Radio ArtEZ

Art at War is a series about, well… Art and war. Each episode writer and ArtEZ alumna Lisa Weeda explores what art can do in times of conflict with a special guest. In this episode that guest is Bakr Al Jaber.

Bakr Al Jaber is a Syrian poet, currently residing in The Hague. His work explores the relationship between universal beauty, war and the duality of existence. He has a published project let's talk loudly and laugh a lot in collaboration with Dutch photographer Hillie de Rooij, he was shortlisted for the El Hizjra literatuurprijs 2020. Right now he is working on new poetry.

Check out the projects by Bakr Al Jaber: https://bakraljaber.com/Projects

Follow him on instagram https://www.instagram.com/bakraljaber/

The book Bakr made with Hillie de Rooij is sold out, sadly

Art at War is a series about, well… Art and war. Each episode writer and ArtEZ alumna Lisa Weeda explores what art can do in times of conflict with a special guest. In this episode that guest is Mariia Ponomarova.

Mariia Ponomarova is a Ukrainian film director, producer and artistic researcher based in Amsterdam, the Netherlands. Mariia studied film directing and screenwriting at Karpenko-Karyi Kyiv National University of Theatre, Cinema and Television. She graduated with a master's degree in the Film Artistic Research program of the Netherlands Film Academy.
Her short films were screened during international and national film festivals Go Short ISFF, Sarajevo Film Festival, Vancouver IFF, Molodist IFF, ArtDocFest, Netherlands Film Festival, CineDOC-Tbilisi, VIS Vienna Shorts, Regensburg Short Film Week and many more.
She currently works on the documentary Nice Ladies.

Follow Mariia Ponomarova on instagram: https://www.instagram.com/ponomarova/

See if you can find the film Fragile Memory, for which Mariia wrote the screenplay. Check out the teaser: https://youtu.be/jYDt97CqG5Q

Art at War is a series about, well… Art and war. Each episode writer and ArtEZ alumna Lisa Weeda explores what art can do in times of conflict with a special guest. In this episode that guest is Anastasia Taylor-Lind. 

Anastasia Taylor-Lind is an English/Swedish photojournalist who works for leading editorial publications all over the world on issues relating to women, population and war. 
She is a 2016 Harvard Nieman Fellow, a TED fellow and a 2017 non-fiction Logan Fellow at The Carey Institute for Global Good. Her first book MAIDAN – Portraits from the Black Square, which documents the 2014 Ukrainian uprising in Kiev, was published by GOST books the same year. 
Anastasia's  work has been exhibited internationally, in spaces such as The Saatchi Gallery, The Frontline Club, and The National Portrait Gallery in London.
She also writes poetry.

Check out Anastasia's website to get a grasp of her  work and portfolio: http://www.anastasiataylorlind.com

Read a poem by her hand: https://www.theguardian.com/books/booksblog/2022/apr/25/poem-of-the-week-welcome-to-donetsk-by-anastasia-taylor-lind or look for her first poetry collection 'One Language'.

And follow her on instagram: https://www.instagram.com/anastasiatl/

Myrthe Oomen, student ArtEZ Creative Writing, schreef het essay 'Mijn lichaam en de elektriciteitsmast'. Het essay leest als een collage van fragmenten over de (on)mogelijkheid om je onderdeel te voelen van een landschap. De taal van schrijvers als Annie Ernaux, George Perec en C.O. Jellema helpen haar kwijtgeraakte woorden terug te vinden.

Het essay is na te lezen op de website van Studium Generale: 
https://studiumgenerale.artez.nl/nl/studies/all/essay/mijn+lichaam+en+de+elektriciteitsmast/

Daar vind je ook een kort interview met Oomen: 
https://studiumgenerale.artez.nl/nl/studies/all/interview/myrthe+oomen+interview/

Poëzie Vandaag van Ellen Deckwitz is te vinden in de meeste podcastapps: 
https://podtail.nl/podcast/poezie-vandaag/

In Research in Art Education, artist-researcher Fabiola Camuti interviews students, researchers, and managers working in university of the arts to discuss the importance, challenges, and possibilities of conducting research within arts academies. The KUO (national art education sector) Strategic Plan 2021-2025 identifies 'research' as one of the three key areas art universities should focus on in the coming years. Research is essential not only to the arts and professional art education, but also to our relationship with the world and society. Research already takes on an important role within universities of the arts, however, practices and ideas on the role, methods, ways of conducting research and its embedment within each and every institution, still leave space for further development, investigation, and actions to be taken.

For this reason, starting 2022, a national 'Research working group' will work together to strengthen the knowledge ecosystem and the research culture within our academies. This podcast series is connected to the events organized by the working group around the question: how can we make research sustainable in our academies? The podcast is sponsored by the Vereniging Hogescholen and hosted by Radio ArtEZ for Studium Generale.

Shownotes:

In episode 1, Sharing Best Practices, Fabiola Camuti has interviewed the following guests: Lulu Linders, 3rd year student audiovisual design at the WdKA, she has a BA from the University of Amsterdam in Future Planet Studies and is working towards becoming a documentary director.

Els Cornelis is a relational artist and teacher at HKU. In addition, she initiated and started a collective research project with the name Pluriversity of the Arts.

Dorothea van der Meulen, Dean Minerva Academy Groningen and member of the KUO national research working group.

Best practices discussed during the episodes:

1. ArtEZ Univeristy of the Arts: Next Generation: the two-days No University festival for research, experiments, and arts for the education of the future, presented by Arjen Hosper
2. Willem de Kooning Academy: The Circle and Crash Course of Doing Research – creating an equal footing in research skills for all first-year students, presented by Jojanneke Gijsen and Harma Staal
3. Minerva Art Academy: From a question of the working field to an educational pilot: A practice-based research in Arts & Health, presented by Asa Scholma and Jedidja Smalbil

Other best practices that were mentioned:

1. HKU: How can research be sustainably connected to art education? The case of the Expanding Narratives project, presented by Jorrit Thijn and Nirav Christophe

2.     Fontys School of Fine & Performing Arts: The project 'Sociaal Artistiek Theater': the work of the teacher researcher, presented by Lieke van Hoogenhuijze and Erica Smits

1. Codarts University of the Arts: The Research Festival: an annual event for research in education, presented by Erik Zwiep

Links:

https://research.hanze.nl/en/publications/we-people-in-transition-ik-zie-ik-zie-wat-jij-niet-ziet

https://www.artez.nl/en/agenda/2022-09-23-next-generation-no-university-manifestation-2022-research

https://research.wdka.nl/index.php/publications/circle-of-doing-research/

In the three-part podcast series Listening to the In-Between we highlight different aspects of Pauline Oliveros's Deep Listening® practice. We do so by providing backgrounds, practical listening exercises, and by exploring theoretical notions connected to Deep Listening.

In part I researcher and music journalist Joep Christenhusz explored Deep Listening, together with Ed McKeon and Ximena Alarcón, who are well-experienced deep listeners. Alarcón described the INTIMAL App© that she has developed over the last years.

In the second episode, Deep Listener Sharon Stewart invited us to participate in embodied rituals of attention, a practice of listening to or sensing aspects of power and powerlessness in the world that surrounds us. This reconnected her to the ground-breaking work of Audre Lorde, "Uses of the Erotic: The Erotic as Power".

In this third and final instalment, 'Thinking with our Ears', Joep Christenhusz returns to Ed McKeon and Ximena Alarcón, featuring Sharon Stewart as well.

They consider Oliveros's Deep Listening practice from several theoretical perspectives, thereby taking into account that theory and practice are always closely intertwined in Oliveros's work. 

Starting from the Extreme Slow Walk, an exercise in sonic awareness, they navigate a fluid in-between space, where conventional binaries like theory-practice, self-other, active-passive and subject-environment start to dissolve. This outward and inward journey results in embodied knowledge about, among other things, the nature of attention and concentration, our relation to our environment and our experience of self.

The second part of this episode consists of a conversation with Ximena Alarcón on the notions of the in-between, sonic migrations, and the migratory experience, and reflections on the role of language in the presence and experience of self.

Show Notes

In the podcast you hear the following audio fragments:

Pauline Oliveros, Stuart Dempster, Panaiotis, Album Deep Listening, track 1, 'Lear', reproduced by permission of PoP and MoM Publications. (Pauline Oliveros Publications & Ministry of Maåt). All Rights Reserved. Members ASCAP

References

Meditation number 5, 'Native', from: Pauline Oliveros (1971). Sonic Meditations. PoP and MoM Publications (Pauline Oliveros Publications & Ministry of Maåt).

Commentary Oliveros on the Extreme Slow Walk, from: Pauline Oliveros (1971), Sonic Meditations. PoP and MoM Publications. (Pauline Oliveros Publications & Ministry of Maåt).

Francois Bonnet (2016). The Order of Sounds, A Sonorous Archipelago, Urbanomic.

Pauline Oliveros (2005), Deep Listening, a Composer's Sound Practice, iUniverse

Pauline Oliveros (1984/2015). Software for People, Smith Publications/CreateSpace

Ximena Alarcón (2014). Networked Migrations: Listening to and Performing the In-Between Space. (99+) Networked Migrations: listening to and performing the in-between space | ximena alarcon - Academia.edu

Marianna Ortega (2008). Multiplicity, Inbetweeness, and the Question of Assimilation</

In Teaching Art, creative writing teacher Dennis Gaens looks into what it means to teach art in the present day. In this three part series he looks into where we teach art, who teaches it and what exactly is being taught. 

In this final episode, we get into that last question. Dennis talks to his (distant) colleagues Jesse Ball, John Vigna and Lorena Briedis on what it is we teach when we teach art.

A transcript for this episode is available at https://studiumgenerale.artez.nl/

If you want to get in touch about hosting or contributing to a workshop based around this series, visit https://www.ondercast.com/teachingart

Notes:

Jesse Ball can (sometimes, though not at the time of publishing this episode) be found here: http://www.jesseball.com/

He teaches at the School of the Art Institute in Chicago: https://www.saic.edu/profiles/faculty/jesse-ball

His Notes on my Dunce Cap was published by Pioneer Works: https://pioneerworks.org/store/notes-on-my-dunce-cap.

Lorena Briedis teaches (and herself studied) at Escuela de Escritores: https://escueladeescritores.com/

John Vigna can be found here: https://www.johnvignaink.ca/

He teaches at the University of British Columbia: https://creativewriting.ubc.ca/

The European Association of Creative Writing Programmes can be found at https://eacwp.org/ 

In Teaching Art, creative writing teacher Dennis Gaens looks into what it means to teach art in the present day. In this three part series he looks into where we teach art, who teaches it and what exactly is being taught. 

In this second episode, he explores who should be teaching art, what kind of stance is necessary. He does so in conversation with writers and teachers Jesse Ball, Lorena Briedis and John Vigna. 

A transcript for this episode is available at https://studiumgenerale.artez.nl/

Notes:

Jesse Ball can (sometimes, though not at the time of publishing this episode) be found here: http://www.jesseball.com/

He teaches at the School of the Art Institute in Chicago: https://www.saic.edu/profiles/faculty/jesse-ball

His Notes on my Dunce Cap was published by Pioneer Works: https://pioneerworks.org/store/notes-on-my-dunce-cap.

Lorena Briedis teaches (and herself studied) at Escuela de Escritores: https://escueladeescritores.com/

John Vigna can be found here: https://www.johnvignaink.ca/

He teaches at the University of British Columbia: https://creativewriting.ubc.ca/

The European Association of Creative Writing Programmes can be found at https://eacwp.org/ 

In Teaching Art, creative writing teacher Dennis Gaens looks into what it means to teach art in the present day. In this three part series he looks into where we teach art, who teaches it and what exactly is being taught. 

In this first episode, he first looks into some legendary art schools with art historian Joanne Dijkman. In the second part, he discusses the classroom and how we should approach it with writers and teachers Lorena Briedis and Jesse Ball. 

A transcript for this episode is available at https://studiumgenerale.artez.nl/

Notes: 

You can read more about Joanne Dijmkman's PHD research here: https://www.artez.nl/en/research/professorship/art-education-as-critical-tactics/research-group/joanne-dijkman. 

Information on the Black Mountain College exhibition at the Hamburger Banhof can be found here: https://www.smb.museum/en/exhibitions/detail/black-mountain-an-interdisciplinary-experiment-1933-1957/. The accompanying book was published by Spector: https://spectorbooks.com/black-mountain-en. 

The European Association of Creative Writing Programmes can be found at https://eacwp.org/ 

Jesse Ball's Notes on my Dunce Cap was published by Pioneer Works: https://pioneerworks.org/store/notes-on-my-dunce-cap. 

Lorena's Class Proposals, which you wlll find below, are heavily influenced by Jenny Tunedal, who teaches at the Valand Academy in Sweden. She herself was influenced by by an art project called Radikal Pedagogik by Lisa Nyberg and Johanna Gustafsson. Lorena learned about the proposals through this session at the EACWP: https://eacwp.org/activities/course-belgium-2019/. 

Lorena teaches (and herself studied) at Escuela de Escritores: https://escueladeescritores.com/

Here are her class proposals: 

• We are here because we want to write.

• We are here to play, to experiment, to rave, to wish for the impossible.

• We are also here to learn to read (us) in a critical way. We write as we read.

• We have set aside this time, each week, for our writing and for sharing our writing with each other.

• We are here because we have committed ourselves to be here.

• We are here to be the best writer each of us can be.

• We do not compete or compare ourselves with others.

• We recognize that writing is a craft that requires time and dedication, and we are willing to make our best.

• Writing every week and commenting on our classmates' texts is our way of giving.

• Listening to our classmates with attention and gratitude is our way of receiving.

• Giving and receiving require the same degree of courage, commitment and generosity.

• We take this space seriously and we take each other seriously, but we also know how to laugh, joke, play, have fun: how to enjoy.

• We are partners in the Dionysian faith.

• We interpret what the other tells us with benevolence.

• We are receptive and listen attentively.

• We recognize that this workshop is a dialogue with the present (our own texts and our circumstances) and with eternity (the literary tradition).

• We are personal and private when we need to be.

• We are strong and vulnerable at the same time.

• Everything that we share here and entrust to each other has a mystical character (ie, secret).

• We all contribute to creating a space of mutual trust and solidarity.

• We all have experiences that together we can transform into knowledge in the classroom.

• There are no better or worse texts: there are texts more or less crafted.

• The texts we write, every week, are not finished pieces. They are sketches, experiments, drafts: work in progress.

• We are generous with each other.

• We read in favor of our texts and not against them.

• We write and read like miners, that is, in the direction of gold, of poetry: that is, in the direction of the sacred that is in the wound of each text.

• In the texts we do not seek justice (we do not judge), we seek poetry (the infinite understanding).

• We are free to write what we want to write and to be whoever we want to be (we do not mistake the author with the narrator). We are interested in everything that concerns the human condition without exception.

• We dare to fail.

• We dare to take position and we also dare to change our position.

• We are not afraid to say what we think, but we say it with respect and with judgment.

• We let conflicts have their space (we don't fear them), but we don't make them either bigger nor smaller.

• We take responsibility for the power we have and help others to make visible their own power.

• We encourage each other to think critically and reflect on our work and the work of others.

• We recognize that being here is a privilege.

• We are companions, we stand by each other and support each other.

• We share together the bread (the sacrifice, the effort) and the wine (the joy) of each text. The workshop is our feast.

• We trust processes, more than results.

• We imitate and steal in order to learn.

• We rehearse, we practice, we succeed, we fail, but we never stop trying again.

• We rest when we need it.

• We are here, present and ready.

• We recognize that the ultimate sense of this space is our love for writing, for literature, for the artistic expression.

• We know that the path of writing is long and deep, and we are happy for that.

• We know that this journey can only be undertaken with patience, perseverance, with faith and with love.

• We tell each other: "Take your time. Enjoy. We have a course ahead. We're on our way."

In the three-part podcast series Listening to the In-Between we will put the rich practice of Deep Listening® into a broader context. In our second episode, Deep Listener Sharon Stewart invites us to participate in embodied rituals of attention, a practice of listening to or sensing aspects of power and powerlessness in the world that surrounds us. This reconnected her to the ground-breaking work of Audre Lorde, "Uses of the Erotic: The Erotic as Power".

In 2021 we made the podcast-series Sounding Places / Listening Places, which is still available at Radio ArtEZ. In it we explored how sound and listening can contribute to realizing more sustainable and reciprocal relations with the earth. Back then, we already dipped our toes in the world of Deep Listening®. In the three-part podcast series Listening to the In-Between we will put this rich practice into a broader context.

In Part I, researcher and music journalist Joep Christenhusz explores Deep Listening, its connection to space and time, and the interrelations between the outer and the inner world the practice reveals through sonic awareness.

In this second episode, Deep Listener Sharon Stewart further connects the idea of an embodied practice with the theme of power and powerlessness by working with others through the creation of text scores, also conceptualized as rituals of attention, that offer a way of listening to or sensing aspects of power and powerlessness in an embodied way. After an open call, Laurens Krüger (student DBKV ArtEZ Zwolle) and Martine van Lubeek (graduate of BEAR ArtEZ Arnhem) participated in this process. Laurens presents her "Triangle Dance with force fields" and Martine her "Score for Thinking-Feeling with the Earth", a score to bring us into relation with the more-than-human elements all around us.

In the final third of the podcast (from 32min on), Sharon Stewart talks about how Audre Lorde's work inspired her in creating a text score from the perspective of our theme: the Body and Power(lessness) and presents the score "Listening through connection and difference".

In the third and last part of our podcast series we will dive deeper into theoretical concepts related to Deep Listening.

In the podcast you hear the following audio fragments:

• Pauline Oliveros, Stuart Dempster, Panaiotis, Album Deep Listening, track 1, 'Lear', reproduced by permission of PoP and MoM Publications. (Pauline Oliveros Publications & Ministry of Maåt). All Rights Reserved. Members ASCAP
• Fragments from: Audre Lorde reads Uses of the Erotic: The Erotic As Power (FULL Updated) This chapter was originally a paper presented at the Fourth Berkshire Conference on the History of Women, Mount Holyoke College, August 25, 1978, and was later published as a chapter in Sister Outsider. Copyright ©1984 Audre Lorde and The Crossing Press, a division of Ten Speed Press, Berkeley, CA. Also available in a Penguin edition, 2019.

From Martine: 

• Kimmerer, R., Returning the Gift, 2021, from the website Humans and Nature. This essay originally appeared in Minding Nature, Vol. 7, No. 2(Spring 2014).
• On the more-than-human:
  • Pathways to Planetary Health Forum: David Abram on the More-than-Human World, Garrison Institute, 15 June 2021.
  • "The eco-phenomenologist Abram (1996) was responsible for popularizing the concept of a more-than-human world and expressing everything that encompasses terrestrial "nature" in its broadest interpretations. According to the author (ABRAM, 1996), the expression refers to a world that includes and exceeds human societies, thereby associating them with the complex webs of interdependencies between the countless beings that share the terrestrial dwelling. This approach aims to overcome the prevalent modern dichotomy between nature and culture." Carlos Roberto Bernardes de Souza Júnior in More-than-human cultural geographies towards co-dwelling on earth. Mercator - Revista de Geografia da UFC, vol. 20, no. 1, 2021. Universidade Federal do Ceará, Brasil. (Accessed 25 Nov. 22)
• Kimmerer, R., YES! Magazine. (n.d.). "Nature Needs a New Pronoun: To Stop the Age of Extinction, Let's Start by Ditching 'It'."
• Escobar, A. (2016). Thinking-feeling with the Earth: Territorial Struggles and the Ontological Dimension of the Epistemologies of the South. AIBR, Revista de Antropología Iberoamericana, 11(1), pp.11–32. doi: 10.11156/aibr.110102e. 

From Laurens:

• The article by Michel Foucault that helped me to crystallize some thoughts that fuelled me in my motion was: "The Subject and Power" in: Brian Wallis (ed), Art After Modernism: Rethinking Representation (New York, 1984) p. 417–432. Originally published under the title "Why Study Power? The Question of the Subject."
• During the creation process of the score, the melody and movements of the "Ave Maria" by Schubert played an important role for me, as sung by Renée Fleming, for instance.

From Sharon:

• 5 Oct. 2022, ArtEZ Zwolle, Sophiagebouw and Conservatory: Extreme Slow Walk – Listening to the In-Between.
• Ed McKeon,"Moving Through Time," published on APRIA in September.
• Anthology of Text Scores by Pauline Oliveros, 2013, Pauline Oliveros, Kingston, NY: Deep Listening Publications.
• The Center for Deep Listening at Rensselaer
• Essays and talks by Audre Lorde, from the compilation The Master's Tools Will Never Dismantle the Master's House, Penguin Books. Copyright © Estate of Audre Lorde, 2017:
• "Poetry is Not a Luxury"
• "Uses of the Erotic: The Erotic as Power"
• "Uses of Anger: Women Responding to Racism"
• "Learning from the 1960s"

Most of these essays were first given as papers at conferences across the US between 1978 and 1982

• Audre Lorde - To be young, lesbian and Black in the '50s. Audre Lorde describes her experiences growing up as a Black lesbian in New York City in the 1950s, touching on subjects such as frequenting gay and lesbian bars in the Greenwich Village and communal-style living experiments. She reads excerpts from her book, Zami: A new spelling of my name. Recorded at Hunter College in New York. Produced by Helene Rosenbluth. Credit To : Pacifica Radio Archives

Date Recorded: at Hunter College in New York, 1982.

Date Broadcast: KPFK, 28 Nov. 1982.

• "Audre Lorde's 87th birthday," 18 February 2021, Google Doodles Archive. The quote mentioned as answer to the question: "Why do you write poetry? …" starts at 1m06s in the video Behind the Doodle: Audre Lorde's 87th Birthday
• Audre Lorde – Poetry Foundation (1934–1992)

Audre Lorde, "Power" from The Collected Poems of Audre Lorde. Copyright © 1978 by Audre Lorde.  Source: The Collected Poems of Audre Lorde (W. W. Norton and Company Inc., 1997)

• Susan Howe's WBAI radio program "Poetry", undated (Tape 1), "Power" read by Audre Lorde at 7m45s-11m18s
• "What Poetry Can Teach Us About Power: Political Poems Use Language in a Way Distinct from Rhetoric" By Matthew Zapruder, 16 August 2017.