideas all together. This collective approach was a good exercise for me.
Simply being connected to a community of experimental female musicians made "Sonic Writing & Soundings" complete for me.
In Zimbabwe, we, the Tonga people, are looked down upon. Many people think we are inferior, they have prejudices. We need to draw attention to ourselves, share our culture on Instagram, so that people see that we are people just like them.
The workshop changed the way I work, for example how I now approach this soundscape or that soundfile. You have a recording, but each one has a different perspective on it. Someone edits your recording and suddenly you hear things in it that you didn't notice before. I've personally learned how differently people work artistically. And also I learned about the importance of sociological or conceptual points of view in making music. That also made me rethink some of my previous approaches.