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Posts Tagged ‘Tell Me What I Can Do’

Tell Me What I Can Do

Posted September 12th, 2018
DescriptionAbout the Artist

“Horror and confusion on a mass scale are heartbreaking, then numbing; it is easier to understand sociopolitical upheaval when you are connected, heart-to-heart, to another story.” Monica Uszerowicz, BOMB

Tania El Khoury’s Gardens Speak asks audience members to share experiences of the piece. Twenty-eight showings of Gardens Speak across five continents produced a large number of audience letters. These handwritten messages, artifacts of each performance, provide insight into the varied audience experiences of Gardens Speak, including their reflections on politics, empathy, loss, and death.

The letters were first conceptualized as a message of solidarity that would be written by audiences around the world and sent back to the families and friends of the deceased whose stories they shared. As the pile of letters kept growing, El Khoury realized that the contents of letters were overwhelmingly complex, messy, and intimate. They could not be reduced to a simple message of solidarity.

“Tell me what I can do” is a sentence written in a number of letters in which audience members seek advice after hearing the martyrs’ stories. In this newly commissioned work for ear-whispered: works by Tania El Khoury, the artist asks the audience for guidance on what to do with accumulated material that we regard as evidence of our encounter and our shared responsibility. In addition to the letters, the installation features responses to the letters from some of the early collaborators in the making of Gardens Speak. However, not all audience letters made it into this installation. Some were lost along the way, confiscated by police. Others will be buried in the ground, never to be read.

Presented in partnership with Bryn Mawr College as part of ear-whispered: works by Tania El Khoury.

FREE

Click here for a map to help you navigate the works on Bryn Mawr’s campus.

Created by Tania El Khoury Space Design Abir Saksouk Sound Pieces Kinana Issa, Mohamed Nour “Abo Gabi” Ahmed, Mohamed Ali “Dali” Agrebi. Translation Ziad Abu-Rish Installation Coordinator Jon Weary

Photos Tania El Khoury

Tell Me What I Can Do is part of ear-whispered: works by Tania El Khoury. Major support for ear-whispered: works by Tania El Khoury has been provided to Bryn Mawr College by The Pew Center for Arts & Heritage.

 

 


About Tania El Khoury

Tania El Khoury is a live artist whose work focuses on audience interactivity and is concerned with the ethical and political potential of such encounters. She creates installations and performances in which the audience is an active collaborator. Her solo work has toured internationally and has been recognized with Anti Festival’s International Prize for Live Art, the Total Theatre Innovation Award, and the Arches Brick Award.

Tania holds a PhD from Royal Holloway, University of London. Her research and publications focus on the political dimension of interactive live art in the wake of the Arab uprisings.

Tania is associated with Forest Fringe collective of artists in the UK and is a co-founder of Dictaphone Group in Lebanon, a research and performance collective aiming at questioning our relationship to the city, and redefining its public space.

Learn more about the artist at taniaelkhoury.com.

 

International Fringe 2018: A Welcome to Artists from Around the World

Posted September 2nd, 2018

The United States government may be pursuing an isolationist policy but the Philadelphia Fringe is doing the opposite: opening its doors not only to the most creative American performers and performances but also to the best and most creative theater artists and their productions from around the world—overcoming the ancient fear of the symbolic Tower of Babel with people not understanding each other.

To show the worldwide scope of the 22nd Philadelphia Fringe Festival, we offer this spotlight on performers from abroad and productions by American artists that present a global perspective.

Theater writer Henrik Eger, editor of Drama Around the Globe and contributor to Phindie and Broad Street Review, among other publications, has lived in six countries on three continents and has visited Africa and Australia as well. He bids everyone a hearty WELCOME to the City of Brotherly Love—this year in 18 different languages: Arabic, Celtic, Chinese, English, Esperanto, Estonian, Farsi, French, German, Greek, Hebrew, Hindi, Irish, Italian, Latin, Polish, Romanian, and Spanish.

We start this year’s overview with a special welcome to two programs featuring a wide range of global creators:

INTERNATIONAL CREATIVES

  1. le super grandBienvenue & welcome to Montreal-based choreographer Sylvain Émard and Le Super Grand ContinentalLe Grand Continental wowed audiences during its run at the 2012 Fringe Festival and has garnered enthusiastic response across the world. Fully realizing a blissful marriage between the pure delight of line dancing and the fluidity and expressiveness of contemporary dance, the celebratory event enlists hundreds of local people to perform its synchronized choreography in large-scale public performances. The world’s most infectious performance event returns to the front steps of the Philadelphia Museum of Art in an even larger spectacle of dance.

More info and tickets here

  1. Bonvenon, willkommen, bienvenido, witamy, bienvenue & welcome to Do You Want A Cookie? from The Bearded Ladies Cabaret—a world premiere with an international cast. Do You Want A Cookie? serves up a delicious romp through cabaret history, with an international cast of artists performing a live revue of cabaret from the Chat Noir to Weimar nightlife to 21st-century drag. The all-star cast comes draws from around the world, including Bridge Markland (Berlin), Malgorzata Kasprzycka (Paris/Warsaw), Dieter Rita Scholl (Berlin), and Tareke Ortiz (Mexico City).

More info and tickets here

REFUGEES and EXILES

  1. ear whispered

    As Far As My Fingertips Take Me. Photo by

    وسهلا اهلا (ahlaan wasahlan) & bienvenu. Welcome to Tania El Khoury who lives in Lebanon and the UK with her multifaceted program ear-whispered. Little is known about Palestinian refugee camps and their communities. El Khoury presents her Fringe work in five parts through interactive performances and installations at Bryn Mawr College:

    1. Gardens Speak, an interactive sound installation containing the oral histories of ten ordinary people who were buried in Syrian gardens. (Bryn Mawr College.) Read more.
    2. Camp Pause, a video installation that tells the stories of four residents of the Rashidieh Refugee Camp on the coast of Lebanon. (Bryn Mawr College.) Read more.
    3. As Far As My Fingertips Take Me, an encounter through a gallery wall between a single audience member and a refugee. (Old City & Bryn Mawr College.) Read more.  
    4. Stories of Refuge, an immersive video installation that invites audiences to lay down on metal bunk beds and watch videos shot by Syrian asylum seekers in Munich, Germany. (Old City.) Read more.
    5. Tell Me What I Can Do, a newly commissioned work featuring letters that audiences have written in response to Gardens Speak. (Bryn Mawr College.) Read more.

More info and tickets here

  1. Bienvenido & welcome to the bilingual (Spanish & English) cast of La Fábrica performing Gustave Ott’s Passport. Lost in a foreign country, Eugenia is detained and thrown into a vicious maelstrom of miscommunication. This poetic and immersive Kafkaesque thriller delves into the question of immigration—exposing the mechanics of language and power. Some performances will be presented in English, some in Spanish, and some will be decided at the toss of a coin.

More info and tickets here

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Challenge and Care: An Interview with Tania El Khoury by Monica Uszerowicz

Posted July 24th, 2018

In Tania El Khoury’s immersive installation and theater piece Gardens Speak, 2014, audience members put on raincoats and enter a cemetery where they are given a card written with an Arabic name. Matching it to a tombstone, they lie in soft graves of dirt, ear to the ground, and listen to a story whispered from beneath the soil, told by the dead themselves. If they wish, they can leave a note in response, folded and buried.

These narratives are reconstructed from the families and friends of the deceased, all of whom were dissidents of President Assad who were killed during the uprising in Syria and buried in home or community gardens. Syrian cemeteries are often too full, and large funerals became potential regime targets, putting grieving families at risk. Gardens Speak was developed in 2014, a response to the struggle against Assad’s dictatorship and the collaborative, protective relationship between the living and the dead. Piecing these histories together, El Khoury renders physical the idea that the ground beneath our feet contains multitudinous, literal lives.

Born in Lebanon, El Khoury is based between London and Beirut, where she cofounded the performance collaborative Dictaphone Group. During this year’s Miami Art Week at the Fillmore Miami Beach, and as presented by MDC Live Arts, she will share Gardens Speak and As Far As My Fingertips Take Me, 2017, another participatory project. [These works are presented in the series ear-whispered: works by Tania El Khoury as part of the 2018 Fringe Festival.] Here, audience members allow their arms to be drawn upon by El Khoury’s collaborator, Basel Zaraa, who remains unseen behind a wall. I understand listening and touching as their own kind of dissidence, as both art form and intentional practice. Horror and confusion on a mass scale are heartbreaking, then numbing; it is easier to understand sociopolitical upheaval when you are connected, heart-to-heart, to another story.

— Monica Uszerowicz

Monica Uszerowicz: You developed Gardens Speak in 2014. Americans have the forced context of both Trump and new refugee crises through which to view seemingly everything. How has the project’s meaning grown for you since its original impetus, if at all?

Tania El Khoury: I see Gardens Speak in the political context of Syria rather than the American context. What the piece does now, almost four years later, is remind us that what we perceive as a “war” in Syria started as a legitimate and popular uprising against a four-decade-long dictatorship. It also reminds us of the root of the displacement of Syrians, which we’ve been witnessing in the form of large numbers of refugees. The stories in Gardens Speak speak volumes about the responsibility of the Syrian regime in turning a peaceful uprising into a violent war, and in displacing people locally and internationally.

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