Examining the core of European society and the tomorrow we face and shape, I dive into the sentence You Will Be The Land And The Land Will Be You by the last great british Merlin from Wales, UK. A Merlin was a wise medicine person and “magician”. The long quarrel between Wales and the UK is immanent in the story about Merlin and the Arthur saga. Living today I see the similarities in questions of belonging together and drifting apart. A transatlantic split happens in Europe right now, I live in London UK as a german citizen, a highly international place in a leading country that lets it people down in healthcare and education and cursed the death and suicide rate amongst handicapped and elderly people to quadruppel in four years. My collection of Merlin quotes circle around questions of past and future and relation to a country and nature, as do my sounds. Hunting for fieldrecordings to use as instrumentals in electronic music production, like ice and snow, fans, air movements, than vocal remnants like people quarreling, children singing political slogans sets my musical base. On that I arrange and use voice as a instrument and trigger as well as for storytelling and songing. Examples below.

For the CTM live Radio LAB I develop a new show that takes on the challenge of a live broadcast. Together with my team I imagine setting a room for a performance while the live aspect causes a situation of tension and special close relationship with the audience. This I want to use as a conceptual tool in itself by allowing participation in staging the split (of Europe, of Icebergs, of society from nature) while bringing a group together in the moment. As a counter movement to the right and extremist, who come tother to destroy, we come together to create and unite, in a concert, in music and in the moment, in the moment of action as a performative answer.

Story develops parallel to the sound: You Will Be The Land And The Land Will Be You, where are we at, countries vs people and politicians on their own. Arthur gets educated in compassion and being with nature. We sing like a fish and sink like a fish-action. Ice-time. sounds of the glacier braking listening session.

Imagination: The space combining live show and broadcast with a set of instruments and objects and boom mic operators for aditional suspence. The live set would be introduced to the audience. Some timeslots and rules of interaction offered. Some classical radio features transfered into performative elements: Telephone boots invite to call into the real world and call for action. Another phone on stage is set for incoming calls. The live show will have parts of concert in known habit, using sounds of objects, fieldrecording, electronics. Songing-storytelling. Intervals of short slots for incoming calls and outgoing calls.

I invite to my upcoming solo concert performance in Frankfurt LAB, big hall, on the 5.,6.,7.10.2019 to evaluate my work!

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Ich bin keine Stimme / ich bin das singende Feuer / Was du hörst, ist das Knistern in dir (nach einem Vers des persischen Dichters und Mystikers Dschalal ad-Din Rumi, 13. Jahrhundert).

Inspiration: -Merlin quotes. -The book The Once and Future King contains much deliberately anachronistic humour, affectionate mockery of the source text and commentary on totalitarianism. The work explores human nature regarding power and justice. The young Arthur learns to talk like a fish, a bird…, later he attempts to quell the prevalent “might makes right” attitude. -The music and singing setup of Nusrat Fateh Ali Khan. TEAM: If it is possible and intended to team up, than, for this live radio show I would love to collaborate with three persons that have worked with me already several times: Philip Albus, the microphone artist and producer who worked in FYIE, Die Kartoffel and my new show this year- Jörn Nettingsmeier, a master of sound and video who also had been on Die Kartoffel -and Mai Gogishvili, a stage designer I worked three times with. New but known I would try to involve Philipp Rhensius in dramaturgy and overview of the goals, he is a writer and editor about music in Taz, Spex Magazine and others.

sounds of my performances:

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My Sonic Performances

“MM – Multihalle Multimemory” Musikperformance für eine Lautsprecherin und 8 Lautsprecher comissioned by Theatre “Zeitraum Exit” in collaboration with Philip Albus Klangarchiv Gießen, supported by Robert Henke, Genelec, RME, Stadt Mannheim. Impulse Response & Ambisonic 3D

Die Kartoffel,  ein szenisch musikalischer Ausdehnungsprozess in 6 Bildern im Frankfurt LAB

https://www.berkenhoffsiegwald.com/fyie

Ein absurdes Musiktheater der Dinge. Unhörbares Leuchten tritt auf und strahlt euch an mit Fragen!

general info: https://anaberkenhoff.com/music/

“Insubordinately Sublime” Inigo Wilkins about recent concerts 

“Rocking her very own version of Dada-Postindustrial-Pop”

Special mention of my work from WISWOS (Woman in sound) and presentation at Goldsmith´s London

Featured at BBC Radio Wales with live-concert& interview. Played at BBC Introducing, NTS Radio London, BBC 3 Late Night Junction, Radiophrenia Glasgow, Radio futuremusic.fm, Radio Resonance Extra/London, Radio Wavefarm New York, Datscha Radio Berlin, Tilde Festival for New Music, Sound Art Melbourne, Pop Montreal…

Live at:

Sonic Performances

Würmer Video from Berkenhoff Siegwald on Vimeo.

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