Thursday 15th August 2019, Warden Point Sound Mirror, 1:45pm – 20:08 pm (meet at the Rose and Crown Pub @ Leysdown-on-sea:
** Schedule for the day**
13:45 Free sound workshop exploring double sided contact microphones to think about how touch can be listening. This will take place at the Rose & Crown pub.
14:45 – 15:45 Listening walk from Rose & Crown to Warden Point
15:45 – 20:08 Performance at Warden Point (please bring some snacks, water & sunscreen).
20:08 – Post-performance communal BBQ
Please send an e-mail to email@example.com to discuss any access needs.
Please get in contact for further location details or to arrange travel from Folkestone: firstname.lastname@example.org
As always, audiences are invited to come & spend as much time with the work as they like.
Previous: Sunday 15th July 2019, Hythe Sound Mirror, 12pm- 5:10pm (meet at Peregrine Close, Hythe at 12pm)
Join us for the second edition of (re)collecting (f)ears.
This time a work will be taking place at Hythe Sound mirror. The meeting point is the entrance to the military canal/ nature reserve opposite ‘Peregrine Close’:
Audiences are invited to participate in a ‘listening walk’, followed by a collective gathering, cooking & eating of nettle soup. The piece will continue with a durational, sonic performance…
Previous: Sunday 16th June 2019, Abbot’s Cliff, 11:08am – 6:34pm
The first in a series of site-specific performances at fallen sound mirrors across the Kent coast.
Audiences are invited to meet at ]performance s p a c e [ at 11am to participate in a listening walk to begin the performance. The walk is expected to take 2 – 3 hours and will include some difficult terrain on the journey to Abbots Cliff.
Audiences who wish to experience the work without the walk can join us at Abbots Cliff sound mirror anytime between 14:00 – 18:34. https://www.google.com/maps/place/Abbot%E2%80%99s+Cliffemail@example.com,1.2436183,15z/data=!4m5!3m4!1s0x0:0x7ffccab1d4be1b3c!8m2!3d51.1017105!4d1.2436183 From the Folkestone road with the Royal Oak Pub on your left , walk a few meters (towards Dover) and take the first road on your right. Follow this up until veering to the left until you reach the sound mirror. https://goo.gl/maps/EJHUbZff75rn1oKR8
About the listening walk:
Sound mirrors were created between WW1 and WW2, during a time of rising nationalism, in order to amplify and detect the sound of low flying aircraft as an early warning system for oncoming attacks. They act as points of concentration for the listening, receiving of ‘echoes from the sky’ and have been referred to as ‘concrete ears’. Currently they sit as seemingly inert, abandoned concrete dishes gazing out into the sea, but they could also be seen to represent a summed concretion of historic and present fears.
Embodied sound references our ability to listen unconsciously through the various faculties in, and of, our bodies, beyond direct aural communication to try and access our personal and collective auditory memories.
This walk hopes to explore different types of empathetic and resonant forms of listening to both present and past fears and to try and communicate through our senses. Together we hope to form parts of a collective sound mirror, to amplify touch, to reach for resonances that appear beyond the accessible or seemingly tangible, to find new ways of listening and being that are built on difference, diversity and interconnectedness.
About the project:
(re)collecting (f)ears is a series of site-specific performances at fallen sound mirrors across the Kent coast. The project will culminate with a publication produced by Well Street Projects and an exhibition of photographic & film documentation, exhibited at ]performance s p a c e [ (Folkestone) and Well Street Projects (Margate).
These sonic remains are physical manifestations of pre-war tensions and fears – initially built to provide defence, they are now succumbing to elemental erosive forces along the coasts of England. As relics of an early warning system that never came to fruition, their failure to serve their intended function could be seen to occupy the space of a fossilised mourning for a future that never came.
This was also the time where we saw the rise of Fascism and far right ideologies that eventually became the dominant voice in Europe; a time not dissimilar to the one we are facing now.
What would it look like to be accountable for our failures and carry them into the present, to discuss the eroded memories and fears that are scattered, forgotten and fallen across the south and north-eastern landscape of the UK?
Could these visible fallen silenced concretions of fears and longing (for protection) help us open up the conversations around the cyclical and tidal nature of our histories and help us think about new ways of being and belonging that are built on difference and diversity?
In her work Selina uses artefacts, unwanted hand me downs, worthless heirlooms that carry value through meaning, action and ‘rememberings’ (offered memories) and the language of performance to interrogate meaning, power and our collective social realities.
Produced in partnership with ]performance s p a c e [, Whitstable Biennale and Well Street Projects, with support from Arts Council England National Lottery Project Grants.