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26 May
Jilliene Sellner & Zeynep Ayşe Hatipoğlu

Heya: Feminist networked co-creation between Europe and the Middle East

Music

26 May

Tuesday 26 March 11AM

Livestreaming available on our Facebook and on this website
In English

Music
Price Free admission
Facebook Streaming
Length 60 mins.

Jilliene Sellner is a Canadian sound artist and PhD researcher (Goldsmiths) currently based in the UK. She has composed sound for several international artists’ video work and provides training for non-profit organisations and activists in podcasting. Her practice concentrates on collaboration, phonography, composing for installation, ‘radio’ and video and curating/producing live networked performances.

Zeynep Ayşe Hatipoğlu is a cello player and composer based in Istanbul. As a composer and performer, she is collaborating with musicians and artists from other disciplines, mostly involved in improvisation practices. Ayşe is an active member of SAVT and Klank.ist ensembles.

Heya [heeya] (‘she’ in Arabic and also a friendly greeting in English) is a research project facilitated by PhD researcher, sound artist and composer Jilliene Sellner that works towards bridging women who make sound, noise, field recordings, experimental music, and electronic music with each other and a global audience. The main geographical areas of focus are Cairo, Tehran, Istanbul and Beirut as a set of examples of homogenous contexts but which all have experienced uprising and suppression since the Arab and Green Springs and Gezi Park protests.
The co-creation consists of live networked performances between Nour Sokhon (LE), Jilliene Sellner (CA/UK), Yara Mekawei (EG) and Zeynep Ayşe Hatipoğlu (TU). The performance uses various networking techniques such as Zoom or collaborative ‘distributed listening’ app LiveShout (developed by Dr Franziska Schroeder and Prof Pedro Rebelo at Queens University, Belfast) and the LocusSonus soundmap so that performers can ‘jam’ remotely.
Mixing and reacting to each other’s field recordings and sonic experiments, collaboration becomes a horizontal and egalitarian method of decolonising musicological research, circumventing top down, traditional methods and conclusions. The limitations of the online platforms in addition to unstable internet access presents challenges to the collaborators. The experiment’s aim is not necessarily to present a beautiful sonic piece or score but to reflect on the artists’ experience of playing together apart.
For the symposium the discussion will focus on the perspectives of artists working outside of ‘Western’ infrastructures where freedom of movement and speech has not been a given and compare and contrast to the lockdown experience globally.

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