24.08 godz.18:00 19:00 21:00
25.08 godz.12:00 13:00
The key theme of the eighth edition of Instalakcje festival is the idea that workshops are places of creative activity, of construction and discovery, but also actively involve the participants. Instalakcje 8 includes four music workshops, open to all regardless of age, level of knowledge or musical ability. Zorka Wollny will lead workshops involving voice training, including learning how to “play the voice”. Ewa Justka meanwhile will show how to build a synthesiser from scratch – a voice odder. Those taking part in both workshops will share the outcomes of their work during the first day of the festival, as part of a concert-installation crafted for “choir and orchestra” made up of electronic instruments.
On Sunday morning, we invite you to join us in performing an amazing, joint “symphony”, directed by Dobrawa Borkała (a breath work therapist) who will show us how to discover our own inner music, how to create rhythms with our breathing, how to release its melody and resound with our whole chests. Once the participants have been prepped, they will take part in this unconventional concert, during which sitting down to listen is merely one of the ways we can experience music...
Day Rave is a sort of workshop-performance aimed at an actively participating audience, involving meditation, a tea brewing ceremony, visualisation, working with the body, live music, as well as dance, which the public will be invited to take part in. Day Rave, based on notions of clubbing culture, is however something more than a techno party, being a very complex and holistic “seance”, allowing us a more spiritual or else sensual experience of music. Day Rave has been created by a collective based in Berlin: Isabel Lewis (Dominican Republic /USA), Dambi Kim (South Korea), Lou Drago (New Zealand) and Margherita D'Adamo (Italy). The original version of this Day Rave was performed at the Berlin Martin Gropious Bau museum of contemporary arts, where it was very well received by both critics and audiences.
Instalakcje 8 will also involve presentations of the works by two legendary composers: Brian Ferneyhough and Georges Aperghis. The first day of the festival will open with a recital by Ine Vanoeveren, a Belgian flutist who has devoted many years to academic research (doctorate thesis) and performing in order to delve into the mysteries of the extremely difficult music composed for the solo flute by Brian Ferneyhough – one of the most important composers at work today. The music composed by this British artist belongs to a movement called “new complexity', and according to Vanoeveren's own writings, presents musicians with endless challenges related to the instrument's limitations, the limitations of writing music down using classic staves, or else the limitations of the human body and mind, forcing the musician to exert themselves physically, athletically even, in order to play this fascinating music.
The first day of the festival will close with a performance by Donatienne Michel-Dansac, a world-renowned contemporary singer. In this piece, Aperghis “dismantles” the voice into elementary particles: notes, whistles, chants, in order to add gradual layers and craft ever more complex, virtuoso compositions and sound-word structures.
In his solo voice music, Aperghis shows off his skills as a composer from the very foundations, step by step allowing us to sense how much of a journey must be undertaken from a single inhale, an individual letter, to creating a “complete voice”, a breath-syllable symphony.
Curator Instalakcje 8
The possibilities within music are vast. I would even say they are genius. We can, must and should continue to experiment. If we hear someone say that “everything has already been written”, this means that someone is an idiot, and knows nothing about music's potential. Music is the most beautiful of all arts.
Bogusław Schaeffer 1929-2019
INSTALAKCJE 8 PROGRAMME
22-23 August 5.00pm, 3H, Świetlica, free entry
Build a Voice Odder workshop by Ewa Justka
Ewa Justka, a leading representative of a young generation of artists using electronic music, specialises in creating simple electronic instruments (DIY – Do It Yourself) and will show us how to build from scratch (and literally solder) her incredibly sounding voice odder. Using an in-built microphone, this voice odder device allows us to modify how our voices sound, enriching them with various overdrives, delays and extreme resonances.
Workshop participants will present the outcomes of their creative endeavours on 24 August as part of a concert-installation for a “choir and orchestra” played on electronic instruments.
22-23 August 5.00pm, 3H, Rehearsal Hall, free entry
Discover Your Voice a workshop by Zorka Wollny
Zorka Wollny, a multimedia artist working in an unconventional way with sound, will lead a series of workshops involving voice work, or else as the workshop title suggests – learning how to “play the voice”. These events are aimed at everyone, including those who think they cannot sing. Wollny, through improvised techniques, conscious listening to the self (and others also), will help participants discover the potential and true character of their voices, how best to understand their musical nature.
Those taking part in the workshops will present the outcomes of their work on 24 August as part of a concert-installation for a “choir and orchestra” played on electronic instruments.
24 August 6.00pm, 1H, Rehearsall Hall
Confined Walls of Unity Ine Vanoeveren / Brian Ferneyhough – flute performance
Brian Ferneyhough’s music causes a constant struggle for the performer: a struggle against the limits of the instrument, against the limits of notated music, against the limits of the own body and mind.
Ine Vanoeveren during her doctoral research focused on the performance of this repertoire, with an emphasis on embodied performance. His music transforms from complex structures on paper into powerful and affective music, through the performer’s body, mind and instrument. The constant struggle to expand one’s personal limits makes his music so personal and alive.
Where Cassandra’s Dream Song is a modern and complex transcription of an ancient myth, Superscriptio is a mathematical fight against the nature of the piccolo. In Sisyphus Redux there is a real risk of experiencing Camus’ philosophy of the absurd, while Carceri d’Invenzione IIb confronts both the performer and the audience with the limits of unbearably high and loud registers. Unity Capsule tests the performer because of the extreme length of a piece of this genre, while Mnemosyne transcends the limits of information in notated music.
The result is music that is constantly generating: music that tears down the confined walls of unity.
This solo recital contains the six solo pieces for flute by Brian Ferneyhough:
Superscriptio for piccolo solo (1981) 5’
Carceri d’Invenzione IIb for flute solo (1985 – 1986) 11’
Mnemosyne for bass flute and pre-recorded tape (1986) 11’
Unity Capsule for flute solo (1975-1976) 15’
Sisyphus Redux for alto flute solo (2011) 8’
Cassandra’s Dream Song for flute solo (1970) 10’
24 August 7.00pm, Theatre Hall
This concert-installation by Ewa Justka and Zorka Wollna
The outcome of two-day-long workshops, involving the construction of basic electronic instruments and development work with participants' voices. Workshop participants will perform a joint piece for “choir and orchestra”, played on electronic instruments they will have constructed themselves.
Strobe lights will be used during the concert.
24 August 9.00pm, Rehearsal Hall, 45 mins
Récitations Donatienne Michel-Dansac / Georges Aperghis – solo voice performance homage to Edith Scob
Donatienne Michel-Dansac, a world-renowned contemporary singer, who will perform the remarkably demanding and rarely heard solo voice pieces by Georges Aperghis, including his legendary Récitations.
This sadistic composer wants his singer to enjoy gasping for air. But the Récitations are not just physically demanding; they also require immense musical intelligence of the singer: “Rather than creating melodies simply by combining higher and lower notes I use syllables and phonemes, the components of our language.” (Aperghis) In these pieces Aperghis has assembled countless numbers of these components, and he wants them to sound – as simple as possible, why of course! And in spite of all these nearly unfulfillable demands (or because of them?) Donatienne Michel-Dansac does enjoy herself. “It’s an adventure, and a challenge, to perform the 14 Récitations – for the audience, too.”
„Récitations" na głos solo (1977-1978)
„Tourbillons" na głos solo (1989)
„Calmes plats" na głos solo (1992)
„Pubs-Reklamen" na głos solo (2002-2015)
„Zig-Bang" na głos solo (2004)
„Pour Gabrielle" (2013)
25 August 12.00 noon, Sala prób, 1H
Homeostasis – breath symphony
This musical composition for human voices was composed with the intention of generating a transformative experience for the performer, both on an individual and a collective level of the atmospheric body. The first sequence is constructed of gentle diaphragm inhalations and extended exhales, lowering the activity of the sympathetic nervous system, animating the parasympathetic ANS. It reduces stressful reactions and puts one in a relaxed state. Subsequent sequences, through withholding breath, simulate the vagus nerve. By calming the nervous system, they help soften panic attacks and anxious states. In order to read the score, it is necessary to familiarise oneself with the breathing alphabet, which is a visual language, and the experiences which accompany it, reflecting a range of breaths and the experiences which come with them. The reading time is dependent on the breathing tempo. Anyone can become a performer of these breathing musical scores, seeing as air becomes the material for artistic expression, something we all use to breathe.
25 August 1.00pm, Theatre Hall, 5H
Day Rave Dambi Kim, Lou Drago, Margherita D'Adamo, Isabel Lewis – workshop-performance
For the Day Rave, Lou Drago, Dambi Kim, and Isabel Lewis collaborate to physically continue their ongoing conversation about embodied listening to music that enhances perceptual sensitivity.
Influenced by a range of perspectives from dance, performance studies, feminist and queer theory, Eastern Philosophy, ambient music and clubbing, Drago, Kim, and Lewis each approach the notion of somatic praxis in different ways. They share an interest in long term engagement with embodied practices that potentiate moments, however fleeting, of a sense of connection with things beyond the singular subjectivity of the self. The music and vibe of the Day Rave seeks to hold space for the playful exploration of blurred identities and acknowledges peripheral perception. They aim to encourage connections with that which is greater than the self and especially through the use of dance as a form of communion and sociability that can activate not only inter-human relations but also relations to all things with which we co-exist.
24 August: 40 PLN
24 & 25 August: 50 PLN