Surat surat perang
For voice and voice-skin
(2020)’20
Concerts:
November 20, 2021 (time t.b.a.)
Biegungen im Ausland, Ausland,
Lychener Str. 60, 10437 Berlin, Germany.
September 9, 2021, 18:30
Apotheose, Württembergische Kunstverein,
Schlossplatz 2, D-70173 Stuttgart, Germany.
hared Space #Parkseite
PERFORMANCE + TALK
Thursday, September 9, 2021, 6:30 p.m.
With Janneke van der Putten
A project by Apotheose
Registration (until September 8, 2021, binding):
[email protected]
Janneke van der Putten is a vocal artist and visual artist living in Rotterdam (NL). In an intuitive and physical way, she explores her voice as a sound texture. She specializes in advanced vocal techniques that produce two or more sounds simultaneously: fundamental tones, overtones, interference – such as glottic attacks – and spatial reflections. Van der Putten uses the architecture as a natural sound amplifier and as a trigger for echoes or other acoustic effects. Wandering in the room sets the sound in motion and creates a dynamic listening experience. Her rhythmic and conceptual approach to singing is inspired by the cycles of the breath, the body and the earth. Their performances are often performed without electrical amplification.
Voice-Skin is a production for voice and electroacoustics, performed by Janneke van der Putten (NL), with compositions by Werner Durand (DE), Sajjra Xhrs Galarreta (PE) and Philemon Mukarno (NL). The portable sound system was created by Jesse Howard (US) & Arden Rzewnicki (US). Photography by Gabrielle Barros Martins. Made possible by Prins Bernhard Cultuurfonds, Fund for Performing Arts and Akademie Schloss Solitude. Produced by Stichting Idraola, Rotterdam, 2019-2021.
After
21:00, Playlist by Janneke van der Putten, Werner Durand and Philemon Mukarno, dance and drinks, new box, Inner North Station
Apotheosis
Apotheosis comes from ancient Greek and is translated as deification, deification. It is about the elevation of a mortal to a god or a demigod, whereby the description of a glorification or transfiguration is also used. Proper cults are formed around people who create something musical and artistic and thereby reach a public. Exceptional achievements and skills are particularly valued and experience admiration and awe. We shall refer to this process here as apotheosis. Is apotheosis the result of many years of striving for recognition or the result of the dreams and hopes of others who find a projection surface in the musicians and artists?
In an open discussion, the biographies and works of invited musicians and artists will serve as a starting point to stimulate a discussion about the apotheosis of the title and to explore the paradoxes it contains. This exchange takes place once a month in different cultural institutions in Stuttgart. This is followed by musical and artistic performances by the invited at different locations in Stuttgart. Inspired and moderated by Jan Nicola Angermann.
With heartfelt thanks to the invited musicians and artists, the support of the Stuttgart Cultural Office, SHAPE platform, Württembergischer Kunstverein, Akademie Schloss Solitude, HuM-Collective, Meckatzer and all those involved.
September 12, 2021
Festival für Immaterielle Kunst,
13:00-15:00 (Free of charge)
Afterward: Discussions
Kampnagel, Hamburg, Germany.
Where do contemporary music and performance cross lines? Who does this and why? Where does interpretation ‘stop’ and performance ‘start’? What are musical attempts to lean into performance art? How does performance art incorporate and use experimental music for its expressiveness? One of the main differences between contemporary music and performance art is the predetermination of things. Performance would generally be open to things happening during the happening, having an open end, while new music and composition will focus on predefine everything as far as possible. If the sound is chosen to be part of the performance art experiment it will not be composed, not previously, and not spontaneously. The aesthetic quality of the music chosen for the performance can be more experimental or more traditional, depending also on the subject and the desired expression. For half a century contemporary music has dealt with performative aspects as one topic in the composition of western classical music. In music theatre, it even has been part of it ever since. But it seems that especially in the very recent years this topic has gained a very special part in the new music concerts. This might be caused by two reasons: The more and more omnipresent visual aspect of everything we are confronted with. Presentation is key and often is connected to a special, untraditional setup and use of the physical body disconnected to the performance on the instrument. And secondly: the search for new terms of the formerly only called ‘interpret’, labels which determine him/ her from being a ‘simple’ executer to also being a creative person him / herself, however far this activity might reach.
Saturday, 11.9.2021
Concerts (20 Euros / conc. 18 Euros)
19:30 Janneke von der Putten
Sunday, 12.9.2021
13:00-15:00
Janneke van der Putten: Voice Skin
Afterward: Discussions
We can find performance artists in art universities and galleries, we find experimental musicians in music universities and concert halls. They have hardly any points of contact, and can upskill in the respectively other field only by high personal engagement. FIK wants to accelerate this a little, by providing the opportunity to peek into the other domain, into ways of thinking and working, get an idea of the used tools, but also to ask own questions. Where can I learn what, how can I built up a network? How does a musician approach sth., how a performance artist? How do they structurize, think, which tools do they use and how, where can I learn that or find more info? Dance, body, instrument, electronic, pedals, computer, props,, costume, make-up, space, light, colours, levels, video, shooting, interaction, research, backrounds, goals, collegues, network, works by others, citations, time, location, audience etcetc.
September 16, 2021 20:30
WORM,
Boomgaardsstraat 71, Rotterdam, Netherlands.
Janneke van der Putten is a vocalist and visual artist based in Rotterdam, specialized in extended vocal techniques and spatial reflections. Van der Putten uses architecture as a natural sound amplifier and as a trigger for echoes or other sonic effects. Her performance explores the possibilities of the human voice in interaction with a portable sound system, called the Voice-Skin. Unconventional vocal techniques and spatial resonances are mixed with electro-acoustic sounds emitted through loudspeakers mounted on the textile surface of the Voice-Skin.
The Voice-Skin is a performance intended to be experienced in the same physical space as where it is performed. Due to the movements of the vocalist, the direction of the sound changes constantly. In addition, the sound is enhanced by the shape of the Voice-Skin and by the architecture.
Voice-Skin is a collaboration with multiple composers and designers and the vocalist-performer. For WORM, van der Putten presents two separate performances based on pieces by Werner Durand, ‘Heart Sines’ and Philemon Mukarno, ‘Surat-Surat Perang’. Janneke will play ‘Larynx Lux’ by Sajjra Xhrs Galarreta as 3rd piece.
LIVESTREAM: YOU CAN BUY A TICKET ONLINE FOR THIS PERFORMANCE https://vimeo.com/event/1178362 (password protecteed, password on ticket).
Voice-Skin: Performance
Get an impression of the electroacoustic parts of the compositions: listen to ‘Heart Sines’ here and get an impression of the electroacoustic part of ‘Surat-Surat Perang’ here.
‘Voice-Skin #1’ is a production for voice and electro-acoustics performed by Janneke van der Putten (NL), with compositions by Werner Durand (DE), Sajjra Xhrs Galarreta (PE) and Philemon Mukarno (NL).
The portable sound system designed by Jesse Howard (US) & Arden Rzewnicki (US). Photography by Gabrielle Barros Martins (NL).
‘Voice-Skin #1’ is made possible by Prins Bernhard Cultuurfonds, Performing Arts Fund and Akademie Schloss Solitude. Produced by Stichting Idraola, Rotterdam, 2019-2021.
NOTE! Due to nature of the show, only a limited number of tickets are available for the hall: 30 maximum, sold in pairs.
Visitors can interact with the Voice-Skin suit, live, using their phones (as torch/lamp interaction) during ‘Heart Sines’.
August 14, 2021 22:00 UTC+02
Helicopter X Radio Tonka,
Beatrijsstraat 10 The Hague, Netherlands.
Doors: 20:00, Entrance: 8EUR (entrance through the blue gate)
Limited capacity so reserves your spot by sending us an email at [email protected]
www.helicopter.studio
Voice-Skin, inspiring extended vocality at work: "Janneke van der Putten presents a performance about the limits and possibilities of the human voice in interaction with a portable sound system, called the Voice-Skin. Unconventional vocal techniques and spatial resonances are mixed with electro-acoustic sounds emitted through loudspeakers mounted on the textile surface of the Voice-Skin. Due to the movements of the vocalist, the direction of the sound changes constantly. In addition, the sound is enhanced by the shape of the Voice-Skin and by the architecture".
Voice-skin
A sound experience for voice and (electro) acoustics A production for voice and electroacoustics performed by vocalist Janneke van der Putten(NL) with compositions by Werner Durand(DE), Chrs Galarreta (PE) and Philemon Mukarno(NL/ID). Interface-dress designed by Jesse Howard (US) & Arden Rzewnicki (US)
Photo credit: Gabriëlle Barros Martins
Composers
Surat-Surat Perang [2020] by Philemon Mukarno for voice and voice skin with 6 tracks electronics.
Duration: 20 min
Composed on request of and dedicated to Janneke van der Putten
With the financial support by the Performing Arts Fund NL
