Rest, Rooms – moment griotage / public / Europe

Copyright Wagner Carvalho

Live Audio and Video Performance

 

Acoustic manifesto of presence in absence.
What has and has not been told, stated and said that night is being woven into an artful sound collage.
The personal dribbles into the collective and paves the way from the must-accomplish to the may-be.
Analogue and digital controllerism, Afrodeutsche Identity™ on resilience au gratin, with loops and hardly any peer pressure.

 

Premiere: Theater Ballhaus Naunynstraße Berlin, at Black Intervention, 21.2.2013
Performance2: Westwerk, Hamburg, with Exhibition »Homestory Deutschland«, 30.3.2013
Performance3: BIGSAS Festival of African and African-Diasporic Literature, Bayreuth, 22.6.2013

 

Restrooms Vimeo

Watch the video documentary on Vimeo. 

 

performance3:

conceptual electronic griotage

FIRST!
in writing, history,
historiography through storytelling
Performing along the classical rules of historiography:
utterly subjective, creative, leaving most of the stuff out, consequently following my own peers’ reference.

But it is also a griotage in and of resistance
while not getting stared at
I make use of scales and instruments
as I please

(ger:)

Die Geschichtsschreibung über das Festival beginnt in dem Moment, in dem es gesagt wird.
wir selbst sind der Beginn der Geschichtsschreibung über das Festival.

Diese Griotage gehorcht allen Regeln der Geschichtsschreibung: sie ist subjektiv, kreativ und konsequent dem eigenen Referenzrahmen zugewandt.
Sie ist auch eine widerständige Griotage.
Sie lässt sich nicht auf den Busen schauen.
Sie verwendet Skalen und Instrumente, wie es ihr gefällt.

 

  •  Transcript of electronic Griotage “Rest, Rooms” in the book AfroFictional In[ter]ventions, Susan Arndt & Nadja Ofuatey-Alazard (issuers), edition assemblage, Februar 2014

afrofictional-interventions

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premiere and performance2:

i listen to the panelists and artists
after their presentations, i perform
away from the gaze of the audience
i weave keywords and sentences, messages and vibes from what has just been said, presented and shared into a symphony of melody, sound and my own voice
i griot the moment
away from the gaze
for in such a setting my body cannot be watched without being marked
and i must not be marked in such a setting
avoiding objectification and turning it around, i film the theatre audience and let them look at themselves
a second video feed shows how my hands so skillfully work the consoles to create the moment-griot symphony
they can become aware of my skills and watch my art and craft
not my body
i focus entirely on my piece, the griotage and the historical document i am creating
not on how to amuse the audience
with the beginning of my performance, the theatre is advised to open their doors
to provoke the audience to leave
when they cannot gaze at me but only at themselves
when they cannot consume
and are without a protocol to follow
instead they must ask themselves do they want to leave or not and why
will they be looked at if they stand up or remain seated
and i write and sing the history of what happened that night
and i contextualize our voices
in this intervention

 

Copyright Wagner Carvalho

Fotos: © Wagner Carvalho

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