JENDELA SONORAMA


VOLUME 01
03.09.2020
start from 19:00
Sari-Sari e.V
Lichtenraderstr 49 Berlin 12051
reservation via :  rsvp@soydivision.berlin
Donation : 7-10€ (including first snack)


In this new pop-up series Ariel Orah and Pedro Oliveira, in collaboration with LK_W, Soydivision and Sari Sari, will host and present listening sessions as a form of collective sharing and learning. Starting from but not constrained to our own personal record collections and research interests, we will try to unpack from musical histories that deal, subtly or not, with the (often violent) devices, legacies, and complexities of colonialism. The DJ is the storyteller, and record collections are historical documents of a specific snippet of one's own identity, intertwined with the political, cultural, and social histories. The idea of this series is not to be country-specific but instead to question the very idea of a “national identity”, thus establishing a dialogue from  and with multiple souths.


With that in mind, we want to ask ourselves and those listening with us: Where do we find the sound of border identities, of new modes of existing? How do we find new listenings, how do we attend to and witness these listenings? Come listen, share, learn, teach, and eat with us as we dive deeply and tangentially to the history of music history.


For the first round, Pedro Oliveira will present “Sertantifonas” (a term coined by Brazilian musician Elomar Figueira Mello), showcasing a couple of records, artists and songs hailing (mostly) from northeastern Brazil that deal, one way or another, with the legacies of christianity in the process of colonization of the Americas, and the forms of musical expression that challenge, contradict, or convey the complexity of this violent process.




VOLUME 2
21.10.2020 
start from 19:00
Sari-Sari e.V
Lichtenraderstr 49 Berlin 12051
reservation via :  rsvp@soydivision.berlin
Donation : 7-10€ (including first snack)


JENDELA SONORAMA vol 02 : “Keroncong” Identity transfiguration through time and space

Keroncong developed from the Fado of the Portuguese people who came to Indonesia in search of spices in the 1500s. One story relates to the loss of the Portuguese to the Dutch made them being transported to Batavia as prisoners. There, during their labor-free time, they performed their music (Moresco song). Another story relates the Portuguese sail to the eastern part of Indonesia. Some of them settled in the northeast of Batavia. Their settlement is called Kampung Tugu (village of the Tugu, i.e., the Portuguese). In their settlement, they performed their music in their free time.

Despite their long history, keroncong gained prominence at the beginning of the 20th century, especially through figures that made it famous and popular: Ismail Marzuki, Gesang, and Kelly Puspito, among others. During its development, it absorbed various musical elements, such as Malay music, Javanese music, etc.

On this second edition of Jendela Sonorama, Ariel Orah would like to invite participants to explore the question of :  Is keroncong another example of syncretism?

Syncretism is typical in Java: an absorption/adaptation of foreign elements into one’s own culture/identity. It absorbs not only European elements but also regional elements (Langgam, Gambang Kromong, Malay song, etc.). What is foreign becomes one’s identity.




About the artist

Pedro Oliveira is a researcher, sound artist and educator working with the articulations of listening in the policing of urban and border spaces. He is currently an artist-in-residence at the Max-Planck Institute for Empirical Aesthetics in Frankfurt (Germany) and from 2021 on he will be a Postdoctoral fellow at the Helsinki College for Advanced Studies (Finland). He also makes music under the moniker OLVRA.


Ariel Orah is a Berlin-based Indonesian artist who explores themes related to identity, memory, and scarcity. He fancies the durability of homo sapiens and the fragility of the machines. He is working with a variety of media, ranging from sonic and other multi-sensory performances, physical and interactive installations, and moving and/or still images.  He co-founded an empathy driven artist collective L-KW , Bandung-based progressive rock band “Vincent Vega”, and Indonesian gastronomy initiative SOYDIVISION.BERLIN.  Selected works included commissioned installation for Tanz im August Festival Berlin (2016), film-music scoring for “Deeper High”- Germany (2018), CTM Festival Music Maker Hacklab 2020, solo album “Scarcity” (2017)  and “WIM”  (2018) under alias ravenative.