'How much do we need to lose out knowledge, to forget our books, to disconnect our technologies to dive again in the incomprehensible? What are the limits of perceptions?'
For decades now, another shapeless world has been developing at the periphery of the International sphere. Comprised of many diverse countries with complex socio-political histories, this outer domain holds some common features regarding modes of music production, consumption, and proliferation. Today for this outer-world we have diverse names. One of the most (in)famous is “World Music” ("Musique du Monde"); another term less frequently used but randomly appearing is “Outernational”, a blurry map, with lots of intersections, exceptions and indistinct borderlines.
From the outset, the Outernational domain seems defined by obscurity, grey margins, unequal times of exposure, dark spots, frequent amnesia and violent shifts. Due to totalitarian regimes, wars (warm or cold), post-colonial lack of autonomy, or just poverty, the Outernational body occupies a space outside of history, sometimes considered an echo of the International core but mostly unknown.
On Sunday, July 3, the panel discussion The Outernational Condition (18.00, Uranus Garden) will try to interrogate the socio-cultural and economic relationships that were built between the communities, musicians and social groups assimilated by the Outernational scene. The space can no longer be seen as physical space, but rather originates from everywhere and elsewhere. In what measure the ''traditional'' or specific sound of a particular place can emulate other places and can mix with other cultures?
What is the process of composing / writing music in relationship with imitation / copy / plagiarism / adaptation? What is the process of music distribution in East versus West: record labels, record stores, magazines, online press and other mechanisms of music distribution such as youtube. What being original or unique can possibly mean in the Outernational scene? What cultural identity means?
The panel discussion will be moderated by Francis Gooding, writer of The Wire. The confirmed speakers are Rabih Beaini (Lebanese musician known under Morphosis alias, owner of Morphine Records), Vincent Moon (french documentarist, owner of the platform Collections Petites Planetes), Maurice Louca (musician from Cairo, Egypt, involved recently in the project Dwarfs of East Agouza with Alan Bishop and Sam Shalabi), Sebastian Reier (aka Booty Carrell, DJ, B-Music representative, Golden Pudel resident) and Ion Dumitrescu (musician of the project Raze de Soare and owner of the record label Future Nuggets).
Francis Gooding is a writer and researcher in music, art and film. He has collaborated with Duncan Brooker as compiler on the Next Stop Soweto series (Strut records) and A New Life: Independent, Private and Youth Jazz in Great Britain, 1966-1990 (Jazzman Records), and has written numerous historical sleevenotes for labels including Jazzman, Matsuli, Schema / Rearward, Votary and Frederiksberg. He is currently writing a history of the South African jazz exiles, a book on Sun Ra's use of synthesizers, and working on film and sound projects in collaboration with artist Noah Angell. He is a regular columnist for The Wire.
Sunday, July 3, 18.00 - Uranus Garden (Uranus 144)