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Sounds 4 Survival Open Call

Sounds 4 Survival

Performance by Phoebe Collings-James and Last Yearz Interesting Negro

When: 4 (four hour) rehearsals between 20th Feb 2019 - 4th March, Performance either 5th March in London or 8th March in Bergen (traveling between 6th and 9th March)

What: Please send us an expression of interest (500 words), access requirements, availability for above periods and any relevant links by January 7th 2019.

Contact: phoebecollingsjames@gmail.com and lastyearzinterestingnegro@gmail.com

Total fee: £450 - London,  £525 - Bergen (not including per diems for days away)

For this iteration we are looking for 6 Black women to join us for the upcoming performances of Sounds 4 Survival, each performance will have a different cast of 5 that includes the two us. We are looking for people who have an interest in live performance but no previous experience of this is necessary. The direction of our research is musical percussion, voice work, communal practices, cultures of ‘black expression’, devotional objects, giving weight, hybridity and embodied practices. These can be existing personal or professional interests, relate to your academic research or just be areas of curiosity.

Please note that we won’t be able to cover travel to and from rehearsals so this is a call specifically for people in London.

The project started developing during a residency at Wysing Arts Centre in Spring 2018 and has been performed once as part of the Wysing Polyphonic music festival. Below is a text from us about it and also links to some reviews:

Life grows between the cracks of this current flesh

Charting psycho-emotional landscapes and mapping them on to the physical, we work with our multi-dimensional bodies as the primary technology and source material for a collaborative live performance that is embodied through a symbiotic relationship between dance, music and sculpture. The group form a chorus centred around a conceptual deconstruction of ‘percussion’ as it functions instrumentally and also as a radical proposition to the various ways you could think about the power of ‘striking an object’ and the impact of the sonic as resonating frequencies and vibrations. Our bodies navigate the sensory labour of their being ‘played’. For each performance of this work, Phoebe Collings-James and Jamila Johnson-Small are joined by a different cast of three other artists.

In my mind the process of ceramics becomes enzyme like in its ability to facilitate a movement in the object and all those who interact with it. I could call them live and active gut cultures or subaltern spirit guides or the detritus of devotional memorabilia. Wrapping green and yellow fungi around them, letting language starve them of breath. But I will not. I will leave it for you to read, in your arms to hold. Or drop.- Phoebe Collings-James

Navigating ‘the gaze’, and I do not mean this as something singular, is survival work that all ‘othered’ bodies are obliged to do. Within my work I try to make space to have different kinds of relations because it is temporarily my house, my church, my empire – a certain kind of fragile, unknown and precarious sanctuary with the audience as a crucial part of the energetic and physical environment - Jamila Johnson-Small

http://thequietus.com/articles/25245-things-learned-at-wysing-festival-moor-mother-dj-haram-laraaji-yatta

https://www.theguardian.com/music/2018/sep/02/wysing-polyphonic-review-sonic-experiment-moor-mother

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