16 December Friday 6:30-8pm [UPDATED from 9 December]
£5 | 12 places only | Please email email@example.com for tickets
10 December Saturday 2-4pm PART ONE
17 December Saturday 2-4pm PART TWO
£12 each part or £20 for attending both parts | 6 places only | Please email firstname.lastname@example.org for ticketing information
Note : Participants are recommended to attend both parts as PART TWO will be building on the materials delivered in PART ONE. BYO instruments.
Two workshops and a lecture by Caroline Kraabel
Exploring her own practice, along with a wider view of improvisation and identity: even the world of freely improvised music can be experienced as an enclave that excludes, despite the perceived association of improvisation with limitlessness and freedom.
How do people who improvise feel and think DIFFERENTLY from each other on the subject? How do we avoid or alter any dominance of particular groups over the theory or practice of improvisation? Does the experimental nature of improvisation make it easier for members of élites to shine in the field, because they have more pre-existing socio-cultural capital? Or, does improvisation come more easily for outsiders who are already primed to find alternative paths? How are improvisers affected by their musical and cultural histories? How does a group, maybe a large group, of improvisers negotiate space and time, noise and silence in a musical and just way?
For improvisers who have experienced forms of oppression in music making and/or life, is the aim when making music merely to recapitulate existing power structures, but try to place themselves at the top? Or to create new and fairer structures?
References: Gittin’ To Know Y’all: Improvised Music, Interculturalism, and the Racial Imagination, by George E. Lewis, Columbia University
Naked Intimacy: Eroticism, Improvisation, and Gender, by Ellen Waterman, University of Guelph