sonic poem, listening performance, feminist listening practices, collaboration
allowing passage through (TRANSITVS)
a listening performance/sonic poem in six acts
by a frei & izidora l. lethe
(english with slivers of dalmatian/german/french)
mothers&daughters – lesbian & trans* bar
kaai studios
brussels
october 2021
concept: a frei & izidora l. lethe
writing/texts: izodora l. lethe
sound, mixing, selection, composition: a frei
performance: a frei & izidora l. lethe
developped for «slamposium» at kaai studios brussels by mothers&daughters – lesbian & trans* bar
performance photos by: loup caccia
thanks and our love to: marnie, mia, alice, robin, joelle and the whole m&d team!
Mothers & Daughters – A Lesbian* and Trans* Bar* is a collective project and itinerant community space in Brussels by and for lesbian, trans, non-binary and gender non-conforming people, and their friends and allies. The project focuses on creating safer spaces for learning, celebration, creativity, political solidarity and representation from an intersectional queer and feminist perspective. Mothers & Daughters is organised by Alice Versieux, Ben Pigeard-Benazera, Byrthe Lemmens, Claire Gilder, Jessica Gysel, Joëlle Sambi Nzeba, Katja Mater, Marnie Slater, Mia Melvær, Misha Verdonck, Nyira Hens, Paulien Föllings and Robin Brettar.
mothers&daughters
Allowing passage through (TRANSITVS)
A sonic poem in 6 acts
by A Frei & Izidora L. LETHE
Some of the transistions you will notice,
some of the transistions you won't.
In this Listening Performance, the two artists develop their first collaborative work titled (TRANSITVS), which translates from latin into «Allowing Passage Through». Different forms of «transitions» will be touched upon in various ways such as the reaching across times and works that have been separated, or the mutable transience of the notion of gender (or: genre).
(TRANSITVS) invites to open toward slow change – and at times even unnoticed or unnoticeable change – while leading listeners through a sound poem in six acts thematically interweaving works by queer composers and performative and acoustic elements. Influenced by a composition by Annea Lockwood and the traditional yugoslavian ganga singing, the whole composition (played by 2 record players, singing and ceramic bowls with hydrophones), is tuned on the Note E and plays with slight halftone shifts and transitions.
Temporal overlaps in sound, language and movement will pass the audience through entwining one’s own body experience and tectonic plate shifts, or the notion of the brains’ «elastic» time-preception – which expands, contracts and permeates like a soundwave – while sharing present-time. Listening, thereby, is meant to move beyond sole receptability and be an act of relational attunement.
«Decreation is an undoing of the creature in us – the creature enclosed in self and defined by self. But to undo self one must move through self, to the very inside of its definition.» Anne Carson
«Submitting to an identity also means consenting to be troubled by your failures in relation to it.» Hannah Black
«What is heard is changed by listening and changes the listener.» Pauline Oliveros