What happens, when choreography creates music? Choreographers translate practices of experimental sound production. Musicians re-interpret choreographic concepts of contemporary dance. In six collaborations practices of extended choreography meet practices of experimental music. The concerts are accompanied by a symposium of panel discussions, offering insights into the practice of transdisciplinary translation.
LABOR SONOR : TRANSLATING MUSIC understands musical translation as a means of exploring artistic identities, modes of thought and of working. At the same time, it acts as a process of confrontation and negotiation, of construction, and of shifting seemingly fixed boarders and differences. The focus of the festival is the variety of translation-concepts from the artists and therewith, the question of how artistic methods observe, interpret and understand one another.[soundcloud url=”https://api.soundcloud.com/tracks/257489458″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]
On Friday, after the Symposium there will be performances by Litó Walkey composing for/with Biliana Voutchkova, Nile Koetting composing for/with Annie Gårlid, Antonia Baehr composing for/with Johnny Chang + Neele Hülcker + Lucie Vítková:
Litó Walkey’s choreographic work explores the eclipsing of time, self, expectation and intention. Rather than expecting a projection of meaning, we may look closely to ask ‘when and what is this?’ The violinist Biliana Voutchkova works on intersections between music and dance. Together Walkey and Voutchkova will explore the presence of the body and its routines in the contexts of dance and concert.
Nile Koetting, multimedia artist and dancer with Constanza Macra’s Dorky Park is examining, together with the singer and violinist Annie Gårlid, the corporeal activity of music-making against a backdrop of the industry of classical music training, the construction of ‘talent’ and the production of stars: what reality does the body have on stage? What sort of artificiality emerges through ‘show business’ and the staging of the body?
Antonia Baehr choreographs emotions, movements of temperaments and mentalities, in-between spaces and interspecies relationships – between people, animals and other entities. For LABOR SONOR : MOVING MUSIC she is using scores and game practices for participating musicians as a source of inspiration, after which these are then translated into a choreographic context.[soundcloud url=”https://api.soundcloud.com/tracks/265872655″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]
The Symposium will take place also on Saturday, and from 20:00 CET there will be the following performances:
The choreographer Fernanda Farah, trained as a singer and dancer, working together with the composer-performers Capece and Ercklentz against the often postulated abstractness of contemporary music and contemporary dance, linking instead to their levels of association and signification.
The choreographer and dancer Takako Suzuki, who has worked with Sasha Waltz since 1992, derives inspiration in her collaboration with the tubist Robin Hayward from his musical aesthetic, to which she ascribes a special ‘quality of stillness’.
The choreographer, philosopher and performer Clément Layes interrogates the relation between material object and ephemeral sound object. In the complex stage installation played by Steve Heather, the instrument becomes the object and the object the instrument.[soundcloud url=”https://api.soundcloud.com/tracks/196453522″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]
Musicians who work in the field of new music, actual electronic music and intermedial music formats translate works from protagonists of Berlin’s Echtzeitmusik into their own musical praxis. Composer-Performers of Echtzeitmusik translate compositions from minimal techno, avantgarde pop, and new music. This results in re-compositions, transferences, reinterpretations and transformations crossing borders.
The diverse genres and scenes selected are musical concepts and aesthetics that were relevant for the history and origins of Echtzeitmusik, and that still form reference points in the scene’s diversity of methods of working today. LABOR SONOR, a platform for Berlin’s Echtzeitmusik, presents and investigates this diversity and heterogeneity since the year 2000.
This event is presented by Digital in Berlin. Check out our Facebook page to win tickets.
Labor sonor: moving music festival
Friday-Saturday, 23-24th September 2016 | 20:00 CET
Ballhaus Ost | Pappelallee 15 | 10437 Berlin/Prenzlauer Berg