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25. May 2019 , 20:00 - 21:30

with Leah Buckareff
support: Karoline Strys – solo dance performance
This time the choir will perform at a special event in the spaces of K77 Studio!!!
As an introduction, we will see a dance performance, focused also on sound and listening.

// Ich höre, ich höre zu, ich höre an, angehören, gehören, gehört werden, ich höre mit, ich höre mit etwas, ich höre auf etwas, ich höre mit etwas auf, ich höre auf, aufhören zu hören, aufhorchen, unerhört sein, unaufhörlich, ich horche und höre auf zu reden um zu lauschen, ich verstumme, ohne Stimme, die Stimmen stimmen, ich bin verstummt, verstimmt, es stimmt, es klingt, es singt, es schwingt. //
Taking a look at different modes of listening and the perception of sound and movement. I want to look at listening as such, making things audible and exploring on how dance is relating to that when listening – just as a movement – obtains a direction into space. The smallest shifts in the auditive perception may influence the whole atmosphere or may choreograph the ear and eye of the recipient. Listening means to perceive sound. Listening itself as well as sound is bound to a body. A sound evolves through oscillation and is received or heard again via oscillation. In that sense hearing is a physical sensation that in itself is already movement. Listening – via each one’s own imagination – already branches into the fields of voice and language.
Concept, performance, text: Karoline Strys
Mentoring, Vocal Coach: Ulrike Sowodniok
Thanks to SK Stiftung Kultur, ZAIK, Lakestudios Berlin


Psychedelic choir, founded by Zorka Wollny, is created by the group of Berlin – based vocal improvisers – the main performers beeing Gosia Gajdemska, Irina Gheorghe, Elisabeth Jacob, Ana Kavalis, Pauline Payen, Karoline Strys, Lyllie Rouvière.

This time vocal improvisation will be accompanied by Leah Buckareff (Nadja) on bass.
“Performed during FBTM Salon #5 choral piece Things of No Significance, Vol. 2, was a stunning orchestra of alien sounds, at times difficult to believe they emanated from human bodies.
The work ebbed and flowed in intensity, ranging from light breath work, to soft rain sounds, to the cacophonous screeches of exotic animals and the razor blade noises of inorganic materials.
What interests Wollny most is “how such actions, when made by a group of people, change the quality of sound from obvious to indefinable: how timbre becomes a dominating factor.”
And, indeed, most sounds were abstracted from their clear referents. Though one might try, the experience becomes less about discerning a recognizable soundscape—a forest, for example—and more about allowing the experience of sound to wash over the body. The audience is prompted to reconsider its relationship to sound, relinquishing the categorical impulse to associate sound with phenomenon, and instead surrendering to the psychosomatic experience of abstract noise.”
Sarah Messerschmidt // Berlin ArtLink // Feb. 01, 2019


Doors: 19.30
Performance: 20.00 – 21.30
Entrance: 10 – 15 Euro (sliding scale – as you can)


25. May 2019
20:00 - 21:30