Torsdag den 29. oktober 2020 kl. 16-22 på Magneten/Teaterøen.
Der vil blive livestreamet fra eventen!

NB! Tilmelding nødvendigt til ts@komponistforeningen.dk, da der er af hensyn til forsamlingsforbuddet er begrænsede pladser.

Billetpris: 75 kr. studerende 50 kr. Betales ved indgangen kontant eller Mobilepay.

Der vil være mulighed for at købe mad og drikke undervejs.

I samarbejde med SNYK og publikumskurator og mangfoldighedsekspert Anne Boukris inviterer DKF d. 29. oktober til en eftermiddag/aften med koncerter, film og samtaler om diversitet og kreativ vækst. 

Initiativet sætter fokus på diversitet i kunstneriske processer og ny kompositionsmusik og understreger samtidig ubalancen i de officielle udvælgelser af værker, som i DK fortsat overhører og undervurderer kvindelige komponister.

PROGRAM

Kl. 16.00-17.00:
Dokumentarfilm: Komponist af Ida bach Jensen – Om den kompositoriske skabelsesproces. Filmen følger tre danske komponister, Henriette Groth, Simon Steen-Andersen og Eva Noer Kondrup i skabelsen af ny musik.

Kl. 17.15-17.45:
Koncert med Kiku Day: http://www.kikuday.com

Kl. 18.00-18.30
Samtale 1: Diversitet – hvad er kunstnerisk diversitet? (Moderator Anne Boukris)

• Manifest af den N.Y. baserede komponist Du Yun, online. Du Yun er fortaler for kvinder, racelighed, og social retfærdighed.
 • Marcela Lucatelli, komponist, kurator og leder af SKLASH+: SKLASH+ er akronymet for Samtids-Kvindelige Lydskaberes Atrium for Samtale og Holocænstudier. Plustegnet er en invitation til LGBTQ+ også.
• Bjarke Svendsen, direktør for SNYK

Kl. 18.45-19.15
Samtale 2: Kreativ vækst – Hvordan påvirker diversitet kreativ vækst? (moderator Anne Boukris)

• Tue Lund Christensen, om at være kurator/booker (Harvest Festivalen og Roots and Jazz på Balders Plads) ’i en mandsdomineret traditionstung verden’
• Sine Tofte Hannibal, Sekretariatschef, Dansk Komponistforening
• TBC

Kl. 19.30-20.00 
Fællessang: Kirstine Fogh Vindelev: SELSKABSSANG – en hyldest til alt det usagte.
SELSKABSSANG vender den danske fest- og fællessangstradition på hovedet og benytter sig af genrens evne til at samle mennesker. På versefødder og velkendte melodier bekendes skamfulde og dybe længsler til dem, som vi har kær. (Fællessangen kommer naturligvis til at foregå under coronasikre rammer).

Kl.20.15-20.45
Samtale 3: Diversitet – En reel drivkraft, hvordan? (moderator Anne Boukris)

• Katrine Ganer Skaug, Orkesterchef Copenhagen Phil
• Jan Samuelsen, idemager ’Talk Town’, en debatfestival om køn, ligestilling og feminisme
• Sargun Oshana, kommende teaterchef (januar 2021) Teater Grob om diversitetens og repræsentationens rolle i hans vision som teaterchef
• Marcela Lucatelli om diversitetens styrke/svaghed med afsæt i Brasilien vs. Danmark
 
kl. 20.45-21.15
Koncert med Audrey Chen + Marcela Lucatelli 
http://www.audreychen.com/
https://www.marcelalucatelli.co

Kl. 21.15-22.15
Filmvisning (igen) ‘Komponist af Ida Bach Jensen

https://www.komponistforeningen.dk/koncert-film-og-samtaler-om-diversitet-og-kreativ-vækst

http://mikezellers.com/theflutureisnow/Kiku_Day.mp3?fbclid=IwAR3vpT9uA2UxZ-_CndKQlXVavHGUqKKW6xCjdA0FCE-s_ainVVqVcWZiy4g

The idea of World Shakuhachi Day comes from the 42nd kansu of Myoanji Temple, Seien Genshin. The idea is playing with words/numbers 10.8 = 10 sun = 1 Shaku + 8 sun = shakuhachi. and also the Buddhist important number 108. So we blow 108 times RO today! I had never played 108 RO before, so it was a first and a very positive experience. I choose a method suggested by my student Kirk McElhearn to keep track of the RO played by walking across my practice room. For each RO I took a step forward. I could take 9 steps and then turn around and take 9 more steps across the room. So I only had to count 12 crossings of the room. FUN! I will certainly do it again before 2021.10.8.

Sonas Mutua is a duo with Marisol Jimenez from Mexico, now based in Berlin. Marisol is a composer and performer and creator of instruments. We performed together in Berlin at Blind Signal 26, 27 September 2020. I cannot wait till play again and develop our duo more! (photo: Dietmar Herriger)

My chapter “Learning Music Aesthetics Through Imperfection: The Transmission of Shakuhachi Music” in The Aesthetics of Imperfection in Music and the Arts: Spontaneity, Flaws and the Unfinished, edited by Andy Hamilton and Lara Pearson is out the 1st October 2020 from Bloomsbury.

Official release day for my CD: WILD WAYS coming up 1st September 2020

Link to purchase the digital version (all digital platforms):
https://kikuday.lnk.to/WildWays

Spotify: https://KikuDay.lnk.to/WildWays/spotify
iTunes: https://KikuDay.lnk.to/WildWays/itunes
Amazon Music: https://KikuDay.lnk.to/WildWays/amazonmusic

Link if you want to buy the physical CD: https://KikuDay.lnk.to/WildWays/cd1
Music by Mogens Christensen, Roxanna Panufnik, Yumi Hara, Takahashi Yuji, and Frank Denyer.

Some politicians in Denmark insist racism does not exist in this this country. The newspaper Information is bringing a series of testimonies. Here is my contribution:

Online Conference: 22 June 2020, 3.00pm – 6.30pm BST
Organised by Shzr Ee Tan (Royal Holloway) and Kiku Day (Goldsmiths, University of London), with support from the Institute of Musical Research.
The photo is our conference team! Clockwise from top: Tonia Ko, Jennifer Koh (Keynote 1), Ecenur Güvendik, Yundu Wang, Xuejiao Fu, Jasmina Samssulli, Hyelim Kim, Pheaross Graham, Tricia Park, Marko Koelbl, Mary Dullea, Kiku Day (Keynote 2), Dwight Pile-Gray, Shelley Zhang, ShzrEe Tan, Florence Nweke, Ken Ueno. See you there at 3 pm BST! We open up for guests at 2:50 pm BST. Sign up here: https://www.royalholloway.ac.uk/…/orchestrating-isolation-…/

Online event: June 22 2020, BST 3 pm – 6.30 pm
organised by Shzr Ee Tan, Royal Holloway University of London
and Kiku Day, Aarhus Academy of Music/ University of London with support from the Institute of Musical Research

[This event has been re-themed and revised in format from an earlier conference, now postponed till 2021, on ‘Racialised Performance in Western Classical Music’, organised by Shzr Ee Tan & Maiko Kawabata.]

‘Orchestrating Isolation: Musical Interventions and Inequality in the Covid-19 Fall-out’ calls to attention the devastation caused by COVID to music practitioners and researchers in precarious labour and education, even as we mourn the traumatic losses of artists, scholars and teachers to the disease. It is interventionist while remaining reflective in its commitment to not simply ‘waiting it out’ at a time when the world is no longer going to be the same again, in spite—or because—of the fact that basic systems of society continue to run, tenuously and miraculously at unimaginable costs: COVID-19-related racism, inequality in healthcare provision, economic impacts of industry shutdowns (not least music and live entertainment), closing of national borders; devastation of livelihoods.

What can and should (ethno)musicologists, musicians, composers do? We do not simply ‘press pause’, but rethink the way we make, write (about) and teach music. While we acknowledge that things cannot go on as before, we remember that in the pre-2020 world, there already existed complex, musical global challenges whose need for addressing should not be diminished a force majeure event. We are committed to exploring how inequalities and (incl. race- and class-based) marginalities intersect with evolving catastrophic developments that are not as society-levelling as imagined.

We ask:

1. How has COVID changed musicking, research and teaching across borders along new baselines of re-levelled virtuality? In the rush to embrace online music, how do we deal with digital inequalities and censorship?
2. What are the cultural differences in home-based musicking, as well its eventual remediation online? Where do issues of privacy and unequal access to home performance spaces fit into debates?
3. Are there cultural differences in reading musical ‘gesture’ across a screen?
4. In re-introduced live performance, how do differing ideas of musical social distancing across geocultural and class contexts prevail?
5. What is the potential re-levelling of representational input of diverse voices in a virtual context?
6. What is impact on the recruitment of international students to music programmes?
7. How has the closure of national borders affected jobbing musicians?
8. How have intersectional politics played out on COVID-related racial aggressions against East Asian and POC musicians?

This event will feature keynote speaker-performers Jennifer Koh and Kiku Day.

For a full lineup of the event and for registration, please visit here

or contact shzree.tan@rhul.ac.uk