User:EstherMariePauw/Africa Open Improvising: Difference between revisions
No edit summary |
No edit summary |
||
| Line 1: | Line 1: | ||
''Africa Open Improvising'' is a South African music collective that explores the capacities of free improvisational music to impact |
''Africa Open Improvising'' is a South African music collective that explores the capacities of free improvisational music to impact musicians, audiences, and sonic atmospheres of a university campus. Affiliated with [[Stellenbosch University]]’s [[Africa Open Institute for Music, Research and Innovation]], the collective is known for its unique blend of free improvisational music that fosters collaboration among artists from diverse traditions and disciplines, driving innovation in both musical performance and interdisciplinary research. |
||
''Africa Open Improvising'' emerged in March 2020, adapted its activities during the |
''Africa Open Improvising'' emerged in March 2020, adapted its activities during the COVID-19 pandemic, and explored various interdisciplinary research and creative projects. |
||
== Ethos == |
== Ethos == |
||
The collective's emphasis on free improvisational music invites postures of listening and interplay that encourage music-making from diverse musical origins, on a diversity of music instruments, as played by |
The collective's emphasis on free improvisational music invites postures of listening and interplay that encourage music-making from diverse musical origins, on a diversity of music instruments, as played by self-taught artists, classical, jazz, and experimental musicians, among others. The group's ethos centers on inclusivity, welcoming anyone to join sessions, with a focus on sonic curiosity, listening, experimentation, and community-building. These aspects of sonic openness foster inter-relational energies focusing on collaborative and fluid musical exchanges. The collective maintains an open audience policy, allowing for walk-ins and interdisciplinary collaboration with visual artists, dancers, and researchers.<ref name="herri9">{{cite web | last=Pauw | first=Esther Marie | title=Africa Open Improvising & AMM-All Stars | url=https://herri.org.za/9/esther-marie-pauw/ | website=Herri | access-date=2024-09-16}}</ref> |
||
== History == |
== History == |
||
Africa Open Improvising was initiated in March 2020 by improvisers Garth Erasmus (playing indigenous and self-made instruments like the ghorrah and mcinci and saxophone), Esther Marie Pauw (on flutes) and Pierre-Henri Wicomb (playing prepared piano). The collective's musicians |
Africa Open Improvising was initiated in March 2020 by improvisers Garth Erasmus (playing indigenous and self-made instruments like the ghorrah and mcinci and saxophone), Esther Marie Pauw (on flutes), and Pierre-Henri Wicomb (playing prepared piano). The collective's musicians have also included Jacques van Zyl (neural nets electronic noise music), John Pringle (percussion), Carina Venter (cello), Lize Briel (flutes), Cara Stacey (bows), Antoinette Theron (voice), Juliana Venter (voice), Likhona Tokota (tuba), Mo Laudi (synthesizer), and Peter Baxter and Melanie Hufkie of the AMM All-Stars improvising collective (London), among others.<ref name="herri9" /><ref>{{cite web | last=Pauw | first=Esther Marie | title=Score-makers | url=https://herri.org.za/6/score-makers/ | website=Herri | access-date=2024-09-16}}</ref> |
||
During the COVID-19 lockdown, the collective adapted to online and hybrid performance formats, allowing musicians to connect across national and international boundaries. This shift provided opportunities to engage with digital technologies as creative tools |
During the COVID-19 lockdown, the collective adapted to online and hybrid performance formats, allowing musicians to connect across national and international boundaries. This shift provided opportunities to engage with digital technologies as creative tools and as a research endeavor, resulting in the group's discovery of 'Zoom-curated music.' Musicians used Zoom as a meeting platform, acknowledging time lagging and audio channel preferences. They recorded fragments of Zoom-related sound and later collated the tracks, resulting in compositions created by Zoom as an external curator.<ref>{{cite web | title=Flipbook: Fragmentation in the Creative Process | url=https://online.fliphtml5.com/cvapr/gwnr/#p=81 | website=FlipHTML5 | access-date=2024-09-16}}</ref> |
||
== Dissemination of |
== Dissemination of Music == |
||
The improvised recordings by the collective are disseminated through platforms like [https://soundcloud.com/user-610733588 SoundCloud] and the Internet Archive, attesting to the democracy and availability of their work. Their recordings are also available for further open |
The improvised recordings by the collective are disseminated through platforms like [https://soundcloud.com/user-610733588 SoundCloud] and the Internet Archive, attesting to the democracy and availability of their work. Their recordings are also available for further open-source editing, manipulation, and sampling, without copyright restrictions. Audio recordings and written reports are archived by the Africa Open Institute for Music, Research, and Innovation for future access and research.<ref name="flip">{{cite web | title=Fragmentation in the Creative Process | url=https://online.fliphtml5.com/cvapr/gwnr/#p=81 | website=FlipHTML5 | access-date=2024-09-16}}</ref> |
||
== Projects == |
== Projects == |
||
The activities |
The collective's activities include regular improvisation sessions and public performances at the Africa Open Institute and events organized by the Sonic Experimentation Network of South Africa (SENSA).<ref>{{cite web | title=Sonic Experimentation Network of South Africa | url=https://www.sensa.org.za/ | website=SENSA | access-date=2024-09-16}}</ref> After the pandemic, a public concert at Pieter Okkers House in Stellenbosch was documented in a published article with film and audio online.<ref>{{cite web | last=Pauw | first=Esther Marie | title=Score-makers | url=https://herri.org.za/6/score-makers/ | website=Herri | access-date=2024-09-16}}</ref> |
||
In 2023 |
In 2023, a collaboration with the London-based AMM-All Stars, facilitated by filmmaker [[Aryan Kaganof]], led to a joint performance recorded as ''Slave Bell Quintet'', which is available online.<ref name="herri9" /> Xenochrony of shared tracks was radio-broadcasted by [[Ben Watson (music writer)]] in London, underscoring the collective's openness to international collaboration.<ref>{{cite web | last=Watson | first=Ben | title=Broadcast on Soho Radio and Resonance FM | url=https://sohoradiolondon.com/show/the-otl-show/ | website=Soho Radio | access-date=2024-09-16}}</ref> |
||
In 2024, the collective engaged in a series of |
In 2024, the collective engaged in a series of improvisations with a NAO-6 humanoid robot in a project initiated by the Goethe Institute, exploring cultural diversity in AI-humanoid interactions in African contexts. |
||
== Interdisciplinary |
== Interdisciplinary Group Work == |
||
The Africa Open Improvising collective fosters transdisciplinary research and creative outputs through |
The Africa Open Improvising collective fosters transdisciplinary research and creative outputs through music intersecting with disciplines such as physics, philosophy, ethnography, and mathematics. The collective's current work is enabled through technological innovations, such as improvising with humanoid robots, and through collaborations with visual artists and dancers.<ref>{{cite web | title=Zurab Janelidze: Research on Gestalt Psychology and Mathematics | url=https://www.zurab.online/ | website=Zurab Janelidze | access-date=2024-09-16}}</ref> |
||
== Legacy and |
== Legacy and Influence == |
||
The collective’s focus on improvisational music and open-source sharing challenges the traditional music education model at Stellenbosch University, which historically focused on classical Western music. By emphasizing listening and creative exploration, Africa Open Improvising impacts research projects and encourages a transformative cultural atmosphere on campus. Their shared audio tracks and interdisciplinary projects demonstrate a commitment to innovation and inclusivity.<ref>{{cite web | title=SoundCloud: Africa Open Improvising | url=https://soundcloud.com/user-610733588 | website=SoundCloud | access-date=2024-09-16}}</ref> |
|||
The Africa Open Improvising collective serves as a research and innovative creative collective to welcome fluidity of music genres and types of music-making on an African campus where undergraduate music education has, in the past, focused largely on classical Western music training which, in performance, has relied extensively on score-reading to enable performance. Although jazz studies and indigenous genres and styles of music-making are becoming acknowledged fields of study on the Stellenbosch campus, the essence of creating through fine-tuning the ear, through improvised musician interaction and through exploring the sonic capacities of the music instrument within and outside of its vocal origins is highlighted in the research and creations of Africa Open Improvising. The collective's focus on creative installation-making through individual acknowledgment in groupwork contributes to affect the research projects (in particular) as well as the atmosphere (in general) of a university campus that strives to transform away from the mass-group militarisation of student behaviour, and to move away from standardising set behaviour by students, and, instead, encourage creativity, respect, listening postures, and quiet celebrations of those aspects of cultural sensing that may be deemed marginal. |
|||
In summary, the collective's audio tracks shared online <ref>https://soundcloud.com/user-610733588</ref> constitute material artistic creation, whilst the collective's methodological approach of openness portray balances of individual and social audio practices. In addition, the collective's interdisciplinary research projects demonstrate curiosity and commitment to impact on research environments through innovation. These three aspects, together, serve to influence the sonic atmospheres of the Stellenbosch University campus in positive ways. |
|||
Revision as of 13:37, 18 September 2024
Africa Open Improvising is a South African music collective that explores the capacities of free improvisational music to impact musicians, audiences, and sonic atmospheres of a university campus. Affiliated with Stellenbosch University’s Africa Open Institute for Music, Research and Innovation, the collective is known for its unique blend of free improvisational music that fosters collaboration among artists from diverse traditions and disciplines, driving innovation in both musical performance and interdisciplinary research.
Africa Open Improvising emerged in March 2020, adapted its activities during the COVID-19 pandemic, and explored various interdisciplinary research and creative projects.
Ethos
The collective's emphasis on free improvisational music invites postures of listening and interplay that encourage music-making from diverse musical origins, on a diversity of music instruments, as played by self-taught artists, classical, jazz, and experimental musicians, among others. The group's ethos centers on inclusivity, welcoming anyone to join sessions, with a focus on sonic curiosity, listening, experimentation, and community-building. These aspects of sonic openness foster inter-relational energies focusing on collaborative and fluid musical exchanges. The collective maintains an open audience policy, allowing for walk-ins and interdisciplinary collaboration with visual artists, dancers, and researchers.[1]
History
Africa Open Improvising was initiated in March 2020 by improvisers Garth Erasmus (playing indigenous and self-made instruments like the ghorrah and mcinci and saxophone), Esther Marie Pauw (on flutes), and Pierre-Henri Wicomb (playing prepared piano). The collective's musicians have also included Jacques van Zyl (neural nets electronic noise music), John Pringle (percussion), Carina Venter (cello), Lize Briel (flutes), Cara Stacey (bows), Antoinette Theron (voice), Juliana Venter (voice), Likhona Tokota (tuba), Mo Laudi (synthesizer), and Peter Baxter and Melanie Hufkie of the AMM All-Stars improvising collective (London), among others.[1][2]
During the COVID-19 lockdown, the collective adapted to online and hybrid performance formats, allowing musicians to connect across national and international boundaries. This shift provided opportunities to engage with digital technologies as creative tools and as a research endeavor, resulting in the group's discovery of 'Zoom-curated music.' Musicians used Zoom as a meeting platform, acknowledging time lagging and audio channel preferences. They recorded fragments of Zoom-related sound and later collated the tracks, resulting in compositions created by Zoom as an external curator.[3]
Dissemination of Music
The improvised recordings by the collective are disseminated through platforms like SoundCloud and the Internet Archive, attesting to the democracy and availability of their work. Their recordings are also available for further open-source editing, manipulation, and sampling, without copyright restrictions. Audio recordings and written reports are archived by the Africa Open Institute for Music, Research, and Innovation for future access and research.[4]
Projects
The collective's activities include regular improvisation sessions and public performances at the Africa Open Institute and events organized by the Sonic Experimentation Network of South Africa (SENSA).[5] After the pandemic, a public concert at Pieter Okkers House in Stellenbosch was documented in a published article with film and audio online.[6]
In 2023, a collaboration with the London-based AMM-All Stars, facilitated by filmmaker Aryan Kaganof, led to a joint performance recorded as Slave Bell Quintet, which is available online.[1] Xenochrony of shared tracks was radio-broadcasted by Ben Watson (music writer) in London, underscoring the collective's openness to international collaboration.[7]
In 2024, the collective engaged in a series of improvisations with a NAO-6 humanoid robot in a project initiated by the Goethe Institute, exploring cultural diversity in AI-humanoid interactions in African contexts.
Interdisciplinary Group Work
The Africa Open Improvising collective fosters transdisciplinary research and creative outputs through music intersecting with disciplines such as physics, philosophy, ethnography, and mathematics. The collective's current work is enabled through technological innovations, such as improvising with humanoid robots, and through collaborations with visual artists and dancers.[8]
Legacy and Influence
The collective’s focus on improvisational music and open-source sharing challenges the traditional music education model at Stellenbosch University, which historically focused on classical Western music. By emphasizing listening and creative exploration, Africa Open Improvising impacts research projects and encourages a transformative cultural atmosphere on campus. Their shared audio tracks and interdisciplinary projects demonstrate a commitment to innovation and inclusivity.[9]
- ^ a b c Pauw, Esther Marie. "Africa Open Improvising & AMM-All Stars". Herri. Retrieved 2024-09-16.
- ^ Pauw, Esther Marie. "Score-makers". Herri. Retrieved 2024-09-16.
- ^ "Flipbook: Fragmentation in the Creative Process". FlipHTML5. Retrieved 2024-09-16.
- ^ "Fragmentation in the Creative Process". FlipHTML5. Retrieved 2024-09-16.
- ^ "Sonic Experimentation Network of South Africa". SENSA. Retrieved 2024-09-16.
- ^ Pauw, Esther Marie. "Score-makers". Herri. Retrieved 2024-09-16.
- ^ Watson, Ben. "Broadcast on Soho Radio and Resonance FM". Soho Radio. Retrieved 2024-09-16.
- ^ "Zurab Janelidze: Research on Gestalt Psychology and Mathematics". Zurab Janelidze. Retrieved 2024-09-16.
- ^ "SoundCloud: Africa Open Improvising". SoundCloud. Retrieved 2024-09-16.