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DTSTART;TZID=America/New_York:20181214T200000
DTEND;TZID=America/New_York:20181214T220000
DTSTAMP:20260430T101900
CREATED:20181112T160748Z
LAST-MODIFIED:20190116T172913Z
UID:10000827-1544817600-1544824800@www.bowerbird.org
SUMMARY:Ben Patterson: Methods and Processes
DESCRIPTION:Bowerbird and the Arcana New Music Ensemble are excited to present the music of Ben Patterson (1934-2016)\, an important and under-recognized leader of the early Fluxus movement\, an international\, interdisciplinary community of experimental artists that began in the early 1960s. The program represents Patterson’s wide range of compositional strategies.  For example – Paper Piece (for 1 to 5 performers) is a text score that invites musicians to –  “shake\, break\, tear\, crumple” – paper in an improvisatory exploration of its sonic properties.  String Music on the other hand is a graphic score with detailed performance instructions and intricate notation more reminiscent of Stockhausen’s Kontakte. \nEarly in Patterson’s career\, as an African American classically trained double bassist\, he sought to “break the color barrier” and be the first black musician to play in an American symphony orchestra. As Patterson noted\, “in the end\, even though such a famous conductor as Leopold Stokowski fought strongly on my behalf\, America was not yet ready for a black symphony musician\, and so I went to Canada.”  During his initial brush with expatriate life\, Patterson performed as a contrabassist with the Halifax Symphony Orchestra and the Ottawa Philharmonic Orchestra\, and also became involved with electronic music\, working in Ottawa with Canadian pioneer Hugh Le Caine and performing his own experiments.  \nIn 1960 he moved to Europe  and was active in the contemporary music scene\, performing in festivals in Cologne\, Paris\, Venice\, Vienna and elsewhere.  During this pre-Fluxus period he created and performed some of his early seminal works: Paper Piece (1960)\, Lemons (1961) and Variations for Double-Bass (1961). Patterson assisted George Maciunas in organizing the historic 1962 Fluxus Festival in Wiesbaden. His interview with Emmett Williams – for the opening of this festival – was one of the first articles about Fluxus. In 1963 Patterson moved to New York\, where he participated in Fluxus manifestations until the late 1960s – when he returned to pursue “an ordinary life.” \nDuring the next two decades he pursued a career in arts administration – managing a variety of music\, theater\, and dance companies and serving as administrator or consultant to municipal\, state\, and federal arts funding agencies. Although he remained outside the Fluxus scene during this period\, he did occasionally surface with performances and new works for such events as the 20th Anniversary Fluxus Festival in Wiesbaden in 1982 and the 1983 Bienal de Sao Paulo\, Brazil\, and has been well represented in the various exhibitions throughout the USA of the Silverman collection. \nAfter a nearly twenty-year hiatus\, Patterson reemerged in the late 1980s to resume his career as an artist. In 1989\, Patterson returned to Europe to live\, creating a vast repository of scores\, paintings\, and sculptures. He has exhibited or performed widely in major and minor venues in New York\, Brisbane\, Prague\, Winnipeg\, Tusa (Sicily)\, Athens\, Kassel\, and elsewhere.   \n  \n\nTHE PROGRAM \nVariations for Double Bass (1961-62) \nString Music (1960) \nDuo for Voice and String Instrument (1961) \nSimple Opera (1996) \nPond (1962) \nPaper Piece (1960) \nOverture (1961) \nA Disturbing Composition (1961) \n\nARCANA NEW MUSIC ENSEMBLE \nAnthony Bob\, flute\nErin Busch\, cello\nVeronica Jurkiewicz\, viola\nJosh Machiz\, bass\nTara Middleton\, violin and voice\nDavid Middleton\, electric guitar and bass\nAndy Thierauf\, percussion \nThe Arcana New Music Ensemble performs interesting\, beautiful\, and unconventional music in interesting\, beautiful\, and unconventional spaces. Founded in 2016\, the ensemble comprises a flexible roster of more than 30 musicians and performs regularly in Philadelphia. Past concerts have featured the music of Julius Eastman\, Galina Ustvolskaya\, Morton Feldman\, Moondog\, among others. \n  \nPHOTOS FROM THE EVENT
URL:https://www.bowerbird.org/event/ben-patterson-methods-and-processes/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Arcana,Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/11/BenPatterson3-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181116T200000
DTEND;TZID=America/New_York:20181116T220000
DTSTAMP:20260430T101900
CREATED:20181005T180728Z
LAST-MODIFIED:20181009T200542Z
UID:10000816-1542398400-1542405600@www.bowerbird.org
SUMMARY:HPrizm: Pressure Wave
DESCRIPTION:Pressure Wave is a new evening length audio /visual piece by composer/ performer HPrizm (Kyle Austin). The work uses amplified resonance of urban spaces and the intersectional space between Sonic Activism\, Musique concrète\, and Rap’s early roots to examine the dense environments and circumstances that birthed Hip Hop. \nHPrizm is known for “Evoking images of Sun Ra and Afrika Bambaataa at once (Jesse Sewer XL8R magazine). As the founding member of the critically acclaimed Antipop Consortium\, HPrizm has consistently challenged the boundaries of traditional hip-hop\, winning the praise of taste makers across the globe. In the course of his career\, spanning nearly a decade\, With over 100\,000 records sold\, HPrizm has shared the stages with a wide array of artists ranging from The Roots to Radiohead\, Mos Def and others. As a composer his pieces have been installed in the Whitney Biennial (NYC) as well as the Mazzoli Gallery (Italy). \n  \n 
URL:https://www.bowerbird.org/event/hprizm-pressure-wave/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/10/PressureWave2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181019T200000
DTEND;TZID=America/New_York:20181019T220000
DTSTAMP:20260430T101900
CREATED:20180926T155245Z
LAST-MODIFIED:20181003T145854Z
UID:10000815-1539979200-1539986400@www.bowerbird.org
SUMMARY:Howard Stelzer: Crossing Parallel
DESCRIPTION:Boston based composer/performer Howard Stelzer performs “Crossing Parallel”\, a live score to Joe Taylor’s poetic film footage of the American southwest. Accompanying this work will be a screening of Philadelphia based film maker David Scott Kessler‘s Icelandic short film Lopapeysa (with a recorded score by Mary Lattimore and Benjamin Warfield). \nABOUT CROSSING PARALLEL\n“Crossing Parallel”\, an extended film by Howard Stelzer & Joe Taylor. It grew out of Taylor’s forthcoming film “The Crossing”\, a narrative Western movie shot mostly in Death Valley\, Nevada\, for which Stelzer composed the soundtrack. This extended film project is intended as a continuation of\, or a reimagining of\, their collaboration. As the title suggests\, it exists in parallel to “The Crossing”\, as another view of the work from a non-narrative and sound-focused perspective. For this extended film\, Taylor presents deep and evocative Nevada landscapes\, sunrises\, and natural imagery shot either for use in “The Crossing” or as supplemental footage.  Stelzer uses the cassette tapes he made as source material for the soundtrack in a live tape-collage that spotlights the mood\, pacing\, and atmosphere of the imagery. The result is a 40-minute work for projected film and live sound performed with between 10 and 20 cassette decks.  Stelzer notes\, “As a lifelong city dweller\, I was drawn to the landscape images of Taylor’s short films… images of the American southwest\, Death Valley\, ghost towns in Nevada\, rural treelines\, mountains\, sunsets… they were so different from anything I’ve known. While writing the soundtrack for “The Crossing”\, I wanted to see more of Taylor’s images without any actors or plot guiding them. “Crossing Parallel”\, then\, was conceived as an outgrowth of the feature film… only natural images\, and sound distilled mainly from soundtrack elements. The idea is something like armchair tourism; an immersion in glorious American landscapes\, desolate and lush. \nHoward Stelzer is a composer of electro-acoustic music. Almost all of his sounds are generated by\, processed by\, recorded onto and played back out of cassette tapes and consumer-grade tape players.  Stelzer operated the Intransitive Recordings label from 1997 until 2012. When he is not composing\, Stelzer is a middle school math teacher in Lowell\, MA\, where he lives with his family in a big room behind a disused power plant. \n \n\n  \nABOUT LOPAPEYSA\nLopapeysa\, a short film by David Scott Kessler merges travel log with surreal fantasy. Primarily shot during a one month artist residency in Iceland in the winter of 2013\, the film explores the mindset of a traveler guided by a longing to fully experience an unknown place – led by his own preconceived ideas and the landscape’s ubiquitous influence. The film seeks to preserve the wonder of first exploration\, a naive beauty difficult to recapture and often lost to familiarity.  Lopapeysa and its companion piece Lopi were made for the 2014 exhibition Due North curated by Marianne Bernstein.  The film has an original score by Mary Lattimore and Benjamin Warfield. \n  \n \nLopapeysa from David Scott Kessler on Vimeo. \n  \nABOUT MADAM DATA\nPerforming as Madam Data\, Ada Adhiyatma explores machine interfaces and the potential for technology to birth mutable bodies that defy the strictures of liberal humanism. They fantasize that machine-mediated sound can offer ways of re-imagining the still-gendered\, still-racialized\, still differently-abled body in terms that are freeing\, fundamentally strange\, and ultimately healing. They also think about buildings a lot. \n \n 
URL:https://www.bowerbird.org/event/howard-stelzer-crossing-parallel/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/09/Stelzer.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20181003T200000
DTEND;TZID=America/New_York:20181003T220000
DTSTAMP:20260430T101900
CREATED:20180907T171601Z
LAST-MODIFIED:20180927T160836Z
UID:10000788-1538596800-1538604000@www.bowerbird.org
SUMMARY:Tashi Wada Group (featuring Julia Holter and Corey Fogel)
DESCRIPTION:Los Angeles-based composer Tashi Wada presents his new group featuring Julia Holter and percussionist Corey Fogel performing music from Wada’s new album “Nue” out this fall on Brooklyn-based label RVNG Intl. Opening the evening will be a new synthesizer duo project from Jeff Zeigler (Philadelphia) and Dash Lewis (Richmond). \nIn Japanese\, ‘nue’ is a mythological chimera with the face of a monkey\, the legs of a tiger\, and the tail of a snake. In French\, ‘nue’ means naked—stripped of complexity\, bare and exposed\, but also raw and essential. This duality underlies “Nue.” Released as part of RVNG Intl’s FRKWYS series of intergenerational projects\, this collaboration ranges from minimalist bagpipes to otherworldly vocals\, creating\, in Wada’s words\, “a vision\, an endless night of dreams\, and a personal history of sorts\, full of joys and demons.” From the doubling of tones—and the world of harmonic nuances such an action produces—to the rich interplay between individual musicians\, all baring their own personalities and experiences through shared performance\, Wada’s compositions allow space for these elements to join and grow. The multipartite creature that is an ensemble melds in the simplicity and purity of the music itself.
URL:https://www.bowerbird.org/event/tashi-wada-group-featuring-julia-holter-and-corey-fogel/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/09/TashiWadagroup-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180519T200000
DTEND;TZID=America/New_York:20180519T220000
DTSTAMP:20260430T101900
CREATED:20180912T162738Z
LAST-MODIFIED:20180912T162738Z
UID:10000794-1526760000-1526767200@www.bowerbird.org
SUMMARY:Erik Ruin's Long/Gone
DESCRIPTION:Currently over 100 feet in length\, LONG/GONE is a single intricately-cut piece of paper which flows freely from image to image. Narratives and scenarios (often drawn from classic works of literature from Homer to Dante) emerge and collapse and spill over into each other. In performance\, Erik scrolls the paper-cut continually across the surface of an over-head projector\, creating an epic and immersive shadow-show. His musical group\, the Ominous Cloud Ensemble\, will provide a live soundtrack. \nABOUT THE ARTISTS\nErik Ruin is a Michigan-raised\, Philadelphia-based printmaker\, shadow puppeteer\, paper-cut artist\, etc.\, who has been lauded by the New York Times for his “spell-binding cut-paper animations.” His work oscillates between the poles of apocalyptic anxieties and utopian yearnings\, with an emphasis on empathy\, transcendence and obsessive detail. He frequently works collaboratively with musicians\, theater performers\, other artists and activist campaigns. He is a founding member of the international Justseeds Artists’ Cooperative\, and co-author of the book Paths Toward Utopia: Graphic Explorations of Everyday Anarchism (w/ Cindy Milstein\, PM Press\, 2012). \nErik Ruin’s Ominous Cloud Ensemble is an ever-evolving\, collectively-improvising large ensemble for projections and music\, led by visual artist Erik Ruin. Erik manipulates intricate paper-cuts and painted films on overhead projectors to create abstract landscapes and fragmentary scenes that are nonetheless charged with meaning\, merging with music that ranges from dark atmospherics to ecstatic peaks of dissonance. Members of the ensemble include a rotating cast of Philly’s finest musicians\, who have collaborated with everyone from Anthony Braxton to the Sun Ra Arkestra\, Chris Forsyth to Bardo Pond. \nTara Middleton\, voice\nDM Hotep\, guitar\nReid Hoffman\, guitar\nNick Millevoi\, guitar\nMyles Donovan\, viola\, harp\nJesse Sparhawk\, harp\, banjo\nJulius Masri\, electronics\, kamancheh\nQuinn Collins\, bass\nScott Verrastro\, drums\, percussion
URL:https://www.bowerbird.org/event/erik-ruins-long-gone/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/09/ErikRuinLongGone3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180420T080000
DTEND;TZID=America/New_York:20180420T220000
DTSTAMP:20260430T101900
CREATED:20180924T162524Z
LAST-MODIFIED:20180924T163715Z
UID:10000796-1524211200-1524261600@www.bowerbird.org
SUMMARY:Mauricio Kagel's "Ludwig van"
DESCRIPTION:Bowerbird is excited to present Ludwig Van\, Mauricio Kagel’s quirky and surreal film about Beethoven returning to Bonn\, Germany on the occasion of his bicentenary. According to Gramophone\, “at first it’s a laugh a minute… then Kagel’s film turns dark”. \nLudwig van (full title: Ludwig van: A report; German: Ludwig van: ein Bericht) was filmed in 1969\, it was first screened the following year. The work was commissioned by Westdeutscher Rundfunk for the bicentennial celebrations of the birth of Ludwig van Beethoven in 1970. The film examines the reception of the composer and his works and how he has become a consumer product of the culture industry. The soundtrack\, by Kagel\, is an arrangement of fragments of Beethoven’s works\, modified as if heard by the deaf composer himself. Prominent contemporary artists including Dieter Roth\, Stefan Wewerka\, Robert Filliou\, and Joseph Beuys were involved in the design and make cameos. \nA deconstructive analysis suggests the film investigates Beethoven as a cultural icon\, revered yet exploited; the use and misuse of his works\, including their appropriation to advance nationalist agendas; the difficulties and anxieties of influence performers face; Beethoven scholarship and attempts to “tame” the composer to accord with bourgeois ideals; and the difficulties of peering through the myths to catch a glimpse of the “real” Beethoven. Kagel uses the term Musealisierung or “musealisation” in speaking of the Beethoven cult\, the term used by Theodor W. Adorno to indicate that “museums are the family sepulchres of works of art” \nThis event is part of Sound Machines.
URL:https://www.bowerbird.org/event/mauricio-kagels-ludwig-van/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/09/Mauricio_Kagel_1985-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180316T200000
DTEND;TZID=America/New_York:20180316T220000
DTSTAMP:20260430T101900
CREATED:20180924T171028Z
LAST-MODIFIED:20180924T171320Z
UID:10000806-1521230400-1521237600@www.bowerbird.org
SUMMARY:Wild Combination
DESCRIPTION:Bowerbird is excited to present a screening of “Wild Combination”\, director Matt Wolf’s visually absorbing portrait of the seminal avant-garde composer\, singer-songwriter\, cellist\, and disco producer Arthur Russell. Before his untimely death from AIDS in 1992\, Arthur prolifically created music that spanned both pop and the transcendent possibilities of abstract art. Now\, over fifteen years since his passing\, Arthur’s work is finally finding its audience. Wolf incorporates rare archival footage and commentary from Arthur’s family\, friends\, and closest collaborators – including Philip Glass and Allen Ginsberg – to tell this poignant and important story.
URL:https://www.bowerbird.org/event/wild-combination/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/09/Arthur-Russell.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180216T200000
DTEND;TZID=America/New_York:20180216T220000
DTSTAMP:20260430T101900
CREATED:20180924T170236Z
LAST-MODIFIED:20180924T174603Z
UID:10000804-1518811200-1518818400@www.bowerbird.org
SUMMARY:Pauline Oliveros
DESCRIPTION:Bowerbird is excited to present the music of Pauline Oliveros performed by the Arcana New Music Ensemble. One of the leading composers and performers of the 20th and 21st century\, Pauline Oliveros’ career spanned four decades and influenced generations of musicians. While Oliveros is most widely known for her improvisationally centered Deep Listening work\, her compositional output spans a range of styles including jagged atonal music to experiments with theatrical lighting and dance. \nOliveros: The Witness (1980)\nOliveros: To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation (1970)\nOliveros: Single Stroke Roll Meditation (1990)\nOliveros: Tree/Peace (1984)\nOliveros: Trio for accordion\, trumpet\, and string bass (1960/1) \nABOUT THE PERFORMERS\nThe Arcana New Music Ensemble is Bowerbird’s resident ensemble for performing interesting\, beautiful\, and unconventional music in interesting\, beautiful\, and unconventional spaces. Founded in 2016\, the ensemble comprises a flexible roster of more than 30 musicians and performs regularly in Philadelphia. Past concerts have featured the music of Julius Eastman\, Galina Ustvolskaya\, Morton Feldman\, Moondog\, among others. \nArcana New Music Ensemble\nAnthony Bob\, flute\nShinjoo Cho\, accordion\nCarolina Diazgranados\, cello\nTessa Ellis\, trumpet\nJosh Machiz\, bass\nTara Middleton\, violin\nAndy Thierauf\, percussion\nAshley Tini\, percussion
URL:https://www.bowerbird.org/event/pauline-oliveros/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Arcana,Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/09/paulineoliveros.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180119T200000
DTEND;TZID=America/New_York:20180119T220000
DTSTAMP:20260430T101900
CREATED:20180924T174320Z
LAST-MODIFIED:20180924T174320Z
UID:10000809-1516392000-1516399200@www.bowerbird.org
SUMMARY:Audrey Chen / Phil Minton
DESCRIPTION:Bowerbird is excited to present a rare Philadelphia appearance by experimental vocal duo Audrey Chen and Phil Minton. Opening the evening will be cellist-singer Daniel de Jesús. \nWith primary focus on the interplay between the uttered sounds of the mouth and vocal chords\, Audrey Chen and Phil Minton plumb the depths of their most inherent and bodily instruments. Their improvisations are fearless\, fragile\, hungry\, passionate\, riotous\, ululating and animalistic\, yet are also in all respects\, human. They express\, pronounce and intensely articulate (in their fashion) the many nuanced shades of their individual and collaborative conditions. \nSet to levitate toward the stratosphere\, cello-wielding frontman Daniel de Jesus captivates with his powerful\, soaring vocals and steals the hearts of all mortals in his presence. Upon first listen\, alternative rock purists will appreciate the musical nods that de Jesús offers toward other-worldly rock influences like David Bowie\, Peter Gabriel\, Kate Bush\, & Bjork. Soulful & mysterious & unforgettably unique – that is the sound of Daniel de Jesús. For this performance\, de Jesuss will be premiering some new music from his latest project.
URL:https://www.bowerbird.org/event/audrey-chen-phil-minton/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/09/audreychen-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171117T200000
DTEND;TZID=America/New_York:20171117T220000
DTSTAMP:20260430T101900
CREATED:20180924T175039Z
LAST-MODIFIED:20180924T181651Z
UID:10000811-1510948800-1510956000@www.bowerbird.org
SUMMARY:Emma Resmini
DESCRIPTION:Bowerbird is excited to present Emma Resmini\, an extraordinary young virtuoso performing a program of contemporary music for flute. The program includes “Flautina” from Stockhausen’s opera “Montag aus Licht” and Dai Fujikura’s “Poison Mushrooms”\, a threnody to the victims of the Hiroshima bombing. \nEmma began playing at flute at the age of three and is now a senior at the Curtis Institute of Music. Beyond the classical canon\, Emma is also an avid performer of new music. A review of her performance at the 2016 New Music Gathering raved\, “Emma Resmini stunned the crowd.” (I Care If You Listen) At the Curtis Institute of Music she was a featured soloist in the tribute concert to composer Kaija Saariaho\, performing NoaNoa for flute and electronics\, and as a member of the Curtis 20/21 Ensemble.As an advocate of emerging composers\, she has performed the world premiere of over twenty new works. She is also in her third season with the Arcana New Music Ensemble. \nPROGRAM\nKarlheinz Stockhausen (1928 – 2007) : “Flautina” (1989)\nMarcelo Toledo (b. 1964): “Aliento /Arrugas” (Breath/Furrows) (1998)\nMichel van der Aa (b. 1970): “Rekindle” (2009)\nKalevi Aho (b. 1949): “Solo III” (2001)\nDai Fujikura (b. 1977): “Poison Mushroom”\nAmy Beth Kirsten ( b. 1972): “Pirouette On a Moon Sliver”\nMario Diaz de Leon (b. 1979): “Luciform”
URL:https://www.bowerbird.org/event/emma-resmini/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/09/emmaresmini.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20171020T200000
DTEND;TZID=America/New_York:20171020T220000
DTSTAMP:20260430T101900
CREATED:20180924T175911Z
LAST-MODIFIED:20180924T175911Z
UID:10000812-1508529600-1508536800@www.bowerbird.org
SUMMARY:Voice of the Eagle
DESCRIPTION:Voice of the Eagle: The Enigma of Robbie Basho film screening\nwith live performance by Eva and Jesse Sheppard and Andy McLeod. \nBowerbird is pleased to present a screening of the 2015 biopic “Voice of an Eagle” about enigmatic guitarist Robbie Basho. The evening will be opened by performances by Andy McLead\, and father-daughter duo Eva and Jesse Sheppard performing Basho tunes. \nABOUT THE FILM\nBefore his bizarre death at the hands of a chiropractor\, Robbie Basho was sure that his compositions would not outlast him. Orphaned during infancy\, diagnosed with synaesthesia (a union of the senses that caused him to interpret sound as colour) and claiming to be the reincarnation of a 17th century poet – the Baltimore-born guitarist and singer’s musical output was equally as outlandish as his persona. \nIn his brief and troubled life he laid the foundations for radical changes to the musical landscape of America during the 1960s and ’70s but reaped little more than a sparse (if fervent) following during his lifetime. \nVoice of the Eagle: The Enigma of Robbie Basho is a journey into the heart of an artist’s lifelong struggle: designed to illuminate and satiate existing fans while serving as a perfect starting point for the uninitiated. \nFeaturing interviews with Basho’s former students\, contemporaries and few close friends (including Pete Townshend\, William Ackerman\, Henry Kaiser and Country Joe McDonald)\, the documentary integrates new information and anecdotes on Basho with previously uncovered archive material and photography of the natural phenomena and landscapes that informed his work. \nWith the resurgence of interest in Basho growing and a more widespread revival a tangible possibility\, it is surely an auspicious time for his unique music and life story to be evoked through documentary.
URL:https://www.bowerbird.org/event/voice-of-the-eagle/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/09/robbiebasho.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170919T200000
DTEND;TZID=America/New_York:20170919T220000
DTSTAMP:20260430T101900
CREATED:20181011T171245Z
LAST-MODIFIED:20181011T171245Z
UID:10000817-1505851200-1505858400@www.bowerbird.org
SUMMARY:Kazuhisa Uchihashi + Daniel Fishkin
DESCRIPTION:Bowerbird is pleased to present the international collaboration between daxophone masters Daniel Fishkin (Philadelphia) and Kazuhisa Uchihashi (Japan). \n  \nThe daxophone is a thin hardwood strip played with a bow\, created by German improviser/inventor Hans Reichel in 1987. The instrument’s sound\, somewhere between a cello and a badger\, ranges from furtive gurgles to wild screams. In 2005\, Daniel Fishkin fell in love with this instrument and built one of his own. Eventually\, he built hundreds of daxophones\, becoming attuned to the sonic qualities of wood species and carved shapes. After Reichel’s death\, the fate of this instrument became unclear. Kazuhisa Uchihashi\, a creative partner of Reichel\, is now a leading proponent of the daxophone. Uchihashi performs on Reichel’s instruments\, in addition to presenting installations and exhibits about the daxophone. In 2015\, Fishkin met Uchihashi in Berlin. They represent different “schools” of daxophone—the new and the old\, the postmodern and classical. This is their first public performance. \nKazuhisa Uchihashi (guitar\,daxophone)� Born in Osaka\, Japan in 1959\, Uchihashi plays a huge variety of music\, having a distinctive musical voice in rock\, jazz and improvised music. He composes widely for film\, theatre and dance\, including 30 years of work with the Japanese theatre group Ishina. He has worked worldwide with musicians including Hans Reichel\, Fred Frith\, Zeena Parkins\, Han Bennink\, Derek Bailey\,Shelley Hirsch \,Christian Marclay and hundreds of improvisers.He organized the legendary Japanese power trio Altered States\, active for over 27 years\, which also worked inside Otomo Yoshihide’s Ground Zero in the 1990s. In recent years\, he has focused on pan-asian identity in music. Since 2010 he’s traveled to Indonesia\, Thailand and China to create special collaborative projects with local musicians. Mahanyawa is one of the best collaboration unit with SENYAWA from Indonesia. His special instrument\, the daxophone\, is a creation of the late guitarist/inventor\, Hans Reichel\, who was a creative partner of Uchihashi. \nDaniel Fishkin (daxophone)\nDaniel Fishkin’s ears are ringing. Composer\, sound artist\, and instrument builder. Completely ambivalent about music. Daniel studied with composer Maryanne Amacher and with multi-instrumentalist Mark Stewart. He has performed as a soloist on modular synthesizer with the American Symphony Orchestra\, developed sound installations in abandoned concert halls\, and played innumerable basement punk shows. Daniel’s lifework investigating the aesthetics of hearing damage has received international press (Nature Journal\, 2014); as an ally in the search for a cure\, he has been awarded the title of “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. Recent activities include a Project Grant from the Pew Center for Arts & Heritage. Daniel received his MA in Music Composition from Wesleyan University\, has taught analog synthesis at Bard College\, and\, as fate would have it\, is now pursuing his PhD at University of California\, San Diego.
URL:https://www.bowerbird.org/event/kazuhisa-uchihashi-daniel-fishkin/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/10/21457476_1436838749685702_1663699209870517200_o.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170617T200000
DTEND;TZID=America/New_York:20170617T220000
DTSTAMP:20260430T101900
CREATED:20190325T171622Z
LAST-MODIFIED:20190325T171622Z
UID:10000883-1497729600-1497736800@www.bowerbird.org
SUMMARY:The Music of Moondog
DESCRIPTION:ABOUT THE EVENT \nBowerbird is pleased to present “The Music of Moondog”\, a survey of the idiosyncratic rounds and songs by composer Louis Thomas Hardin Jr (1916 – 1999). The eccentric street musician known as Moondog dressed in Viking garb and regularly performed on the sidewalks of New York’s Sixth Avenue. This concert is the debut performance of the Arcana New Music Ensemble. \n  \nARCANA NEW MUSIC ENSEMBLE \nKatie Ambacher\, flute\nNicholas McNamara\, alto saxophone\nAaron Stewart\, tenor saxophone\nMark Zelesky\, baritone saxophone\nTessa Ellis\, trumpet\nElizabeth Huston\, harp\nEric Derr\, percussion\nAndy Thierauf\, percussion\nJune Bender\, violin\nJoshua Machiz\, double bass \n  \nTHE COMPOSER \nLouis Thomas Hardin\, Jr.\, better known as Moondog\, is one of the most famous and influential outsider musicians of the twentieth century. Born in Kansas to a devoutly religious family\, Hardin was blinded at age 16 when he dug up a live dynamite cap. For 30 years\, from the early 1940s to the early 1970s\, he lived in New York City\, where he became a well-known street performer known\, thanks to his Nordic garb\, as “the Viking of Sixth Avenue.” During this time he recorded several albums and won the respect of many important musicians\, including Leonard Bernstein\, Charlie Parker (for whom he wrote the piece “Bird’s Lament”)\, and Philip Glass (with whom he briefly shared an apartment). From 1974 until his death in 1999\, Moondog lived primarily in Germany\, where he enjoyed the most stable and productive creative period of his life. Celebrated for his diverse body of work that combines– among other influences– the rhythmic energy of jazz\, the ritualistic intensity of Native American tribal music\, and classical principles of counterpoint\, Moondog’s music is at once uncategorizable and instantly identifiable. \n  \nABOUT ARCANA \nFounded in 2016\, the Arcana New Music Ensemble is a group of Philadelphia-based musicians dedicated to presenting interesting\, beautiful\, and unconventional music in interesting\, beautiful\, and unconventional places. Built on a flexible roster of 25 musicians\, Arcana is able to perform a broad range of repertoire in numerous configurations. Arcana is a project of Bowerbird administered by Elizabeth Huston\, Thomas Patteson\, and Dustin Hurt.
URL:https://www.bowerbird.org/event/the-music-of-moondog/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Arcana
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Moondog.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170616T200000
DTEND;TZID=America/New_York:20170616T220000
DTSTAMP:20260430T101900
CREATED:20181015T170036Z
LAST-MODIFIED:20181015T170036Z
UID:10000823-1497643200-1497650400@www.bowerbird.org
SUMMARY:Erik Ruin's Long/Gone (100 ft paper-cut scroll)
DESCRIPTION:ABOUT THE EVENT \nCurrently over 100 feet in length\, LONG/GONE is a single intricately-cut piece of paper which flows freely from image to image. Narratives and scenarios (often drawn from classic works of literature from Homer to Dante) emerge and collapse and spill over and into each other. \nIn performance\, Erik scrolls the paper-cut continually across the surface of an over-head projector\, creating an epic and immersive shadow-show. His musical group\, the Ominous Cloud Ensemble\, will provide a live soundtrack. \nABOUT THE ARTISTS \nErik Ruin is a Michigan-raised\, Philadelphia-based printmaker\, shadow puppeteer\, paper-cut artist\, etc.\, who has been lauded by the New York Times for his “spell-binding cut-paper animations.” His work oscillates between the poles of apocalyptic anxieties and utopian yearnings\, with an emphasis on empathy\, transcendence and obsessive detail. He frequently works collaboratively with musicians\, theater performers\, other artists and activist campaigns. He is a founding member of the international Justseeds Artists’ Cooperative\, and co-author of the book Paths Toward Utopia: Graphic Explorations of Everyday Anarchism (w/ Cindy Milstein\, PM Press\, 2012). \nErik Ruin’s Ominous Cloud Ensemble is an ever-evolving\, collectively-improvising large ensemble for projections and music\, led by visual artist Erik Ruin. Erik manipulates intricate paper-cuts and painted films on overhead projectors to create abstract landscapes and fragmentary scenes that are nonetheless charged with meaning\, merging with music that ranges from dark atmospherics to ecstatic peaks of dissonance. Members of the ensemble include a rotating cast of Philly’s finest musicians\, who have collaborated with everyone from Anthony Braxton to the Sun Ra Arkestra\, Chris Forsyth to Bardo Pond. \nOminous Cloud Ensemble: \nTara Middleton\, voice\nDM Hotep\, guitar\nReid Hoffman\, guitar\nNick Millevoi\, guitar\nMyles Donovan\, viola\, harp\nJesse Sparhawk\, harp\, banjo\nJulius Masri\, electronics\, kamancheh\nQuinn Collins\, bass\nScott Verrastro\, drums\, percussion
URL:https://www.bowerbird.org/event/erik-ruins-long-gone-100-ft-paper-cut-scroll/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/10/18319324_1323188287717416_6250191248042387092_o.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170526T200000
DTEND;TZID=America/New_York:20170526T220000
DTSTAMP:20260430T101900
CREATED:20181015T171552Z
LAST-MODIFIED:20181015T171552Z
UID:10000824-1495828800-1495836000@www.bowerbird.org
SUMMARY:Julius Eastman: The Holy Presence of Joan d'Arc + Thruway!
DESCRIPTION:For the final concert\, Eastman’s powerful work for 10 cellos The Holy Presence of Joan D’Arc and its introspective companion vocal piece Prelude to The Holy Presence of Joan d’Arc will be performed. Far ahead of their time\, these pieces incorporate a much more atonal language into Eastman’s minimalist aesthetic. The concert will open with an encore performance of Eastman’s “Thruway” and a solo work by NYC based musicians Jeremy Toussaint-Baptiste. \n*Please note: Dev Hynes will no longer be performing. Refunds can be requested at ticket at bowerbird dot org. \nProgram: \nJULIUS EASTMAN: PRELUDE TO THE HOLY PRESENCE OF JOAN D’ARC (1981) \nDavóne Tines\, bass-baritone \nJULIUS EASTMAN: THE HOLY PRESENCE OF JOAN D’ARC* (1981) for 10 cellos \nBOWERBIRD CELLO ENSEMBLE\nMirjam Ingolfsson\, Thomas La Forgia\, Ezgi Yargici\, Eric Coyne\, Agnes Kline\, Erin Busch\, Arlen Hlusko\, Lucia Strother\, Carolina Diazgranados\, Rachel Icenogle \nStanford Thompson\, conductor\n* transcription by Clarice Jensen \nJEREMY TOUSSAINT-BAPTISTE: EVIL N*GGER: A DEDICATION/INVOCATION \nAn atmospheric exploration of Julius Eastman’s 1979 composition Evil N*gger for solo performer and four instruments. \nJULIUS EASTMAN: THRUWAY (ENCORE PERFORMANCE) \nSoprano Tara Middleton \nFlute Anthony Bob\nClarinet Joe Dvorak\nViolin Veronica Jurkiewicz\nTrombone: Rodney McGhee\nSax: Nicholas McNamara\nElectronics: Kyle Austin – hprizm\nVideo: John Phillips \nEASTMAN COMMUNITY CHOIR\nJacob Walls\nMick Ricereto\nErica Corbo\nJeanne Lyons\nPeter Christian\nAtamanu Zaki Hagins\nIsabella Sazak\nMatt Hollenberg\nsam cirulis\nHeather Mease \nMore information can be found here: https://www.thatwhichisfundamental.com/may-26th-joan-of-arc \nABOUT THE SERIES\nJulius Eastman: That Which is Fundamental is an interdisciplinary\, multi-artist project that examines the life\, work\, and resurgent influence of Julius Eastman\, a gay African American composer and performer who was active internationally in the 1970s and 80s\, but who died homeless at the age of 49\, leaving an incomplete but compelling collection of scores and recordings. The culmination of more than three years of research\, this first iteration of this project will take place in Philadelphia in May 2017. Events include four major concerts – including several modern “premieres” of recently recovered works – and a multi-disciplinary exhibition featuring archival materials and work by ten contemporary artists who engage with Eastman and the fragmented nature of his legacy. \nMore information can be found here: https://www.thatwhichisfundamental.com
URL:https://www.bowerbird.org/event/julius-eastman-the-holy-presence-of-joan-darc-thruway/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
CATEGORIES:Free Events
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/10/JuliusEastman.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170519T200000
DTEND;TZID=America/New_York:20170519T220000
DTSTAMP:20260430T101900
CREATED:20181022T161344Z
LAST-MODIFIED:20181022T161344Z
UID:10000826-1495224000-1495231200@www.bowerbird.org
SUMMARY:Julius Eastman: Crazy\, Evil\, Gay Guerrilla
DESCRIPTION:ABOUT THIS EVENT\nJulius Eastman perfected his multifarious minimalism in three works of the late seventies: “Crazy Nigger”\, “Evil Nigger”\, and “Gay Guerrilla”. Each work is scored for multiple instruments of the same kind. This concert features two of the works performed as a piano quartet and Gay Guerrilla performed by a large ensemble of electric guitars. \nMore information about this event can be found athttps://www.thatwhichisfundamental.com/may-19th-crazy-evil-gay \nPROGRAM: \nJULIUS EASTMAN: SPOKEN INTRO (1980)\nArchival recording of Eastman’s explanation of the use of “Nigger” in the title of his compositions. \nJULIUS EASTMAN: EVIL NIGGER (1979)\nJoseph Kubera\, Dynasty Battles\, Michelle Cann\, Adam Tendler – pianos \nJULIUS EASTMAN: GAY GUERRILLA (1979)\nSonora Guitar Ensemble \nJULIUS EASTMAN: CRAZY NIGGER (1979)\nJoseph Kubera\, Dynasty Battles\, Michelle Cann\, Adam Tendler – pianos \nABOUT THE SERIES\nJulius Eastman: That Which is Fundamental is an interdisciplinary\, multi-artist project that examines the life\, work\, and resurgent influence of Julius Eastman\, a gay African American composer and performer who was active internationally in the 1970s and 80s\, but who died homeless at the age of 49\, leaving an incomplete but compelling collection of scores and recordings. The culmination of more than three years of research\, this first iteration of this project will take place in Philadelphia in May 2017. Events include four major concerts – including several modern “premieres” of recently recovered works – and a multi-disciplinary exhibition featuring archival materials and work by ten contemporary artists who engage with Eastman and the fragmented nature of his legacy. \nThat Which Is Fundamental is the first comprehensive examination of Eastman’s legacy to work alongside the Eastman Estate\, an organization led by Gerry Eastman to gather together\, organize\, preserve\, disseminate\, and generally further the work of his brother\, Julius. \nMore information about this series can be found at https://www.thatwhichisfundamental.com/
URL:https://www.bowerbird.org/event/julius-eastman-crazy-evil-gay-guerrilla/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2018/10/18010289_1301500336552878_6463078787694599667_n-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170512T200000
DTEND;TZID=America/New_York:20170512T220000
DTSTAMP:20260430T101900
CREATED:20190321T172110Z
LAST-MODIFIED:20190321T172110Z
UID:10000852-1494619200-1494626400@www.bowerbird.org
SUMMARY:Moor Mother plus Julius Eastman: Macle\, Thruway\, Buddha
DESCRIPTION:ABOUT THE SERIES\nJulius Eastman: That Which is Fundamental is an interdisciplinary\, multi-artist project that examines the life\, work\, and resurgent influence of Julius Eastman\, a gay African American composer and performer who was active internationally in the 1970s and 80s\, but who died homeless at the age of 49\, leaving an incomplete but compelling collection of scores and recordings. The culmination of more than three years of research\, this first iteration of this project will take place in Philadelphia in May 2017. Events include four major concerts – including several modern “premieres” of recently recovered works – and a multi-disciplinary exhibition featuring archival materials and work by ten contemporary artists who engage with Eastman and the fragmented nature of his legacy. \nFor more info: https://www.thatwhichisfundamental.com/ \nABOUT THE EVENT\nAn important landmark in the recovery of Eastman’s music\, this concert features the modern premieres of two of Eastman’s earliest works- Macle (for 4 voices) and Thruway (for soprano\, flute\, clarinet\, trombone\, violin\, cello\, large choir\, and jazz trio – in theri first performances since the 1970s. Opening the concert will be his enigmatic late period open instrumentation composition Buddha here performed as a choral work. Also joining the line up is Moor Mother performing an new spoken work piece dedicated to Julius Eastman. \nJULIUS EASTMAN: BUDDHA (1984)\nEastman Community Choir \nMOOR MOTHER: NEW WORK (2017)\nMoor Mother\, solo \nJULIUS EASTMAN: MACLE (1969)\nEkmeles Vocal Ensemble \nJULIUS EASTMAN: THRUWAY (1969)\nArcana New Music Ensemble\nAnthony Bob\, flute\nJoseph Dvorak\, clarinet\nMin Young Kim\, violin\nTom Kraines\, cello\nRodney McGhee\, trombone\nAaron Stewart\, saxophone\nHprizm\, electronics\nEastman Community Choir
URL:https://www.bowerbird.org/event/moor-mother-plus-julius-eastman-macle-thruway-buddha/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Moor-Mother-plus-Julius-Eastman.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170505T200000
DTEND;TZID=America/New_York:20170505T220000
DTSTAMP:20260430T101900
CREATED:20190321T172519Z
LAST-MODIFIED:20190321T172742Z
UID:10000853-1494014400-1494021600@www.bowerbird.org
SUMMARY:Julius Eastman: Stay On It + Femenine
DESCRIPTION:ABOUT THE SERIES\nJulius Eastman: That Which is Fundamental is an interdisciplinary\, multi-artist project that examines the life\, work\, and resurgent influence of Julius Eastman\, a gay African American composer and performer who was active internationally in the 1970s and 80s\, but who died homeless at the age of 49\, leaving an incomplete but compelling collection of scores and recordings. The culmination of more than three years of research\, this first iteration of this project will take place in Philadelphia in May 2017. Events include four major concerts – including several modern “premieres” of recently recovered works – and a multi-disciplinary exhibition featuring archival materials and work by ten contemporary artists who engage with Eastman and the fragmented nature of his legacy. \nThat Which Is Fundamental is the first comprehensive examination of Eastman’s legacy to work alongside the Eastman Estate\, an organization led by Gerry Eastman to gather together\, organize\, preserve\, disseminate\, and generally further the work of his brother\, Julius. \n  \nABOUT THIS EVENT\nThe first concert of this series will feature two of the works most widely performed during Eastman’s life time – Stay on It and Femenine – both early examples of his minimalist-based works to show pop music influence. Opening the evening will be a special performance by Gerry Eastman\, brother of Julius. \n  \nGERRY EASTMAN: IN MEMORY OF JULIUS\nGerry Eastman\, solo guitar \n  \nJULIUS EASTMAN: STAY ON IT (1973)\nArcana New Music Ensemble \nDynasty Battles – piano; Tara Middleton – violin and voice; David Middleton – electric bass; Aaron Stewart\, saxophone; Joseph Dvorak\, clarinet; Keir Neuringer\, saxophone; Eric Derr\, percussion; Andy Thierauf\, percussion; and special guest Christopher McIntyre\, trombone \n  \nJULIUS EASTMAN: FEMENINE (1974)\nArcana New Music Ensemble\nwith Christopher McIntyre
URL:https://www.bowerbird.org/event/julius-eastman-stay-on-it-femenine-plus-gerry-eastman/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Eastman_StayOnIt.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170421T200000
DTEND;TZID=America/New_York:20170421T220000
DTSTAMP:20260430T101900
CREATED:20190321T173719Z
LAST-MODIFIED:20190321T173719Z
UID:10000855-1492804800-1492812000@www.bowerbird.org
SUMMARY:Morton Feldman's "Three Voices"
DESCRIPTION:ABOUT THE EVENT \nThree Voices\, written in 1982 for Joan La Barbara\, was the last solo vocal piece he wrote before his death in 1987 (For Stefan Wolpe\, dedicated to his composition teacher and written for chorus and two vibraphones\, post-dates it). It sets part of Wind\, a poem by his friend Frank O’Hara that had been dedicated to him and which he had set earlier in its entirety in The O’Hara Songs (1962) for bass-baritone. \nConceived as a trio for the one voice\, with two pre-recorded parts and one to be performed live\, the score is conventionally notated (all parts are written out with precise rhythms and pitches\, though often in differing metres) but is beguilingly short on some details. There is\, for example\, no tempo indication\, no vowel specified for the many lengthy passages without text\, no dynamics bar an initial ppp\, and no guidance as to which voice should be the ‘live’ one. \nWriting later about Three Voices\, Feldman said: ‘One of my closest friends\, the painter Philip Guston\, had just died; Frank O’Hara had died several years before. I saw the piece with Joan in front and these two loudspeakers behind her. There is something kind of tombstoney about the look of loudspeakers. I thought of the piece as an exchange of the live voice with the dead ones – a mixture of the living and the dead’. \n  \nABOUT JULIET FRASER \nSoprano Juliet Fraser has a repertoire dominated by the very old and the very new. In new music\, she has performed as a guest soloist with Klangforum Wien\, Remix Ensemble\, Talea\, ICTUS\, Plus-Minus\, We Spoke: New Music Company\, London Sinfonietta and BBC Scottish Symphony Orchestra. She is also principal soprano of EXAUDI\, the acclaimed vocal ensemble\, which she founded with James Weeks in 2002. Juliet has premiered well over 100 works\, many of which have been written for her\, and has worked particularly closely with composers Rebecca Saunders\, Michael Finnissy\, Bernhard Lang\, Matthew Shlomowitz\, Andrew Hamilton and Cassandra Miller. Her commercial recording of Morton Feldman’s “Three Voices” was released on Hat Hut Records in November 2016.
URL:https://www.bowerbird.org/event/morton-feldmans-three-voices/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Feldman_Three_Voices.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170317T200000
DTEND;TZID=America/New_York:20170317T220000
DTSTAMP:20260430T101900
CREATED:20190321T175243Z
LAST-MODIFIED:20190321T175243Z
UID:10000859-1489780800-1489788000@www.bowerbird.org
SUMMARY:Community Futurism: An Evening Curated By Moor Mother
DESCRIPTION:ABOUT THE EVENT \nThe evening features two sets by Moor Mother\, working under the theme of Community Futurism\, in collaboration with Black Quantum Futurism and the Community Futures Lab. The first set includes improv collaboration of live instrumentation with drums\, saxophone\, bass\, synth\, and text. The second features music from the album Fetish Bones as well as unreleased songs by Moor Mother. Artists include Rasheedah Phillips\, Madam Data\, Keir on sax\, Philip on drums\, and George and Steve on bass. \n  \nABOUT MOOR MOTHER \nCamae Ayewa (Moor Mother) is a national and international touring musician and has performed at numerous festivals\, colleges\, and universities sharing the stage with King Britt\, Islam Chipsy\, Claudia Rankine\, and Bell Hooks as well as opening on tour for Screaming Females. A soundscape artist with work featured at Samek Art Museum\, Metropolitan Museum of Art Chicago\, ICA Philadelphia\, and Everson Museum of Art\, Camae is also a vocalist in punk band The Mighty Paradocs and free jazz group Irreversible Entanglements. Camae is co-founder and organizer of Rockers! Philly\, a 10-year long running event series and festival that focuses on marginalized musicians and artists spanning multiple genres of music. As Moor Mother\, she released her debut album Fetish Bones on Don Giovanni Records. It was named 3rd Best Album of the Year by The Wire Magazine\, #1 by Jazz Right Now\, and appeared on numerous end of the year lists from Pitchfork\, Noisey\, Rolling Stone\, and Spin Magazine. Moor Mother was named by Rolling Stone as one of 10 Artists to Watch in 2016 and named Bandcam’s 2016 Artist of the Year. Camae also released her first book of poetry called Fetish Bones in Winter 2016 on The AfroFuturist Affair small press. As a member of Black Quantum Futurism Collective (BQF)\, she has been a part of two literary works and several zines\, and has been featured in exhibitions at the Schomburg Center\, Rebuild Foundation\, Temple Contemporary at Tyler School of Art\, and more. Camae Ayewa is a 2016 Leeway Transformation Award and Blade of Grass 2016 Fellow\, has been an in artist in residency at West Philadelphia Neighborhood Time Exchange and WORM! Rotterdam residency\, and will be featured with Black Quantum Futurism at Transmediale Festival in Berlin 2017. Moor Mother has appeared in the Quietus\, the Fader\, Vice and others. Moor Mother’s upcoming schedule includes Berhaign\, Safe as Milk Festival\, CTM Festival\, MoogFest\, and Donau Festival.
URL:https://www.bowerbird.org/event/community-futurism-an-evening-curated-by-moor-mother/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Moor_Mother.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170217T200000
DTEND;TZID=America/New_York:20170217T220000
DTSTAMP:20260430T101900
CREATED:20190325T153559Z
LAST-MODIFIED:20190325T153917Z
UID:10000863-1487361600-1487368800@www.bowerbird.org
SUMMARY:Loren Connors / Chris Forsyth Duo
DESCRIPTION:Bowerbird is pleased to present the duo of Loren Connors and Chris Forsyth and a performance by Philadelphia’s Taiwan Housing Project \n\n\n  \n\n\nLOREN CONNORS has improvised and composed original guitar music for over four decades. His music – which embraces the aesthetics of blues\, Irish airs\, blues-based rock and other genres while letting go of rigid forms – has been recorded on Family Vineyard\, Northern Spy\, Drag City\, Table of the Elements\, Recital\, RoadCone and other labels. \nConnors\, who names abstract expressionist painter Mark Rothko his most important influence\, has performed with Thurston Moore\, Keiji Haino\, Jim O’Rourke\, John Fahey\, Alan Licht\, Jandek\, and Kim Gordon. Suzanne Langille has often appeared on Connors’ recordings as vocalist\, lyricist and arranger. Connors also on occasion performs with an avant blues band called Haunted House\, together with Langille\, guitarist Andrew Burnes and percussionist Neel Murgai. \nIn July 1979\, Cadence Magazine noted that Connors\, who had recently emerged in the scene\, was “similar to others in the Advanced Guard of improvising guitarists in that he is trying to extend the boundaries of sound and pitch of acoustic guitar\, but he is unique in the utilization of Blues in his work\, one could almost say this is Avant Garde Blues. He’s swimming in new waters and beginning to make his own environment.” \nIn recent years\, Connors has focused mostly on live recordings of extended blues abstractions\, with occasional performances in a more avant blues rock vein from time to time through the Haunted House band and collaborations with other artists. \n\n\n\n\n\n\n\n\nCHRIS FORSYTH is a lauded guitarist and composer whose work assimilates art-rock textures with vernacular American influences. Long active in underground circles\, he’s recently released a string of acclaimed records of widescreen guitar rock\, and in 2013\, he assembled The Solar Motel Band\, who have quickly developed a reputation as an incredible live act\, provoking ecstatic comparisons to visionary artists such as Television\, The Grateful Dead\, Popol Vuh\, Neil Young & Crazy Horse\, and Richard Thompson. His newest release with The Solar Motel Band is the double album The Rarity of Experience (No Quarter)\, released in March 2016. Raves have been universal. Pitchfork called it “a near-perfect balance between 70s rock tradition and present day experimentation\,” NPR Music named Forsyth “one of rock’s most lyrical guitar improvisors\,” and the New York Times calls him “a scrappy and mystical historian…” His music humanizes the element of control in rock classicism (and) turns it into a woolly but disciplined ritual.” \nIn addition to Forsyth’s work as a solo artist and bandleader\, he has been an inveterate collaborator with a diverse range of artists\, including singer/songwriter Meg Baird\, trumpeter Nate Wooley\, analog synthesist Koen Holtkamp\, and choreographer Miguel Gutierrez. He is a recipient of a 2011 Pew Fellowship in the Arts and resides in Philadelphia. \n\n\n\n\n\n\n\nTAIWAN HOUSING PROJECT began as a weird lo-fi fake pop recording project between Kilynn Lunsford (Little Claw\, Tyvek) and Mark Feehan (Harry Pussy\, Trash Monkeys). After a while of playing exclusively as a duo in a bedroom with two cats they enlisted Pat Ganley (Casual Viking\, Dan Melchior) and Adam Cooper (Tickley Feather\, Hanging Tounges) and started playing in a basement with three cats. Taiwan Housing Project’s hip shaking white hot noise has been met with drunken enthusiasm and dismissive shrugs from friends and foes alike.
URL:https://www.bowerbird.org/event/loren-connors-chris-forsyth-duo/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/loren_connors.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170120T200000
DTEND;TZID=America/New_York:20170120T220000
DTSTAMP:20260430T101900
CREATED:20190325T155136Z
LAST-MODIFIED:20190325T155136Z
UID:10000866-1484942400-1484949600@www.bowerbird.org
SUMMARY:The Pine Barrens Screening
DESCRIPTION:Bowerbird is pleased to present a screening of David Scott Kessler’s evolving documentary The Pine Barrens: Whitesbog Edition with a live score performance by The Ruins of Friendship Orchestra. Guiding the viewer through the New Jersey Pineland’s winding\, rust-colored rivers; its dark\, sandy forests and slowly developing towns\, The Pine Barrens creates a contemplative\, complex\, portrait of a place out of time. With the Pinelands as a primary character\, the film explores the symbiotic yet sometimes destructive relationship between man and nature. It is believed by many that political forces and negligence may contribute to making this century the Pine Barren’s last. \nTHE RUINS OF FRIENDSHIP ORCHESTRA\nNamed for the historic Pine Barrens town of Friendship where the band first practiced together as a group\, The Ruins of Friendship Orchestra is a collective of electronic and traditional instrumentalists composing the score to The Pine Barrens concurrently to the film’s evolving editions. Ruins perform this score\, also an evolving and partially improvised work\, live at screenings\, merging performance and documentary to create a completely unique experience transporting the audience into our interpretation of this fascinating and beautiful place. \nBen Warfield\, synthesizer\nLaura Baird\, vocals\, flute\, banjo\nGretchen Lohse\, viola\nJesse Sparhawk\, harp\, bass\nJohn Pettit\, guitar\, trumpet\, harmonium
URL:https://www.bowerbird.org/event/the-pine-barrens-screening/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Pine_Barrens.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20170111T200000
DTEND;TZID=America/New_York:20170111T220000
DTSTAMP:20260430T101900
CREATED:20190325T160524Z
LAST-MODIFIED:20190325T160524Z
UID:10000868-1484164800-1484172000@www.bowerbird.org
SUMMARY:ALASH Ensemble
DESCRIPTION:Bowerbird and The Rotunda are pleased to welcome back a Philadelphia favorite: The Alash Ensemble. \nABOUT THE EVENT \nALASH are masters of Tuvan throat singing\, a remarkable technique for singing multiple pitches at the same time. Masters of traditional Tuvan instruments as well as the art of throat singing\, Alash are deeply committed to traditional Tuvan music and culture. At the same time\, they are fans of western music. Believing that traditional music must constantly evolve\, the musicians subtly infuse their songs with western elements\, creating their own unique style that is fresh and new\, yet true to their Tuvan musical heritage. What does throat singing sound like? “Imagine a human bagpipe-a person who could sing a sustained low note while humming an eerie\, whistle-like melody. For good measure\, toss in a thrumming rhythm similar to that of a jaw harp\, but produced vocally-by the same person\, at the same time.” -Newsweek (March 17\, 2006) Where is Tuva? Tuva (sometimes spelled Tyva) sits at the southern edge of Siberia\, with Mongolia to its south. Over the centuries\, Tuva has been part of Chinese and Mongolian empires\, and shares many cultural ties with Mongolia. In 1944 it became part of the USSR\, and until the late physicist Richard Feynman drew attention to it\, was largely unknown to westerners. Tuva is now a member of the Russian Federation.
URL:https://www.bowerbird.org/event/alash-ensemble/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Alash_Ensemble.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161216T200000
DTEND;TZID=America/New_York:20161216T220000
DTSTAMP:20260430T101900
CREATED:20190325T160757Z
LAST-MODIFIED:20190325T160757Z
UID:10000869-1481918400-1481925600@www.bowerbird.org
SUMMARY:Svitanya: Eastern European Vocal Music
DESCRIPTION:Bowerbird is pleased to present Svitanya\, a Philadelphia-area women’s vocal ensemble that specializes in folk music of Eastern Europe. Founded in 2001\, the ensemble started with six singers performing purely a cappella arrangements. The early members included two mother-daughter pairs\, fitting for a genre in which songs have been passed from mother to daughter for centuries\, and one of these pairs is still part of the group today. \nSvitanya’s repertoire is drawn from a variety of regional traditions. Some songs are modern arrangements of old folk tunes\, some are original compositions in the folk style\, and others are sung as they have been for generations. They range from strong and strident field-working songs to traditional dance tunes to lush and emotive arrangements\, all evoking the timbres\, rhythms\, and harmonies indigenous to the region. While many songs are performed without instrumentation of any kind\, traditional ethnic instruments\, such as gaida\, tapan\, tambura and balalaika\, are used wherever possible in others.
URL:https://www.bowerbird.org/event/svitanya-eastern-european-vocal-music/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Svitanya.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161118T200000
DTEND;TZID=America/New_York:20161118T220000
DTSTAMP:20260430T101900
CREATED:20190325T161856Z
LAST-MODIFIED:20190325T161856Z
UID:10000872-1479499200-1479506400@www.bowerbird.org
SUMMARY:Film Screening: Ornette: Made In America
DESCRIPTION:Bowerbird is pleased to present a screening of Shirley Clarke’s 1985 film “Ornette: Made in America”. \n“Ornette: Made In America” captures Ornette’s evolution over three decades. Returning home to Fort Worth\, Texas in 1983 as a famed performer and composer\, documentary footage\, dramatic scenes\, and some of the first music video-style segments ever made\, chronicle his boyhood in segregated Texas and his subsequent emergence as an American cultural pioneer and world-class icon. Among those who contribute to the film include William Burroughs\, Brion Gysin\, Buckminster Fuller\, Don Cherry\, Yoko Ono\, Charlie Haden\, Robert Palmer\, Jayne Cortez and John Rockwell. \n“Ornette: Made In America” is essential for anyone hoping to understand the history of jazz and the fertile creative exchange that highlighted the 60’s and 70’s in America. It is a portrayal of the inner life of an artist-innovator. \nThe innovative techniques that director Shirley Clarke and producer Kathelin Hoffman employed in this film very closely parallel the music of the man who is its subject. Clarke defied traditional documentary formats to reveal Ornette’s extraordinary vision through her equally extraordinary filmmaking artistry. \nCritically acclaimed when it released in 1985\, the film is even more significant today\, as Coleman’s influence has increased\, while Clarke and Hoffman’s interpretation of his life and times remain as fresh and exciting as ever. \nThe film focuses on the struggles and triumphs of Ornette Coleman’s life as well as on the inspired intelligence that spawned his creativity and ensured his success. Clarke’s footage includes Ornette in conversation with family and friends; excerpts of interviews\, riffs and travels\, along with footage of his performances-in his hometown of Fort Worth\, TX\, in New York\, in Morocco and beyond – presents the most comprehensive record of his career available.
URL:https://www.bowerbird.org/event/film-screening-ornette-made-in-america/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Ornette.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161021T200000
DTEND;TZID=America/New_York:20161021T220000
DTSTAMP:20260430T101900
CREATED:20190325T162242Z
LAST-MODIFIED:20190325T162242Z
UID:10000873-1477080000-1477087200@www.bowerbird.org
SUMMARY:Cage\, Tudor\, Rauschenberg: 9 Evenings
DESCRIPTION:Bowerbird is pleased to screen three documentary films marking the 50th anniversary of “9 Evenings: Theatre and Engineering”. In 1966 ten New York artists and thirty engineers and scientists from Bell Telephone Laboratories collaborated on a series of innovative dance\, music and theater performances\, “9 Evenings: Theatre & Engineering”\, held in October at the 69th Regiment Armory in New York City. The artists were John Cage\, Lucinda Childs\, Oyvind Fahlstrom\, Alex Hay\, Deborah Hay\, Steve Paxton\, Yvonne Rainer\, Robert Rauschenberg\, David Tudor and Robert Whitman. For these films\, archival material has been combined with interviews with the artists\, engineers and performers to illuminate the artistic\, technical and historical aspects of the work. \nVariations VII\, performed at 9 Evenings\, was the next to last in John Cage’s series of indeterminate works that he had begun in 1958\, which made increasing use of electronic equipment and systems. This DVD documents the only complete performance of Variations VII and also presents a stereo audio recording of the full 85 minutes of the performance. \nBandoneon ! (a combine) is David Tudor’s first full concert work as a composer. Tudor played the bandoneon as the input into a complex sound and visual modification system that moved sound from speaker to speaker and controlled lights and video images\, creating a work that animated the entire Armory space. This DVD documents the performance with film and vintage photographs as well as interviews with the performers\, engineers and Tudor’s fellow composers. \nOpen Score is the first film to be released in a series that will bring to life a historic moment in contemporary art history. In Open Score \, Robert Rauschenberg derived the content of his performance from the characteristics of the performance venue. The tennis racquet suggested both the idea of the ready-made (at other times tennis was played at the Armory) and that of a dance improvised in accordance with specific rules.
URL:https://www.bowerbird.org/event/cage-tudor-rauschenberg-9-evenings/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/9_Evenings.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20161002T200000
DTEND;TZID=America/New_York:20161002T220000
DTSTAMP:20260430T101900
CREATED:20190325T163107Z
LAST-MODIFIED:20190325T163229Z
UID:10000875-1475438400-1475445600@www.bowerbird.org
SUMMARY:Daniel Fishkin\, Cleek Schrey\, Ron Shalom
DESCRIPTION:ABOUT THE EVENT \nThe third installment of Composing the Tinnitus Suites: 2016 consists of compositions for and by Daniel Fishkin\, Cleek Schrey\, and Ron Shalom. Shalom\, Schrey\, and Fishkin are members of New Perplexity\, a collective of new wartime composers and scholars. Schrey performs on the Hardanger Fiddle\, a Norwegian folk instrument lined with sympathetic strings that resonate as he plays. Shalom is a contrabassist blessed with perfect pitch\, but this intutitive gift is confounded by spectral barrage of the Lady’s Harp. For this concert\, the trio present a series of compositions in an attempt to answer the question\, “What is Tinnitus Music?” from each player’s perspective. \n  \n  \nABOUT THE ARTISTS \nDescribed by the Irish Times as “a musician utterly at one with his instrument and his music\,” Cleek Schrey is a fiddler and composer from Virginia. An active member of traditional music communities in America and Ireland\, he plays in the Ghost Trio with Ivan Goff and Iarla O Lionaird. His work has been presented at Pioneer Works Center for Art and Innovation in Brooklyn\, Storm King Art Center\, the Kilkenny Arts Festival\, the Lumen Performance Art Festival\, and the Bridge Progressive Art Center. Cleek frequently makes music for dance\, having worked with choreographers Douglas Dunn and Bill T. Jones and percussive dancers Sandy Silva and Nic Gareiss. He also works closely with the renowned Beckett theater company\, Gare St. Lazare\, as a composer and musician. He has studied composition with David Behrman\, Paul Caputo\, Bunita Marcus\, and Walter Zimmermann. The journal Sound Post has noted that Cleek “possesses a rare combination of traits: deep respect for traditional music and the people who make it\, and an unbounded curiosity about new directions for sound.” He is currently pursuing a Masters in Music Composition at Wesleyan University. \n  \nRon Shalom (b. 1989) is a composer\, bassist\, vocalist\, organist\, and leader of the Cult of the Illuminated Orifice. Of his own work\, Ron says\, “I seek out the boundaries between forms of performance in public life\, as well as between the musical and the theatrical\, through the creation of spectacle.” He received his undergraduate degree from Oberlin Conservatory and a master’s in composition from Wesleyan University. Recent projects include a semi-staged nihilo-pornography with the Cult\, and a third full-length album of songs with his chamber pop ensemble Fers Yn Ri. \n  \nDaniel studied with composer Maryanne Amacher and with multi-instrumentalist Mark Stewart. He has performed as a soloist on modular synthesizer with the American Symphony Orchestra\, developed sound installations in freight elevators and abandoned concert halls\, and played innumerable basement punk shows. Previous iterations of Composing the Tinnitus Suites have received international press (Nature Journal\, 2014); as an ally in the search for a cure\, he has been awarded the title of “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. Daniel received his MA in Music Composition from Wesleyan University\, and currently teaches courses in analog synthesis at Bard College. \n  \n  \nABOUT THE SERIES \nIn 2008\, Daniel Fishkin’s ears started ringing\, and they never stopped. Composing the Tinnitus Suites: 2016 investigates the aesthetics of hearing damage through a performance series in the Sanctuary of the Rotunda\, consisting of experimental music concerts and conversations with other thinkers who confront hearing damage in their own practice and personal lives. The series is anchored by the Lady’s Harp: a system of 20-foot long piano wires activated by mixer feedback\, using guitar pickups and pressure transducers to coax the strings into vibration\, not unlike the cilia that transduce vibrations into electrical impulses for the brain. Fishkin says\, “To make ‘Tinnitus Music’ is not just to compose sounds\, but also to compose situations that can break the isolation of its experience.” \n  \n  \nComposing the Tinnitus Suites: 2016 has been supported by The Pew Center for Arts & Heritage.
URL:https://www.bowerbird.org/event/daniel-fishkin-cleek-schrey-ron-shalom/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/D_Fishkin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160930T200000
DTEND;TZID=America/New_York:20160930T220000
DTSTAMP:20260430T101900
CREATED:20190325T164103Z
LAST-MODIFIED:20190325T164319Z
UID:10000876-1475265600-1475272800@www.bowerbird.org
SUMMARY:Ellen Fullman with Daniel Fishkin
DESCRIPTION:ABOUT THE EVENT \nThe second installment of Composing the Tinnitus Suites: 2016 consists of solos and duets between Ellen Fullman and Daniel Fishkin. Fullman is the inventor of the Long String Instrument\, an 80 foot long string instrument consisting of stainless steel wires that she strokes with rosined fingertips. Fullman has used her instrument to explore the acoustics of large resonant spaces for over 30 years. In her Philadelphia premiere\, Ellen Fullman will install her Long String Instrument in the Rotunda Sanctuary. Though Fullman and Fishkin both work with long strings\, their work is decidedly different. In this concert\, the two will contrast their practices. \nFeaturing a conversation with the Maria Geffen Lab and Ranjit Bhatnagar. \n  \n\nABOUT THE ARTISTS\n\n\n\nEllen Fullman’s career in music was launched at age one\, when Elvis Presley kissed her hand. She went on to earn a BFA in Sculpture from the Kansas City Art Institute\, leading her to create her “Metal Skirt Sound Sculpture\,” which she wore to perform Streetwalker at the 1980 New Music America festival in Minneapolis. Soon after\, Fullman accidentally discovered the sound of longitudinally vibrating long strings. Since then\, she has been developing the Long String Instrument (LSI)\, and its abundant possibilities. Fullman has presented her work in art spaces\, festivals\, and museums in the United States and in Europe. She has been the recipient of numerous awards\, commissions and residencies including: Foundation for Contemporary Arts Grants to Artists (2015); Center for Cultural Innovation Grants (2008 and 2013); Japan/U.S. Friendship Commission/NEA Fellowship for Japan (2007); and DAAD Artists-in-Berlin residency (2000). Fullman’s work was cited by Alvin Lucier in his Music 109: Notes on Experimental Music (Wesleyan University Press\, 2012) and by David Byrne in How Music Works (McSweeney’s\, 2012).\n\n\n  \nDaniel studied with composer Maryanne Amacher and with multi-instrumentalist Mark Stewart. He has performed as a soloist on modular synthesizer with the American Symphony Orchestra\, developed sound installations in freight elevators and abandoned concert halls\, and played innumerable basement punk shows. Previous iterations of Composing the Tinnitus Suites have received international press (Nature Journal\, 2014); as an ally in the search for a cure\, he has been awarded the title of “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. Daniel received his MA in Music Composition from Wesleyan University\, and currently teaches courses in analog synthesis at Bard College. \n  \n\n\n\nABOUT THE SERIES \n\nIn 2008\, Daniel Fishkin’s ears started ringing\, and they never stopped. Composing the Tinnitus Suites: 2016 investigates the aesthetics of hearing damage through a performance series in the Sanctuary of the Rotunda\, consisting of experimental music concerts and conversations with other thinkers who confront hearing damage in their own practice and personal lives. The series is anchored by the Lady’s Harp: a system of 20-foot long piano wires activated by mixer feedback\, using guitar pickups and pressure transducers to coax the strings into vibration\, not unlike the cilia that transduce vibrations into electrical impulses for the brain. Fishkin says\, “To make ‘Tinnitus Music’ is not just to compose sounds\, but also to compose situations that can break the isolation of its experience.”
URL:https://www.bowerbird.org/event/ellen-fullman-with-daniel-fishkin/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Ellen_Fullman.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160923T200000
DTEND;TZID=America/New_York:20160923T220000
DTSTAMP:20260430T101900
CREATED:20190325T164859Z
LAST-MODIFIED:20190325T164958Z
UID:10000877-1474660800-1474668000@www.bowerbird.org
SUMMARY:Philadelphia Hearing Damage
DESCRIPTION:ABOUT THE EVENT \nThe first installment of Composing the Tinnitus Suites: 2016 is the premiere performance of Philadelphia Hearing Damage. This band of broken ears is a crowd-sourced creation of local Philadelphia artists. Fishkin worked with these musicians in the summer of 2016\, teaching them how to play the Lady’s Harp\, and to apply its techniques to their own instruments. This assemblage does not consist of gifted virtuosos\, rather kindred listeners-musicians whose relationship to sound might be fundamentally unstable. \nBen Bennett\, percussion\nRachel Ishikawa\, bicycle wheel\, found objects\nHannah Judd\, cello\nBennett Kuhn\, synthesizer\, tinnitus\nConnor Przybyszewski\, trombone\nDaniel Fishkin\, lady’s harp\, composition \n  \nFeaturing a conversation with Armen Enikolopov and Monroe Street. \n  \nABOUT THE ARTISTS \nDaniel studied with composer Maryanne Amacher and with multi-instrumentalist Mark Stewart. He has performed as a soloist on modular synthesizer with the American Symphony Orchestra\, developed sound installations in freight elevators and abandoned concert halls\, and played innumerable basement punk shows. Previous iterations of Composing the Tinnitus Suites have received international press (Nature Journal\, 2014); as an ally in the search for a cure\, he has been awarded the title of “tinnitus ambassador” by the Deutsche Tinnitus-Stiftung. Daniel received his MA in Music Composition from Wesleyan University\, and currently teaches courses in analog synthesis at Bard College. \n  \nABOUT THE SERIES \nIn 2008\, Daniel Fishkin’s ears started ringing\, and they never stopped. Composing the Tinnitus Suites: 2016 investigates the aesthetics of hearing damage through a performance series in the Sanctuary of the Rotunda\, consisting of experimental music concerts and conversations with other thinkers who confront hearing damage in their own practice and personal lives. The series is anchored by the Lady’s Harp: a system of 20-foot long piano wires activated by mixer feedback\, using guitar pickups and pressure transducers to coax the strings into vibration\, not unlike the cilia that transduce vibrations into electrical impulses for the brain. Fishkin says\, “To make ‘Tinnitus Music’ is not just to compose sounds\, but also to compose situations that can break the isolation of its experience.” \n  \ncover photo: Samuel Lang Budin \nComposing the Tinnitus Suites: 2016 has been supported by The Pew Center for Arts & Heritage.
URL:https://www.bowerbird.org/event/philadelphia-hearing-damage/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Hearing_Damage-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20160616T200000
DTEND;TZID=America/New_York:20160616T220000
DTSTAMP:20260430T101900
CREATED:20190325T171920Z
LAST-MODIFIED:20190325T171920Z
UID:10000884-1466107200-1466114400@www.bowerbird.org
SUMMARY:Sonic Liberation 8
DESCRIPTION:Bowerbird is excited to present the Philadelphia record release celebration of Bombogenic\, a new album by Sonic Liberation 8 with the The Classical Revolution Trio & Oliver Lake. The album celebrates the 15 year anniversary of Sonic Liberation 8 with a new collection of compositions and arrangements showcasing a unique confluence of loft jazz\, Afro Cuban Yoruba music\, and new chamber music. Joining SL8 in this milestone is special guest artist Oliver Lake (World Saxophone Quartet) and the Classical Revolution String Trio. In addition to five new compositions\, Kevin Diehl\, the octet’s leader\, arranged the Erik Satie composition\, Gnossienne\, recasting it as a platform for creative interaction rooted in these genres. Additionally Oliver Lake composed 2 compositions for specifically for SL8’s Afro-Cuban-Yoruba jazz format. Diehl arranged bata drums parts for these 2 pieces along with another of Mr. Lakes compositions called Love Like Sisters. Love Like Sisters originally appeared on a World Saxophone Quartet album called Metamorphosis. \n  \nTHE PERFORMERS \nSpecial Guest\nOliver Lake – Alto Saxophone\, Composition \nSonic Liberation 8\nKevin Diehl – Drumkit\, Bata Iya\, Composer\nMatt Engle – Bass\, Composer\nElliot Levin – Woodwinds\nVeronica Jurkiewicz – Viola\, String Section Leader\nMike Watson – Bass Clarinet\nNichola Rivera – Bata Itotele & Iya\, Conga\, Composer\nTom Lowery – Drumkit\, Afro Brazilian Percussion\nRon Howerton – Bata Okonkolo\, Conga\, Percussion \nThe Classical Revolution Trio\nRussel Kotcher – Violin\nPeter Oswald – Cello\nYoni Draiblate – Cello \n  \nABOUT THE ARTISTS \nThe artistic scope of renowned saxophonist\, composer\, painter\, and poet Oliver Lake’s half-century-long career is unparalleled. An extensive resume of his collaborations includes work with the Brooklyn Philharmonic\, Flux String Quartet\, Bjork\, Lou Reed\, A Tribe Called Quest\, Mos Def\, Me’shell Ndegeocello\, Anthony Braxton\, James Blood Ulmer\, William Parker\, Vijay Iyer\, Reggie Workman\, Andrew Cyrille and a veritable who’s who of the jazz vanguard. Oliver’s efforts extend far beyond the music\, with his creation of the non-profit Passin’ Thru organization\, becoming a mainstay at Pittsburgh’s City of Asylum\, publishing two books of poetry and frequently producing visual artwork for exhibitions across the country. Lake’s breadth of disciplines can be traced back to his formative years with the Black Artists Group\, the innovative St. Louis collective of musicians\, poets\, dancers and painters he helped architect over 35 years ago. As a co-founder of the internationally acclaimed World Saxophone Quartet (with fellow luminaries David Murray\, Julius Hemphill and Hamiet Bluiett)\, Oliver firmly established himself in the “Loft” jazz scene of the 1970’s in New York City\, and has since produced a body of work that is both expansive and versatile enough to avoid falling solely into the trappings of the “avant-garde” and “free” labels. The fact that his work can stand on compositional merit alone\, all while he has etched a place for himself as one of the elite saxophone players and improvisers of recent times\, is a testament to Oliver Lake’s stature as an artist. Lake’s output as an exacting and unequivocally original composer has long been celebrated\, highlighted by commissions awarded from the Library of Congress\, the Rockefeller Foundation ASCAP\, the International Association for Jazz Education\, Composers Forum and the McKim Foundation. He has been the recipient of the Guggenheim Fellowship and was also presented with the Mellon Jazz Living Legacy Award at the Kennedy Center in 2006. In 2014\, Oliver was honored with what is arguably the greatest recognition of his artistry and vision to date\, becoming one of only nineteen grantees appointed for the prestigious Doris Duke Artist Award\, a multi-year grant awarded to American artists in the fields of jazz\, theater and dance. A trailblazer through and through\, Oliver Lake continues to produce in the vociferous\, uncompromising way he only knows how to\, currently immersed in the work of such adventurous ensembles as the Oliver Lake Organ Quartet\, Oliver Lake Big Band and Trio 3. \nSonic Liberation 8 is deeply rooted in the traditions of Afro Cuban music and has spent years fusing that grand tradition with new sounds including composed jazz\, modern chamber composition\, and the powerful Orisha spirit. Sonic Liberation 8 melds together sounds and time periods in a manner like no other band around today. As Sonic Liberation Front\, this ensemble has consistently won international critical acclaim and have been named #1 or Top 10 by the Village Voice\, All About Jazz\, Jazziz\, and more. The band has recorded five internationally-distributed albums. The eight-member ensemble has played extensively in the Philadelphia and New York area\, and at festivals and cultural institutions throughout the Midwest U.S. and Canada. The core octet is scalable\, often collaborating with guest artists and expanded ensembles.
URL:https://www.bowerbird.org/event/sonic-liberation-8/
LOCATION:The Rotunda\, 4014 Walnut St\, Philadelphia\, PA\, 19104\, United States
ATTACH;FMTTYPE=image/jpeg:https://www.bowerbird.org/wp-content/uploads/2019/03/Sonic_Liberation_8.jpg
END:VEVENT
END:VCALENDAR