ALL AS ONE
"Choral music could hardly offer anything new, surprising or exciting.
Quite the contrary.
Choral singing is a mouldy form of music addressing conservative consumers.
It would be naive to think that this old musical form
can yield new musical experiences suited for a modern listener.
Choirs do not exhibit either cultural resistance or political radicalism.
They are all about nostalgic escapism
suitable for state-orchestrated celebrations and church rituals -
in short, for ideological consumption.
Nothing is wrong with nostalgia as such, of course.
It becomes repulsive only when marketed as resistance."
Gregor Tomc, professor of sociology
at the Faculty of Social Sciences of the University of Ljubljana
The fact is that a choir is actually an anachronistic phenomenon
considered in the classical tradition as a representation of power.
This means that a choir is a symbolic instrument of power,
which was actually the case until recently.
Now is the time, however, that this definition is being redefined
by the very fact that choirs are self-organised,
independent and commenting phenomena that are real,
that are present in the society where choir members live and work.
Our choir, or our way of gathering as a choir,
is a vessel used to express a political attitude
in a humane and aesthetic way.
At the same time, this is a kind of a barrier
from potentially unpleasant situations
because the message we send is delivered in a form that is hard to attack.
One could hardly approach people singing in the street,
in a tram, and attack them physically;
these people are, after all, singing.
This is, in a way, our magical shield.
In this case such definition does not apply.
Although choirs functioning by the same principle still exist,
the independent choirs that gathered for this opportunity,
that represent a whole new orientation in the history of this region,
do not conform to such definitions.
By no means.
This is the voice of the people.
It plays a similar role as the chorus in the tragedy.
In ancient tragedies,
the voice of the people is always represented by the chorus.
This is a means of self-liberation
and a rehearsal for a different world.
The question about the origins of Horkestar is complex.
It began as a part of the Horkeškart art team in 2000,
at the time of the revolution in Serbia.
Škart, a founder of Horkeškart, left in 2006
and this was the beginning of Horkestar as such.
Horkestar sings anywhere, indoors and outdoors,
but also in at different manifestations and festivals, such as this one.
We also hold self-organised performances in trams,
on squares, in different institutions, such as that for abandoned children
and support different actions - for the elderly and poor, for forests...
So we perform onstage but also outdoors.
Proba is a choir from Belgrade consisting of 10 to 15 members.
It was formed in 2007,
mostly from former members of Horkeškart and Horkestar.
These 10 to 15 members
wanted to sing songs that were socially and politically committed
to a greater extent than those sung by Horkestar,
and this was the beginning of Proba.
From the very beginning, we've sought our inspiration at Poetrying.
Poetrying is a poetry festival initiated in 2008
and taking place on the last Saturday of each month.
Anyone can come and recite their poetry.
We want to be heard by everybody, without making any distinctions.
We do not like singing only in concert halls,
where only the so-called musical audience is expected.
Music is for everybody. Just as everybody can sing in our choir,
no matter whether talented or not, which is, after all, pretty audible on the stage,
everybody can listen to it, too.
The standard definition of Le Zbor is a lesbo-feminist choir.
We come from Zagreb, Croatia.
We have been active for about seven years,
trying to reach the broadest of audiences and convey,
in a simple language, the message of love through music.
in an activist manner
We take a song - sometimes a folk song, sometimes a revolutionary song,
sometimes a pop-rock hit - and rearrange it
in our own style so as to make it attractive and interesting.
We change gender, protagonists,
replace male with female characters, or change the setting.
As far as nationalists and homophobes are concerned,
we fortunately do not encounter too many in our musical activities.
Recently we experienced ...
It's silly to talk about them, because this gives them a significance
that they shouldn't have.
As far as the situation in Croatia is concerned,
there is a human rights related progress in that homophobes recognise
the word homophobia and find it disturbing.
They may even say that they're not homophobes.
This is therefore recognised as a negative thing,
which is good.
I think we have played a part in this
by celebrating an anti-homophobia day for several years,
so that people have an idea what this is about.
What we have in mind when speaking of songs of resistance
is songs performed in a certain context
- a song of resistance is therefore defined by the time,
place and manner of performance.
My intention is not, of course, to diminish the importance of new,
creative and innovative songs of resistance.
What I mean to say is that a certain song can express
resistance when sung in a certain way
A good example of this is reactionary, patriotic,
pseudo-patriotic, patriarchal and similar songs performed by someone else,
typically women as the largest alternative group.
And when women perform such songs -
as is the case with Le Zbor, but also Kombinat
- this is about stealing the language, stealing the discourse
of the patriarchal majority,
stealing the discourse of those who have the power,
who control music -
state music, official music, battle music in general.
Kombinat is a choir considered more than a choir
- a movement, in fact.
Although we, its members, have never talked about it,
I believe most of us will agree that we are a community.
We come from all over Slovenia and from different generations
- we are aged from 25 to 50, if this is important at all.
Kombinat is a group of girls who decided
to express their opinion by singing,
to present the values they believe in
and to resist the mainstream mentality
that was still somehow in the background, somehow less visible
back in 2008, when the choir was established -
that man is nothing but a wolf to his fellow man
and that the only way to succeed is to push others aside
to step on the back of others without any sense of guilt.
At the time of establishment,
we unanimously rejected living in such a society.
A society where a human being can be human
is a society of solidarity, coexistence and social justice,
and this is the message of songs that we sing.
Raspeani Skopjani is an activist choir from Skopje, Macedonia,
that was established after the publication of the Skopje 2014 project,
which was in 2009.
In the four years of our activity,
we've had over 70 activists and singers and two conductors,
and we've sung over 50 songs.
What makes us different from other activist choirs
is that we want to be responsive
and critical towards the daily politics, not only general politics.
We began as a choir that sang a song on a current topic every two weeks.
These topics can be, say, a homophobic statement,
a celebration of a holiday,
an accident that happened -
we sing to comment on current affairs.
Yes, you know what's going on in Istanbul.
They're trying to bring down the regime,
but I don't know whether and how they'll succeed.
We'd like to dedicate our next song to our friend who is currently in a coma.
Her name is Lobna
and she fell into a coma when brutally beaten by the police.
We hope that she survives this unfortunate event.
At the same time we'd like to say hi to our friends in Istanbul
who are on the frontline, so to say, and who send us information every day.
Skopje is experiencing an occupation of the ugly and stupid,
of people without any sense of aesthetics who want to destroy our living space.
I find it hard to imagine that someone should come to Ljubljana
and remodel its buildings, facades, monuments, squares and bridges
in the style that he likes but that never existed in Ljubljana.
I suppose that Ljubljana has no Byzantine architecture.
Imagine getting a prime minister who wants to spend more than 500 million euro
for making Ljubljana Byzantine.
The whole of Ljubljana would be shocked, would take to the streets.
We did the same, but did not succeed.
The man succeeded in making the place ugly, spending 500 million euro of our money
and above all, irreversibly suffocating
the common space, parks and streets,
which we will not be able to escape for decades.
Svetonazori is a self-organised independent choir from Belgrade.
We have existed in the form of a choir for about a year;
before that, we were a vocal and instrumental band of four friends.
Then we grew and I've been a conductor for about a year.
More friends joined and now there are about 14 members.
Our repertoire is somewhat specific.
For now, we do not sing our own songs
but comment on the present situation
by combining melodies of songs belonging to one ideological movement
with lyrics belonging to the other ideological movement
now present or predominant in Serbia.
A song of resistance must be parodic, ironic and sarcastic;
it has to keep a distance,
and the theft of language is the essential procedure.
On the other hand, it is also important
that a song of resistance is not existentially grim,
it has to express joy because joy is emancipatory.
In what sense? Besides food, drink, sex and folly,
laughter is in fact the only means of defying death.
And if a battle song is basically about declaring willingness
to die for your collective, then a song of resistance
should be the opposite to it.
The common denominator is that song is a medium or a tool of articulation
that lets you take a stand,
express an attitude, deliver an opinion about the world.
The fact that we're a choir defying the conservative definition of a choir
is in itself a way of opposing ideology.
Our most viewed videos are those that the governmental "megaphones",
chauvinistic and nationalistic journalists,
publish on their websites to spit on our positions.
This is when we get the highest number of views and comments.
We are, in a way, happy when we're hated.
We don't have a conductor, which is well evident,
but we try to involve as many people as possible
in the process of composing, conducting and the like.
Music still has something to say.
This is a means of self-liberation and a rehearsal for a different world.
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