Festival Space for Listening to the Novel Stories

In this respect, I suggest that art festivals have begun to emerge as alternative grounds for re-telling or creating stories as they are facilitators of collective imagination and experiences.

According to Henri Lefebvre, the festival is not merely perceived as a mundane occurrence; rather, it is conceptualized as a disruption of everyday life and a restoration of the commonplace. Viewing festivals as extraordinary moments, Lefebvre argues that they possess the capacity to generate "visions" (1991, 250-251). Consequently, they may act as a "counter space" that challenges established norms.

Similarly, Mikhail Bakhtin notoriously emphasized the subversive potential of festive and playful events, which confront entrenched power structures and societal conventions. During Carnival, social hierarchies are upended, and conventional demarcations between social classes, genders, and roles become blurred. This temporary suspension of social norms grants individuals the freedom to express themselves in ways that may otherwise be restricted in everyday life. However, despite the apparent disruption of everyday life, festivals remain deeply ingrained in the mundane, as posited by Lefebvre. While festivals offer a fertile ground for envisioning alternative futures, they simultaneously function as platforms for festival-goers to collectively imagine alternative possibilities and potentialities. Max Ritts and Karen Bakker have explored the potential of festivals as platforms for the development of innovative environmental governance, drawing upon Lefebvre's conceptualization of festival space. Ritts and Bakker introduce the term "Anthropocene Festivals" to denote a novel institutional framework characterized by prefigurative and experimental environmental engagement. Over the past few years, these festivals have witnessed a notable surge in popularity. Ritts and Bakker observe that the concept of Anthropocene Festivals is gaining traction among various environmental organizations, including universities, local environmental non-governmental organizations (ENGOs), and United Nations-sponsored programs focused on biodiversity monitoring (2019, 126).

Similar to the other festivals around the world, the Amsterdam-based festival Sonic Acts also embraced this tendency. This ecological turn is mirrored in the recent initiatives and thematic orientations of Sonic Acts. The festival has curated events under titles such as "The Noise of Being," "Dark Ecology," "The Geologic Imagination," "Broken Nature," "Anthropocene River," and most recently, "One Sun After Another."

According to Ritts and Baker, while contemporary environmental initiatives may not be considered "revolutionary" in a Bakhtinian way, there remains value in exploring the concept of Anthropocene Festivals. The authors assert that Anthropocene Festivals, which vary in terms of duration and scale, distinguish themselves from eco-themed music festivals or nature-focused academic conferences. The authors emphasize that the defining characteristic of an Anthropocene Festival is its sociality, which is firmly grounded in the notion of "play." They contend that this particular form of social interaction offers an experimental approach to environmental governance. Through active incorporation of new skills, techniques, and passions, the Anthropocene Festival possesses the potential to redefine the boundaries between human beings and the more-than-human world, while also contributing to the advancement of environmental governance (Ritts & Baker, 126-127).

Building upon the works of Ritts and Baker, I contend that senses play a paramount role in the formation of a playground that fosters sociality, which is held to originate from the act of play. Consequently, this article proposes that the Anthropocene Festival space serves as a foundation for exploring alternative narratives, enabling us to engage with alternative possibilities while dismantling rigid narratives, as advocated by Kimmerer, in order to initiate the restoration of our connection with nature. Thus, in conjunction with their playful nature, Anthropocene Festivals can potentially serve as facilitators of a space where the relationship between humans and non-human entities can be healed.

Sonic Acts

Since its establishment in 1994, SonicA cts Biennale has been dedicated to the exploration of the intersections between art, music, science, and technology from an interdisciplinary standpoint. It endeavors to showcase experimental and boundary-pushing works, performances, lectures, and exhibitions, thus providing a platform for artists and intellectuals to actively engage with contemporary issues and ideas. This biennale embraces a broad spectrum of artistic practices, including sound art, electronic music, video art, installations, and performances, thereby facilitating the convergence of esteemed artists, musicians, theorists, and researchers from around the globe, fostering a dynamic and collaborative milieu.

The Sonic Acts Biennale program often encompasses thematic editions that concentrate on specific topics or concepts. These thematic frameworks serve as organizing principles for the diverse range of presentations and events, enabling participants to delve into the selected subject matter from multiple perspectives.

In 2022, from the 30th of September to the 23rd of October, the biennial occurred at various locations, including W139, Zone2Source in Amstelpark, and HetHem in Zaandam. The biennale featured three types of events: an exhibition titled "One Sun After Another," a three-day sound art program titled "Inner Ear(th)," and a symposium titled "Leaving Traces." These events were complemented by installations, workshops, and artist presentations.

The three-day program of Inner Ear(th) was devoted to exploring diverse ecologies through sound installations, music performances, and workshops. While the festival primarily showcased sound-centric artistic works and emphasized the act of "listening" as the central element of this experimental exploration, it also adopted a multisensory approach to sound and music, similar to the works presented at the MUTEK festival. By doing so, the festival served as a platform for alternative discussions on the interconnectedness of nature, humanity, and non-human entities, while simultaneously challenging the conventional modes of listening that confine it solely to the audible realm.

Sonic Acts showed that music and sound extend beyond being only audible phenomena; they are felt experiences that establish continuous connections with other senses. This perspective was echoed in the program notes, as indicated below:

Resonating with the complex histories of Het HEM - the former munitions factory - the programme excavates the multiple ecologies intertwining the geographies of the inner ear and earth through the reverberations of spatial sound. Within the cavernous walls, the contaminated soil of the nearby shock forest and docklands of the North Sea Canal, Inner Ear(th) carves out a space for exchange at the unstable border of the natural and artificial. At such meeting points, where vibrations echo off the eardrum, transmitter, object or entity, the Biennial programme brings into focus a collective listening practice that explores our capacity to resonate.

This approach very much resonates with Jean-Luc Nancy’s understanding of “re-soundings” where he defines sound as a self-referential loop where sound is constantly reflecting and echoing itself. He explains as follows:

Sound is also made of referrals: it spreads in space, where it resounds while still resounding “in me,” as we say (we will return to this “inside” of the subject; we will return to nothing but that). In the external or internal space, it resounds, that is, it re-emits itself while still actually “sounding,” which is already “re-sounding” since that’s nothing else but referring back to itself. To sound is to vibrate in itself or by itself: it is not only, for the sonorous body, to emit a sound, but it is also to stretch out, to carry itself and be resolved into vibrations that both return it to itself and place it outside itself. (2007, 22 -23)

Therefore, sound is not only conceived as an audible phenomenon, but also as a transgressive one, capable of resonating within and affecting both human and non-human bodies, thereby establishing connections between them. Building upon Jean-Luc Nancy’s ideas, Suzanne Cusick further argues that vibrations impact our bodies regardless of whether we consciously perceive them. Consequently, as Cusick reminds us, we resonate sympathetically with other entities in our environment, just as they do with us (2013, 278). Thus, from this vibrational perspective, sound transcends its anthropocentric nature.

Sonic Acts meticulously curated its program around this vibrational approach. As part of the festival, in addition to concerts, sound installations, soundwalks, and workshops took place. The installations showcased during the three-day Sonic Acts festival shared a common emphasis on exploring the relationship between nature, sound, and human perception. Each artwork aimed to challenge our comprehension of the world by giving voice to the often-overlooked forces and processes that shape our environment. Through unique approaches and immersive experiences, these installations captivated festival attendees and encouraged them to engage with the subtle aspects of earthly phenomena.

One of the notable installations at the festival was "POWERLESS FLIGHT." This site-specific iteration of the piece incorporated aeolian harps and weather-responsive instruments that made air movement audible, harmonizing with the climate conditions around Het HEM. Originally conceived as a response to the initial wave of the COVID-19 pandemic, "POWERLESS FLIGHT" sought to redirect our attention towards the non-human aspects of our world. By creating a sonic representation of geophysical forces, the installation aimed to enable us to listen and perceive the intricate processes that often go unnoticed. The title, "Powerless," alludes to a release from the systematic control exerted by humans and emphasizes the multiplicity of chaotic orders of life beyond our own.

Another captivating artwork featured at Sonic Acts was "Semilla." This installation invited attendees to partake in a ritual of sowing and offering, symbolizing protection and reciprocity with the Earth. The sonic seed of "Semilla" was buried underground as a collective act, initiating a resonant movement that could grow over time. During the burial, the audience actively participated by assisting in covering and planting the artwork. Once buried, a cross made of solar and reflective panels marked the position of "Semilla." People were encouraged to lie down on this marker and listen to the sounds emanating from within the Earth. The collective sound ritual embodied an opening act of the evening programme, fostering a sense of shared experience and connection with the environment.

Soundwalks and workshops aimed at creating an experimental playground for collective listening experiences. Lance Laoyan’s "Soundwalk: Walking in the Midst of All," promised a journey of profound connection with the environment and a revelation of the hidden sounds that enveloped the surroundings.

Inspired by the wisdom of Alexis Pauline Gumbs, Pauline Oliveros, and the listening cultures of the Blackfoot Peoples of Montana, USA, Lance sought to unveil the beauty and significance of seemingly "unwanted" sounds. Lance guided the meditative experience. The air was charged with curiosity and anticipation as participants immersed themselves in the sonic tapestry that unfolded around them.

With each step, the soundwalk transported the group from the gritty industrial landscapes to the serene embrace of the "Vijfhoekpark," a historical and ecologically preserved sanctuary. Lance's intention was clear: to expand the participants' listening capabilities and awaken their senses to the often-overlooked intricacies of their surroundings. The juxtaposition of nature and urbanity, of the natural and unnatural, became apparent as the group meandered through the city's periphery at different moments throughout the day. In this shared experience, a harmonious dialogue between humans, non-humans, and the environment emerged, reminding everyone of the profound connection we share with the world around us.

Performances were centered around the name spirit where human and non-human connections were at the centerstage. Using the field records collected through the soundwalks of the artists, most of the performances aimed at bringing the sounds of nature to the performance place. In this respect, especially the performances that took place at Exhibition Space created a unique atmosphere where nature and industry felt melting into each other.

Due to Het HEM’s industrial texture and history, the space provided a unique atmosphere for contemporary artworks while also echoing the in-betweenness in everyday life where artificial and natural in a constant connection.

One of the remarkable performances from the festival was Tarek Atoui's performance entitled Again Never Ever. Atoui's performance served as the closing piece of the festival. In this captivating work, Atoui skillfully amalgamated natural and industrial field recordings with taarab music. Prior to Atoui's performance, I strolled through the space, immersing myself in the atmospheric ambience of the venue. As I walked, the unique landscape offered by Het HEM unfolded before me, where nature and industry intertwined in harmonious embrace. Slowly, it slid beneath my feet, a tapestry of enchantment. Windmills danced ceaselessly, their graceful movements a mesmerizing spectacle. The sun's gentle caress bathed the shores, casting a sparkling reflection upon the water's surface. Sailing boats gracefully drifted away, carried by invisible currents. The sun's radiant beams permeated the space, painting the walls in hues of resplendent orange, as if an artist's brush had whispered its vibrant secrets.

As the performance commenced, the audience gradually took their places on the cushions arranged on the floor, evoking a sense of anticipation for an anticipated exceptional experience. The intriguing prospect of how Atoui would seamlessly integrate and interweave field recordings with Taarab captivated my curiosity. Tarab music, or Tarab, is a widely embraced musical genre originating from the coastal regions of East Africa, specifically Zanzibar in Tanzania and the coastal areas of Kenya. Ethnomusicologist Ali Jihad Racy provides an insightful definition of taarab as "the ecstatic feeling that the music produces" (2003, 229). He further highlights the profound connection between music and emotional transformation in both the performers' and listeners' realms, particularly within Arab culture, where the concept of ṭarab epitomizes this merger of music and emotional metamorphosis (5). Consequently, tarab music holds a deep association with the emergence of sentiments, sensations, and visceral reactions within the body.

As the sun's rays seep through vast windows, all in silence await. Atoui emerges, advancing slowly towards his stage, guiding listeners on a 45-minute sonic voyage, where echoes of Istanbul, Beirut, Abu Dhabi, and Singapore intertwine amidst the rhythmic tapestries and sonic architectures of Tarab. As the sun descends further, my thoughts gravitate towards cycles—cycles of daily existence, cycles of nature, cycles of destruction, cycles of creation, woven seamlessly by Atoui's repetitive rhythms. Others' sentiments elude me, but one truth remains: Atoui's performance unifies every soul within this space, regardless of their emotions or musings. When Atoui's performance concludes, I vacate the premises to embark on a visit to "Semillia," where I immerse myself in the auditory experiences emanating from the earth. This marks my first venture into proximity with the soil, a previously unexplored realm. Within the obscurity, I am captivated by the sounds of seed, the wind, and the murmurs of the assembled crowd.

Conclusio

While I do not subscribe to Lefebvre's notion that art can instigate a revolution, akin to Ritts and Baker, I am of the belief that art engenders novel domains for exploration and approaches to our relationship with the environment. Additionally, through the utilization of all our senses, festivals carry a potential to possess the capacity to generate more vibrant and unconventional narratives or histories, enabling us to comprehend our association with nature beyond dichotomies. By encouraging us to attune our ears and bodies to the soil, festivals also have the potential to instruct us in the art of listening, as desired by Kimmerer.

Bibliography

Cucuzzella, Carmela. 2021. “Making the Invisible Visible: Eco-Art and Design against the Anthropocene.” Sustainability 13, 1-16.

Cusick, Suzanne G. 2013. “Towards an Acoustemology of Detention in the ‘Global War on Terror.’” In Music, Sound, and Space. Transformations of Public and Private Experience, edited by Georgina Born, 275-291. Cambridge: Cambridge University Press.

Galafassi, Diego. 2018. The Transformative Imagination: Re-imagining the World toward Sustainability. PhD Dissertation in Sustainability Science. University of Stockholm.

Kimmerer, Robin Wall. 2020. Braiding Sweetgrass: Indigenous Wisdom, Scientific Knowledge and the Teachings of Plants. London: Penguin.

Lefebvre, Henri. 1991. Critique of Everyday Life, vol. 1, London: Verso.

Nancy, Jean-Luc. 2007. Listening. New York: Fordham University Press.

Racy, Ali Jihad. 2003. Making Music in the Arab World: The Culture and Artistry of Tarab. Cambridge: Cambridge University Press.

Ritts, Max, and Karen Bakker. 2022. “New Forms: Anthropocene Festivals and Experimental Environmental Governance.” Environment and Planning E: Nature and Space 5, no. 1, 125-145.