Sharjah Biennial 2013

The Call - from the city into the Biennial from Universes in Universe on Vimeo.

Variations for 10 drummers and an electronic musician fortissimo (ff). Sharjah Biennial programme of sound compositions, conceived by Tarek Atoui.

Jumana Manna & Sille Storihle: The Goodness Regime. 2013 from Universes in Universe on Vimeo.

Magdi Mostafa - sound cells: FRIDAYS. 2010 from Universes in Universe on Vimeo.

Wael Shawky: Dictums 10:120. 2011–13 from Universes in Universe on Vimeo.

Barbatuques - Too far west is east (clip)

Adrian Paci, Centro di Permanenza Temporanea (Temporary Detention Centre), 2007

"Iraqi Kid is singing Sad Song"

Akram Zaatari, The Uneasy Subject / MUAC Mexico

The Uneasy Subject / MUAC Mexico from akram zaatari on Vimeo.

macdermott's war song (project)

Jingo Karaoke
Multimedia Performance
We don't want to fight but by Jingo if we do ...
We've got the ships, we've got the men, we've got the money too!

It was 1878 when in the United States Edison patented the phonograph that later was developed into gramophone and was the most common device for playing recorded sound until the 1980s.
In the same year across the ocean the music-hall singer G. H. Macdermott (aka "the Great Macdermott") introduced in London Pavilion his song By Jingo (means By God in Old English).
This is one of the very first examples of modern propaganda since Macdermott was commissioned to change the public opinion in Britain with a popular song in the middle of the political crisis between the British Empire and Russia, after the war with Turkey in the Balkans and Caucasus.
The crisis ended with a diplomatic triumph of Britain's Prime Minister Benjamin Disraeli and after the song a politician from the opposition Laborist Party invented the term jingoism that now is used for describing "extreme chauvinism or nationalism marked especially by a belligerent foreign policy".
It is amazing how political life changed forever since audiovisual mass media and propaganda charged pop culture were invented and eventually became an intrinsic part of the public life. In 2008 exactly one hundred and thirty years after, we can celebrate an anniversary of audiovisual industry and jingoism, with Russia becoming again the world's Evil, with the US presidential campaign in which a remote war that can be seen as a perfect example of jingoism was described as "God's Plan" and the Blue Ray (probably the last hard copy media) becoming world standard.
To remind for all these events media artist Petko Dourmana invited in his Chain Reaction Pavilion everybody who wanted to sing Macdermott's war song By Jingo with a karaoke set that uses a New Edison-Style Cup Phonograph.
In the plastic cups used as recording media visitors got free beer after singing.
By Jingo Karaoke performance was presented from September 11-14th, 2008 at Macedonia Square in Skopje, Macedonia as part of Upgrade International

Glasgow International Let's Get Lyrical Event

Glasgow International Let's Get Lyrical Event from GI Festival on Vimeo.

Tom Leonard on Language and social status

Research Project- يما مويل الهوا

يما مويل الهوا يما مويليا

Oh Mother the sad song …oh mother is my song

(It is a preface usually said to express how much pain the speaker has)

ضرب الخناجر ولا حكم النذل فيا

Hitting by daggers but not being ruled by rascal

ومشيت تحت الشتا والشتا رواني

And I walked under the rain ,and the rain wets me

والصيف لما أتى ولع من نيراني

And when the summer had come , he was burned by my fires

بيضل عمري انفدى ندر للحرية

My life will stay ransom and vow for the freedom

يما مويل الهوا يما مويليا

Oh Mother the sad song …oh mother is my song

يا ليل صاح الندى يشهد على جراحي

Oh night.. the dew hollers and witness on my wounds

وانسل جيش العدا من كل النواحي

And the enemy army attacked from all directions

والليل شاف الردى عم يتعلم بيا

And the night was witness on what the death had done to me

يما مويل الهوا يما مويليا

Oh Mother the sad song …oh mother is my song

بارودة الجبل أعلى من العالي

The mountain rifle is best of the best

مفتح درب الأمل والأمل برجالي

Key of the hope path and the hope depends on the men

يا شعبنا يا بطل أفديك بعينيا

Oh our people oh heroes … my eyes are ransom for you

يما مويل الهوا يما مويليا

Oh Mother the sad song …oh mother is my song

(special thanks to the person who translated this for me)

http://www.youtube.com/watch?v=gmq-AO1306A&feature=related

There is a Happy Land

There is a happy land down in duke street jail,

Where all the prisoners stand hangin fae a nail,

Ham and eggs you never see,

Dirty water for your tea.

There you live and there you dee,

God save the Queen.

Then the corporation came wae a great new plan,

build multi-storey flats on the happy land,

Now there's rows a hooses there,

Mind you step gon up the stair,

Ghosts'll come and pull your hair,

God save the Queen.

Why Orthodox Jews May Have the Hottest Sex Lives, 2011

Secular Israeli man in his late 20s, reciting from a text by an American Orthodox Jewish woman.
Made in Jerusalem.

'Did You Kiss the Foot that Kicked You?' Ruth Ewan w/ Artangel (over 100 buskers in London who played 'The Ballad of Accounting' for a week)

Did you kiss the foot that kicked you?
"Give me the making of the songs of the nation, and I care not who makes its laws".
Andrew Fletcher, 1703
"Music is doing something to everyone who hears it all the time".
Arnold Perris, Music as Propaganda, 1984


Ewan MacColl wrote Ballad of Accounting in 1964.The lyrics follow a simple structure, considered to be unique among his three hundred compositions. The song offers criticism as self-reflection, repeatedly posing provocative and direct questions:
Did you stand aside and let them choose while you took second best?
Did you let them skim the cream off and then give to you the rest?
Government records released in 2006 through The National Archive show that from 1932, security service MI5 held a file on MacColl. One report claims that he was ‘a communist with very extreme views’ who needed ‘special attention’. The file also states, as a cause for concern, that MacColl had ‘exceptional ability as a singer and musical organiser’.
Ruth Ewan's Did you kiss the foot that kicked you? involves the co-ordination of over one hundred buskers around London. Performing both under and above ground, the buskers incorporate Ballad of Accounting into their usual repertoire. Their individual acts share a collective purpose. The week-long series of performances slips quietly into the rush-hour routine, as the scattered recitals filter into the subconscious of those passing by.
Busking is about something other than just being an able musician or a street entertainer; it is a raw performance, an autonomous act.
Legislation has almost eradicated busking; by-laws and policing keep all but the hardiest musicians from the streets, while others pursue bureaucratic routes into designated areas. The recent introduction of music licensing has restrained the natural spontaneity of performances across a range of live venues.
The entirety of Did you kiss the foot that kicked you? cannot be experienced by any one person. We may or may not be aware of the song’s fleeting presence in the city: a bold brass section as we cross the Thames or a quiet voice accompanied by a guitar as we turn off the main street.

Rives on 4 am

Tuli Kupferberg: I Am an Artist for Arts Sake

R.I.P

Muslala: Chiara's Stairs, Matan Israeli

link

KIDAM

KIDAM is a film production company based in Paris.
It was founded in 2006 by producer Alexandre Perrier and director Jeremiah, and was originally focused on pop/rock musical films and experimental works

Our work includes music videos & live performances, but also feature & short films both for cinema and television, with a special focus on south America co-production.

We are also developping new narrative forms with documentaries and web projects such as the Take-away shows and the City Series.

TAKE AWAY SHOWS

The 'Take away shows' video podcasts (in French : Concerts à emporter) have been created in 2006 for La Blogotheque by Chryde, who wanted to shake things up and find another way to share music, and Vincent Moon, who wanted to film music differently. Since then, other directors across the world joined this project, among others Jeremiah for Kidam.
Every week, La Blogotheque invites an artist or a band to play in the streets, in a bar, a park, or even in a flat or in an elevator. What makes the beauty of it is all the little incidents, hesitations, and crazy stuff happening unexpectingly. Our goal is to try and capture the music just like it happens, without preparation, without tricks. Spontaneity is the keyword.

Camille

In 2005 she released the album Le Fil, which was produced in collaboration with English producer MaJiKer. This album incorporated an avant-garde concept — a string, or thread ("le fil"), which was a drone that persisted throughout the entire course of the album. All of the songs in this album are based on the exploration of the voice, with only a double bass or double bass and keyboard as accompanying instruments.

OFFICAL SITE

Camille w/ Barbatuques

Camille-God is Sound

new piece ‘God is Sound’ comprising chants from different religious traditions: Christian, Sufi, Buddhist, Jewish, Shinto, Hindu, and including Bach’s Infinite Canon

NB. benjamin britten

Susan Philipsz

Commissioned by GI, Susan Philipsz presented a site-specific outdoor sound work combining three versions of the same song, ‘Lowlands’, as sung by the artist, and offering an extra-ordinary connection with this hidden and little used space.

Uriel Barthelemi

S.E.U. - Infra Kitchen @ Fest. Orbis Pictus
Uploaded by asadjinnia. - Independent web videos.

AT THE JERUSALEM SHOW

'Jack asked me and explained the Jerusalem Show and I said OK because making a performance like this sounded like something I would really like to do. I changed the proposition a little because six hours is a lot and I didn’t want to just make something that focused only on the physical aspects of exhaustion. I chose the form of a triptych. I took this form because it is something that is used in religious art so I wanted to hijack the form because of the association with religious aspects of Jerusalem.

I use a language that exists in normal music but it’s more extreme or more radical. However there is always a continuum. Technically I use basic Max/MSP software which allows me to programme my own applications so I can develop special effects for the drums. The sequence works as if you are flicking a remote control. However, the first part of the triptych was more like a concert because it was not completely random. I had pre-programmed Part I. In the second performance I wanted to gradually discard the tools so that I had less and less tools to express myself with. The third and final part of the triptych will really be complete improvisation. I will have no other forms to help. It will be free drumming for as long as I can play.'

http://www.asa-djinnia.com/