Sogokuru my new performative installation and part two of my series (Non) Humanism & Animism will get premiered early 2019 at CTM Festival in Berlin. Sogokuru literally means grandfather in Kinyarwanda and will be an ode to the incredible resilience and wisdom of my nearly 109 year old Rwandan grandfather: a HAPPY BIRTHDAY WISH, loud and proud, for everyone to be heard!
live worldpremiere jan/feb CTM 2019, Berlin (DE)
2019 – 2020 other tour dates in Germany, Benelux and beyond will follow
March 22nd 2019 radio premiere via Deutschlandfunk Kultur (DE)
Spring 2019 re-broadcasting via ORF, Vienna (AU)
+ other EBU Ars Acustica partners
Sogokuru is the winning project of CTM Radiolab 2019, realised in the framework of “CTM 2019 – PERSISTENCE“, and is a co-production with CTM Festival and Deutschlandfunk Kultur. It is co-funded by Deutschlandfunk Kultur and ORF.
iota mikro was first aired in April 2012 at Studio I, Den Haag (NL). It won the Third Prize in the Short Form category at the Grand Prix Nova 2013, Bucharest (RO). iota mikro is dedicated to my adorable then still two year old Rwandan Belgian godchild, Jerom Dom.
iota mikro in my own words:
In Summer 2011, I travelled for four months throughout East Africa, following my ears instead of following roadmaps, freely walking around and hunting for sounds as if they were endangered butterfly species. It’s then and it’s there I got the idea to start an ongoing personal archive of field recordings, and I baptized my project “Africa on Tape”.
Back in Europe from that epic trip back in my studio, I experimented with all the field recordings from my Africa on Tape archive, and my first opus became iota mikro in 2012. There is no real synopsis for iota mikro as it’s leaning towards abstract sound art. Translation is also not needed as most of the Rwandan words are used as pure sound poetry and non-semantic abstract sound bits, distorted or manipulated in another way.
I’m Belgian by adoption, and Rwandan by birth. I was born in a tiny traditional canopy hut on the foggy and chilly slopes of volcano Karisimbi and the Virunga mountains of Rwanda, far away and in big contrast with the sterile white maternity hospitals as we know them in the West. Curious about a specific sonic environment in which I spent the first period of my life, I back to the spot where I was born in 2011. Good to know, back in 2003, I already had made Nyrabikali, a realistic radio documentary about my first trip back to my roots in Rwanda. So on my trip in summer 2011, I no longer felt a need to make a veracious reconstruction of my past.
This time I got way more interested in an artistic reflection on my complex identity and a meta reconstruction of my life experience. iota mikro is set up like a dream sequence balancing between haunting flashbacks, desired and imagined memories. All sounds in iota mikro are completely derived from my field recording sessions in Rwanda in 2011, crafted together through a very old school straightforward analog editing technique. It was my wish to fuse both my passions and professions, radio and composition into one composition. ‘iota mikro’ is Greek for small iota. Iota is the smallest letter in the Greek alphabet, and ‘mikro’ just means small but could also refer to a microphone. And since my real paper birth certificate in Rwanda is actually missing, I created, with iota mikro, my own sonic birth certificate.
Two winning projects have been selected from an open call for the CTM 2019 Radio Lab. The organisers would like to thank everyone who took the time to submit their proposals, which totalled 175 entries from 43 countries, and collectively addressed the call’s themes and challenges from a wide and interesting array of perspectives.
Awarded by Deutschlandfunk Kultur – Radio Art/Klangkunst and CTM Festival, in collaboration with ORF musikprotokoll im steirischen herbst festival, Ö1 Kunstradio, and The Wire magazine, the CTM 2019 Radio Lab open call sought unusual explorations of the artistic possibilities of radio and live performance or installation mediums, while also addressing the CTM 2019 – Persistence festival theme.
With (Non) Humanism and Animism, Aurélie Nyirabikali Lierman researches (modern) forms of animism, and how animistic worldviews have managed to survive in spite of severe oppression through heavy colonization. Herself born in Rwanda but raised in Belgium, Lierman takes direct inspiration from a series of life-changing encounters with her 108-year-old grandfather, one of the last living Rwandan traditional hunters and doctors that has seen the pre-colonial country of his childhood pass through two colonization events (German and Belgian), the 1950s revolution for independence, the genocide and post-war massacres of the 90s, and the country’s present-day turmoil. Lierman’s family visits have resulted in an ongoing investigation into the soundscape of contemporary urban and rural East African, and of her native region of Virunga in particular. The Wire‘s Phil England comments: “(Non) Humanism & Animism will give festival attendees and radio listeners a unique perspective into a contrasting cultural perspective, one that we hope will transport listeners into another reality while providing an insight into a colonial past that needs confronting as well as a powerful, living example of persistence.”
“Persistence in Mexico, as in other parts of the world, or rather, throughout the world, today, is not a choice or a possibility: it is a condition to be able to survive, to be able to imagine a different future … contributing substantially to critical thinking and resistance throughout the world” writes Mexican sound artist Israel Martínez. With Love and Rage, the artist proposes a tribute to the persistence of resistance via a series of powerful, intimate performances that give “a very strong sonic statement on political activism in Mexico, resonating with many forms of persistence around the world.” Marcus Gammel (Deutschlandfunk Kultur).
The winning works will be premiered at CTM 2019 Festival in Berlin (25.01. – 03.02.2019), with radio versions to be broadcast via Deutschlandfunk Kultur (spring 2019). The works will also be presented by the Österreichischer Rundfunk (ORF Austrian Broadcasting Service) via one of their platforms: the ORF Zeit-Ton or Ö1 Kunstradio shows, or the ORF musikprotokoll im steirischen herbst festival in Graz in autumn 2019.
The jury consisted of:
Cedrik Fermont (independent artist and researcher)
Elisabeth Zimmerman (Producer, ORF Kunstradio)
Jan Rohlf (Artistic & Managing Director, CTM Festival)
Marcus Gammel (Curator, Deutschlandfunk Kultur Radio Art / Klangkunst)
Philip England (The Wire)
(Non) Humanism & Animism my newest performative installation was premiered by ensemble But What About this last weekend, at Gaudeamus 2018. Here a talk about the creative process moderated by Rens Machielse, former director HKU Muziek & Technologie. Interviewees are me & Marte Boneschansker (who also was featerud at Gaudeamus with her project BLOOS). – Extra guests: But What About (Wilco Oomkes), Matthías Ingiberg Sigurðsson (composer for BLOOS)
Cathy van Eck writer of the book Between Air & Electricity: Microphones and Loudspeakers as Musical Instruments (ed. Bloomsbury) published a wonderful article today about Kropka na Ogonie & Soroka Fruwa (2016). You can read it here on her blog. Check it out !
Gender, voice, language, and identity are four important notions for musical creation, for the shaping of a canon, and for the interactions in the field. All four notions are strongly contextual and carry an inherent sense of paradigm and otherness. Other and self are defined via orientation and history, expressed via voice, and confirmed in language.
In this publication, these four core notions serve as a set of lenses permitting different perspectives on one another. However much the field of the sounding arts might pretend to be tangential to such affections, they provide important grounds for musical creation.
Some twenty artists, including myself, have created a variety of outputs – as different in form, strategies, approach, and language, as they are rooted in a variety of sub-fields within the sounding arts.
GROUNDS FOR POSSIBLE MUSIC is edited by Julia Eckhardt/Q-02 (Brussels), published by Errant Bodies Press (Berlin).
So much fabulous radiophonic news from the German speaking part of the world: last summer Anosmia was part of Savvy Funk at Documenta 14 in Kassel and Berlin. Next month, from May 4th 2018 till June 16th 2018 Anosmia will be featured in Interspaces an exhibition in Kunstlerhaus Kärnten in Klagenfurt in Austria.
And, last but not least, Anosmia will be on display for Radiophonic Spaces: the very first large scale overview exhibition about 100 year Radio Art to be held in Museum Tinguely in Basel, in Bauhaus in Weimar and Haus der Kulturen Welt in Berlin from October 2018 till September 2019. Anosmia will be featured alongside 200 treasures by a.o. Antonin Artaud, Orson Welles, Samuel Beckett, John Cage, Friederike Mayröcker to Michaela Mélian, Brandon LaBelle, Alessandro Bossetti, Ahmet Ögüt or Natascha Sadr Haghighian.
Some geeky impressions from my artistic residency at Gaudeamus and Muziekhuis in Utrecht. Preparing the technical part of a new radio phonic live performance commissioned by Gaudeamus Muziekweek, to be premiered by ensemble But What About upcoming September 2018. Now, together with Ruud van Kluten re-discovering several historical speaker and headphone stereophony possibilities. Most of it is a loud and clear re confirmation of the tremendously deep ‘power of sound’.
photos Aurélie Lierman
I love giving lectures, teaching masterclasses and tailoring workshops related to vocal art and radio art: for individuals as well as groups! I have had the tremendous honour to have been taught in formal and informal ways from an innumerous amount of inspiring and generous masters (see bio); and I am excited to pass on all I have learned and discovered along the way. So from 2018 onwards I’ll be teaching on a more regular basis.
– If you are interested send me a message via the contact page for more info. And click here to see where else I may be teaching in the near future.
Extremely excited about 2018 as I will start a close collaboration with But What About (BWA): a young and promising Dutch ensemble for new music from The Hague. I will join BWA for their project Disrupted Transmissions – focussing on ideas of language and communication. Fitting in my piece Tele Drumming (2016) as well new work tailored for BWA. Alongside existing pieces such as Aphasia by Mark Applebaum, Coming Together by Frederic Rzewski, Gesprek by Martijn Padding & Louis Andriessen, Cheating Lying Stealing by David Lang. Tour dates in NL tba.
I will also feature as a guest vocalist for BWA’s upcoming project Confrontations In Dialogue (USA/NL tour 2018-2019) including works by Patrick David Clark, Jan-Peter de Graaff, John Cage, Louis Andriessen and Sunbin Kim
Hargawaan Por Shail is now in pre-order at Aguirre records!
Gaudeamus the most beautiful and oldest new music festival in The Netherlands has nominated me today to become their new artist in resident for upcoming season 2018-2019. photo Co Broerse, Theater de Kikker – Gaudeamus September 2017
My artistic residency at Lijiang Studio is coming to an end. Tomorrow is my last full day and last chance to make some fieldrecordings in rural Yunnan. Fridaymorning I may witness a Dongba ritual, in the afternoon I’ll be flying to Shanghai for an extended weekend of fieldrecording in a urban environment. Next Tuesday I’ll be crossing the Pacific Ocean direction Montalvo Arts, California, USA for my second artist residency this summer.
• Click here for pics from my travels to Beijing, Lijiang, Lashihai, Dali, Shaxi & Shanghai (July/August 2017)
• Read here more about Asia On Tape, an offspring of my ongoing project Africa On Tape
Globalization and telecommunication at its best ! Today Vincent Meessen and me had a talk about the exhibition Patterns for (Re)cognition at Radio Klara (VRT). Vincent live from the radio studio in Brussels. And me – via the phone – live from Lijiang Studio Yunnan, rural China, lower Himalayas (Yes, flew almost directly from East-Africa to East Asia. Here right now in an absolutely fabulous residency run by Jay Brown & curated by Crystal Pascucci). Vincent and me were talking about Tshela Tendu’s pioneering Congolese modern art in the 1930’s, Tshela Tendu’s one time accidental meeting with Jan Vansina in the 1950’s. In case u missed it, here a link to the radio interview (in Dutch).
click here for new photos from my travels to Rwanda, D.R. Congo and Uganda, june/july 2017
Très Grand Merci – Super dank my countless dear friends, colleagues and former teachers (!): the vernissage in Bozar was thanks to your visit a dream come true. My first happening and exhibition in Belgium as a sound artist, but what a blissful experience.
… and last but not least: thank you Vincent Meessen for your invitation into this inspiring collaboration
If you are tomorrow in The Hague you could witness the birth of a trio featuring Abel Fazekas (HU) and Riccardo Marogna (IT) both on bassclarinet (!) and myself as a soprano singer.
– special thanks to Michael Pisaro and his inspiring concert in The Hague a few monhts ago, as that’s where one of the first seeds were planted for this new collaboration – now daydreaming of tomorrow May 19th, that’s when we will have our ‘worldpremiere’ at Studio Loos, in The Hague/ Same night same place also worth to check out some utterly beautiful new work (performative and installation) by Lauge Dideriksen/Julie Hasfjord, Adam Bonser and Daniel Fabris.
Before traveling to the ISCM World New Music Days in Vancouver in November, Kropka na Ogonie & Soroka Fruwa will also be performed at Gaudeamus Muziekweek upcoming September. This as part of New Makers New Music-Series, in Utrecht (NL). And some more bonding is happening with Gaudeamus… Updates will follow
(photo Co Broerse)
Received the wonderful news that Kropka na Ogonie & Soroka Fruwa, written for and performed by Marianna Soroka, got selected as Belgian entry for the ISCM World New Music Days 2017, in Vancouver upcoming november !! Over the moon, and yes Marianna and me, we are definitely going.
.. meanwhile slowly descended from my journey on sub alpine altitudes in Rwanda. It was a soft and gentle landing into the Lowlands.
Currently developing a brand new sonic sculpture and a new composition for a set of large African drums, field recordings and children choir! I’m so excited that both are commissioned by Slagwerk Den Haag – one of my all time favorite music ensembles – and that both are to be premiered, early 2017, at this magnificent Richard Meier building (the City Hall of The Hague) as a part of City of Sounds.
Slagwerk Den Haag is spreading the love for sound by organizing many workshops and some fab contest for kids, all around the idea of listening and collecting sounds in the city of The Hague – Go and check out http://cityofsounds.nl
if u want to see more pics of the Richard Meier building, click on this one above
This is my grandfather, a light-hearted, powerful and wise soul. Current age estimated between 106 and 112 years old. Just some days ago I went to visit him at his home in rural Rwanda.
He is said to be one of the last traditional medicine men in northern Rwanda. People sometimes travel up to 100 km, often barefoot, to get cured by him. In his younger years he would go for epic walks into the subalpine forests of the Virunga mountains: to collect herbs and minerals for his medical practice, to hunt all sorts of wild life and also for beekeeping and honey collecting. He has lived all his live at the foot of volcano Mt. Karisimbi, my own birthplace, just at the border with the Democratic Republic of Congo. In my grandfather’s mind that border didn’t really exist. He used to go freely wherever the journey’s leading to.
I consider my grandfather a miracle of our contemporary times: he is the only person I know off who’s experienced all the major (often atrocious) events and transformations a Rwandan person could possibly experience in the 20th and early 21st century. He was around when the pre colonial kingdom of Rwanda was still in function, has seen the early transitions towards colonization by the Germans, quickly followed by the Belgians who drastically overturned every aspect of Rwandan society. There was the violence and turmoil of the Rwandan Revolution in the 50’s and the independency throughout the ’60’s, 70’s and 80’s. There was the 1994 Genocide and the post-war massacres – amongst the worst in his village and region. And yet – in spite of this all – he still is driven by an endless positivity and unconditional love towards his fellowman and environment. His great sense of humor is unstoppable and his erupting laughters and whirling naughty giggles are contagious.
We met last in 2011, and I went to visit him again mid August and last saturday, for some in-depth talks. Especially his revelations about his life as a hunter and traditional doctor were for me – having grown up in the totally different environment of Bruges in Belgium- mind blowing.
An African proverb says “When an African man dies, a library burns to the ground”. So of course I have ‘taped’ every little word and sigh of my grandfather’s parchment-like, ultra fragile and soft voice. And the videos and binaural audio tapes that I have gathered are amongst the most ‘precious treasures’ of my personal AFRICA ON TAPE archive – so I hope the recordings can serve one day as a source for oral history of the Virunga Mountains. And yes, time is against me, but I’ll do everything I can to get another chance to visit my grandfather some time soon to listen ‘nd tape more stories from the past.
Bondy and Nickita, I feel very blessed that you were accompanying me on those very special excursions to Mt. Karisimbi. Thank you also to my precious family in Rwanda for the amazing time we shared together. And to my friends that encouraged me, despite all my doubts and fears to take the flight back home, back to my ancestral territory: BIG THANK YOU !
The past week has felt like a personal big bang… and now my musical world is slowly but surely expanding beyond my own imagination. Last weekend Renan Zeladan Cisneros send me his newest song cycle: a very touching triptych with texts by Gerard Reve, Pedro Lemebel and Yukio Mishima. I do the solo vocal part. Grateful that I’ll be accompanied by Ivan Pavlov on grand piano.
Locked myself twice into a recording studio for vocal recordings in preparation for fascinating new compositions. One by Andrius Arutiunian‘s for tape and ensemble. The other one by Nikos Kokolakis for voice, tape and percussion based on texts by Borges. Very curious to get to hear these !
Meanwhile I also had my first rehearsals for The Cruel Mother based on an anglo saxo horror folksong, re written by Sasha Thiele. My partner in crime in this is Salomé Gasselin (FR): getting goose bumps with each strike on her viola da gamba.
On top of that I yesterday also received a new vocal duet by Quang Ngo Hong. It’s inspired by Vietnamese traditional music with a certain jodel technique, fully written in Hmong, a Vietnamese minority language. Quang and me will sing it together and he’ll teach it to me in person: word by word, note by note, sound by sound.
I have commissioned an even larger number of composers to write new vocal pieces, so I am expecting more of these ‘big bang‘ weeks. Premieres of all these vocal pieces will be scheduled from April on and beyond.
Thrilled to announce that I was awarded the Lucas Musicians & Composers Fellowship at Montalvo Arts Center in Saratoga, California. So I’m going back to my beloved West Coast in the near future. I feel tremendously honored to have been selected amongst a huge selection of composers and performers from around the world.
Just back home from touring the USA , but already moving on to a new exhibition project in Dar Es Salaam, which will feature new photography and video work by Nicholas Calvin, Tanzanian visual artist. I will reinterpret Nicholas Calvin’s visuals and create several new sound installations from it. To premiere my very first sound installations in Tanzania means a lot to me: all the inspiration I got from several travels in East Africa over more than a decade, now will finally find its way back to East Africa
click on the picture above to see more of Nicholas Calvin’s collection
• EXPO INFO:
Nicholas Calvin (TZ) & Aurélie Lierman (BE/RW)
new video and sound installations + photo exhibition
daily 15.09.2015 – 30.09.2015
Alliance Française Dar Es Salaam
Dar Es Salaam (TZ)
curator Anoek De Smet
My tour along the West Coast of the US is completed. Had live improv and new music gigs at Seattle, Los Angeles, San Francisco & Oakland – where I had the chance to discover the wonderful communities of experimental artists – what a great and productive crowd. Special thanks to Motoko Honda, Carmina Escobar, Theresa Wong, Aram Shelton, Mark Clifford, Lorin Benedict, Bob Marsh for the inspiring and heartwarming artistic collaborations on and off stage. Well, I am in love with the West Coast, so plans are made to come back asap and make more music, much more !
radio interview with Arshia Haq at Dublab Radio in Los Angeles
THANK YOU Alex Ross for picking up my first USA tour on your blog The Rest Is Noise and for all your support towards other independent new music artists.
Invited by Thomas Baumgartner from L’Atelier du son for a chat about my work as a radio artist. Focussing on Anosmia, a reflection on the Rwandan Genocide, and Sampling the Man of Memory, a sound installation created for the current expo Patterns for (Re)cognition at Kunsthalle Basel (CH)
23h00 – 00h00 CET
France Culture – Paris (FR)