Kamila & Jasmina Metwaly
Unsilencing Practices of Vocal Modulations (working title)
Théatron – a place of viewing
Colligō – (“I collect”), from com- (“together”) + legō (“I gather”).
This research is a dialogue which employs components of “theatron” as a “place of viewing” voice, interwoven with “colligō” as a “place of listening” to voice. Through means of coming together, we inquire what is the sound of the theatrical and scripted voice as perceived from the position of the spectator/onlooker, versus the position of a lived and embodied emitter of its sound being viewed (alone and in an ensemble). We hope to create a vocabulary that breaks down situations of exchange, questioning how our voices are used in the everyday, but also how our voices change in the contexts of their theatricality and their institutionalization. We will look for stories that explore the idea of the theatricality and performativity of voice between the public (the legal) and private (the social) domains, questioning how „art“ has also contributed to another paradigm of institutionalization of a „voice„, both physically and socio-politically, and how voicing is an act of vulnerability and precariousness. Body comes before voice. Voice comes before speech. Sound before performance. And the inbetween is an accident while becoming.
Born to a Polish mother and an Egyptian father, Jasmina Metwaly is a Cairo- and Berlin-based artist and filmmaker, and member of the Mosireen collective and the 858.ma media archive. She works in video and film, and has recently taken up drawing again. She likes to work with people and their histories, using different materials including texts and archival material such as: scripts, drawings, lectures, manuals and images. Rooted in film and performance, her works focus on process-based practices that have a social effect through which she generates tension between participants and audiences. Taking the position of an onlooker/storyteller, she investigates the ways in which images transgress, how the role of the person behind the camera changes with stories, and how these impact collective memory. Her work is a process-based scrutinizing of the methodology of the making itself, how images are collected and archived, and how they can take on new meanings when de-constructed from their primal intention. She is interested in how stories create stories, blurring the preconceived boundaries between documentation and fiction.
Kamila Metwaly, born 1984 in Warsaw, is a music journalist, electronic musician and curator based between Berlin and Cairo. Metwaly founded an independent art and culture publication in Egypt, which specialized in music, arts and cultural writings from 2004 to 2009. Later, she worked in radio and the independent film scene, maintaining a strong presence in Cairo’s cultural and activist scenes for many years. Since 2014, Metwaly has specialized in music journalism writing for various independent Egyptian and Arab publications. In 2017, she joined SAVVY Contemporary where she is curating an ongoing sound project titled “Untraining the Ear Listening Sessions”. She has been involved with various sound-based exhibition projects in the space (including “What Has All This Got To Do With Coconuts And Rice: A Listening Exhibition on José Maceda” and “We Have Delivered Ourselves from the Tonal– Of, with, towards, on Julius Eastman”) and has co-curated “The Dog Done Gone Deaf: Exploring The Sonic Cosmologies of Halim El-Dabh” with Bonaventure Ndikung, a retrospective exhibition shown at the Dak’Art Biennale in Senegal in 2018. Recently, she was appointed guest research curator for the 2021 edition of Donaueschinger Musiktage.