Boomkat Product Review:
Avant garde sound poet AGF works with eleven Greek residents to investigate “women’s struggle for language” in the context of Greek myth and “patriarchal social relations” with remarkably complex and thought provoking results - we're still gettin our heads round it.
“In her famous quote from Three Guineas (1938), ‘As a woman I have no country. As a woman I want no country. As a woman, my country is the whole world’, Virginia Woolf captured the spirit of alienation that women have felt, or indeed should feel, vis-à-vis the request of belonging. Such alienation could morph into refusal, but this, as feminist historians of culture know, has happened in very few cases. For the most part, women have buried their alienation, forced by multiple mechanisms of persuasion and induced consent, to succumb to belonging. But is this the whole story? Or has the territory of language been a central battleground for women? And how is a contemporary female musician and sound artist invested in feminist politics to approach this unstable condition of the gendered experience of language? This is the case of AGF, or Antye Greie, whose creative endeavour is overall an audacious synthesis of electronic compositions, voice, field recordings, as well as of political explorations and re-enunciations of women-centred aurality.
In this new work, Arachnesound, AGF, together with her collaborators (composers, singers, poets), sought to work with an enduring language, Greek, and treat it as a tentative record of women’s speech but also silence. Effectively, AGF relied on the ambiguity of non-belonging to stitch together a counter-archive of words written, spoken, or - when she herself makes them up - associated with women’s struggle for language. Greek has been a language steeped in patriarchal social relations, nation-building, and wildly generalised, civilisational ‘origins’. The task that AGF set for herself was to compose a music narrative that takes women’s efforts to speak beyond the canonical myths surrounding Greek language as a record. It was a difficult task, requiring much research, much listening, much translation, much acoustic imagining. The outcome, however, is movingly rewarding - and it is so as an encounter of myth and history with the contemporary feminist avant-garde in electronic-music experimentation.”