To Be Or Not To Be – While In The Middle The Becoming
Saout Radio, 57'43", 2017
To be or not to be. Being, becoming. Identity has turned into one of the most politicized and slippery spaces. Poet and philosopher Edouard Glissant recognizes that identity is not a monolith idea. We are, because we are in relation with the other. Our roots are like the ones of a plant or a tree, they make us grow by the meeting of other roots and they meet like crossing hands. Guided by these ideas Saout Radio proposes an one hour immersion into a sonic panorama, exploring the notion of identity through different languages and formats, through different sensibilities and voices.
Written and edited by Anna Raimondo
Jingle & music selection: Chloé Despax
English translation: Jennifer Herth
Design: Stefan Pollak
Artists: Hannibal Andersen (DK), Younes Baba-Ali (MA), Maria Balabas (RO), Youssef Ouchra (MA), Karen Power (IRL), Anna Raimondo (IT), Sama Waly (EG) Carte Blanche to Radio Papesse (IT).
Curated by Younes Baba-Ali and Anna Raimondo for Saout Radio
Commissioned by Alya Sebti for ifa Gallery Berlin
Younes Baba-Ali: Tout le monde s’appelle Mohamed
Imagine a sound that could not only be produced but also heard by the listener, a sound he could physically and instinctively react to. Imagine a direct form of interaction based on sound. This is the beginning of this piece, where, in the street, a voice calls “Mohamed”, an exclamation addressed to any unknown male. A frank and brutal call which fills the gap left by the radio medium, where you can only imagine the listener’s feedback.
Hannibal Andersen: In the gap
In my little seat, in this machine made of metal, I am destined to wait while I am being transported towards my destination. I am forwarded, swiftly, yet my body remains still. My senses unfold and sharpen as time and distance collapse in the gap between A and B. There is no letter between A and B, only a gap. And, in this gap, I discover the subtle harmonics in the humming of the engine. There is nothing between these harmonics either, except the ever-present background noise, demanding my attention.
Anna Raimondo: Untitled (the stranger, the water and what I am)
“(…) Anna Raimondo is aware that every definition is a limitation, a frontier in itself, something that unites but also separates that can be impermeable. A stranger splashes her at each definition she declares about herself as a woman, as a feminist, as an Italian, as an artist in a metropolis such as London... each water bucket thrown against the performer carries the innocence and violence of games. By the way, being soaking wet, being baptized, are themselves rites of passage, alluding to fluidity, instability, permanent changeability. The action here aims at approaching one of the thorniest issues of the time: if identity has effectively become the battleground of political confrontation, what should we expect when finding that no space for self-definition is any longer available?”
(Text: Maria Iñigo Clavo)
Sama Waly: Monologue
A bodiless voice speaks in first person, in attempt to define ‘I’ … When a voice becomes ‘nothing’, in this nothingness is reborn as language, it transforms into a breath, and eventually reaches silence; you have witnessed the existentialist crisis of language.
Radio Papesse (IT), 10’, 2016
A journey into Radio Papesse sonic archive in response to Glissant’s approach to relational identity.
Youssef Ouchra: Expiration récurrente
Breath out, breath out again... Breath out in search of a limit. Fill in the creases.
A bag full of breath. Whisper in the veins. Breath the vacuum in and breath out, and breath out again. A regular exhalation.
Karen Power: Fried rice, curried chips and a diet coke
RTÉ , 10’32’’, 2008
In recent times, I have become very interested in using the sound of words and syllables as musical material. I wish to draw on Trevor Wishart's view in support of my approach to words and language in the context of this piece. 'I am going to propose that words never 'mean' anything at all. Only the people 'mean' and words merely contribute toward signifying peoples' meanings.
Maria Balabas: Limitele Limbii Mele
Ludwig Wittgenstein's text is the starting point for this artistic approach. I wished to research empirical the semantics which this phrase can receive through the simple translation from one language to another. For this, I used the social media and the foreign languages departments of the Romanian Broadcasting Corporation. O used every recording people sent me and the result is this collage in which Wittgenstein means not only translation, but different intonations, multiple recording mediums, an invisible international community connected through the very simple response to the question "How would you translate in your language the limits of my language mean etc etc..."
Saout Radio, 1h 1'49'', 2017
There are as many sounds as possible ways to be woman.
As many women as possible feminisms.
As many feminisms as possible sounds.
Randa Maroufi: "Close-Up"
How a famous painting of western art history from the 19th century is interpreted by Moroccan people of my surrounding today?
"Close-up" is a participative work which invites various people of my network (friends, family, artists,…) to describe or to comment via whatsapp Gustave Courbet’s painting "The origin of the world” .
"Close-up" is especially a way to speak about the « intimate thing » and about its representation.
Randa Maroufi (born 1987, Casablanca, MA) works and lives in Paris (FR). She is a visual artist and film maker graduate from the University in Tetouan, Angers and Le Fresnoy.
Cathy Lane: "Hidden Lives"
"Hidden Lives" (1999) explores ideas of the house as a repository of memories, and of women as the curators of hidden histories. The themes of the domestic, family and the lives and histories of women which I first investigated in Hidden Lives have surfaced repeatedly in my work as have some of the compositional strategies used in the piece, such as composing with the voices of friends and family; the sounding of written text and the use of recorded spoken word as primary material.
"Hidden Lives" was commissioned by the Institut International de Musique Electroacoustique and realised in their studio in Bourges, France.
Cathy Lane is a composer, sound artist and academic based in London (UK). Her work uses spoken word, field recordings and archive material to explore aspects of our listening relationship with each other and the multiverse. She is currently focused on how sound relates to the past, our histories, environment and our collective and individual memories from a feminist perspective. She is a Professor of Sound Arts and Director of CRiSAP (Creative Research in Sound Arts Practice), University of the Arts London.
Habiba Effat: Q //\\ يا واد يا بت
2017, 18 minutes
Q //\\ يا واد يا بت is a sound piece created using manipulated field recordings of daily, personal interactions that attempts to explore the intersectionality of gender performance, spatial negotiations and class dynamics within public encounters in Cairo.
Habiba Effat (b. 1991 in Cairo, Egypt) is a Cairo-based sound artist and writer. With a BA from the American University in Cairo, she currently works with independent online news outlet Mada Masr.
Myriam Pruvot: “Foudre Chant”
Sound sequence map which intersects recording and vocal improvisation. It is a single take, the singing is given raw, in a different place each time. Broadcast on laviemanifeste live performance at Festival Monophonic à Bruxelles
Fair Play Medley
Medley, with sound and music by: Loïse Bulot - Isabelle Stragliati - Méryll Ampe - Maria Cristina Kasem - Anne Laure Pigache - Anne-Julie Rollet - Aline Penitot - Pôm Bouvier b. - Anna Raimondo - Lola Ajima - Myriam Pruvot - Christine Groult - Sophie Lacaze - Soizic Lebrat - Sophie Couronne - Marie Lisel - Julie Mondor - Julia Drouhin - DinahBird - Lucie Bortot - Claudia Wegener - Carole Rieussec - Ocean Viva Silver - Sassy Hertz - Crystal DJ Kwe Favel - Abbigal Muleya - SheWolf