Mittwoch, 7. März 2012


Die sessions im November 2011 stehen unter dem Titel THE PARADOX OF FEMINISM. school versucht damit eine eigene Variante eines aktuellen feministischen Begriffs zu entwerfen: der möglicherweise nicht mehr benannt werden muss, aber weiter existiert so lange bis alles gut ist. Frauen und Männer sind willkommen. Beim Lernen und Lehren gibt es möglichst wenig Hierarchien. Und der Begriff verändert sich im Tun.

The first edition of sessions are taking place november 2011 with a focus on THE PARADOX OF FEMINISM. Doing this, school tries to create its very own version of a contemporary feminist definition: a term that maybe will have no need to be pointed at, but will live on until everything’s fine. Of course, women and men are welcome. Learning and teaching, we try to be as non-hierachical as possible. And the term will change while we work.

Mittwoch, 9. November 2011

Recap: One Band Stand Workshop & Performance


One Band Stand: "The Paradox of Feminism"
Saturday November 5th, 2011
Concept/Creative Director/Instructor: Ihu Anyanwu (
Participants: Sylvie Weber | Karolina Jawad | Eva Derschmidt
Performance Concept/Artistic Direction: Wally Salner (fabrics interseason)
Sound Engineer: Jakub Velikovsky
Photos Credits: Andrea Lumplecker
Presented by Sessions On/ SCHOOL (

My main concept for One Band Stand is to train novices in electronic music production during a bootcamp style workshop (occurring several straight days of training), leading up to a "band" performance for "one night only."

Within the context of SCHOOL and the workshop series "Sessions On," One Band Stand was asked to expand its concept to include a localized theme - "The Paradox of Feminism." In addition, I invited a guest lecturer - Wally Salner, to elaborate on the "Paradox..." theme based on her extensive knowledge of feminist theory.

This conceptual expansion, which was organized spontaneously and ad hoc, led to the surprising result that this particular episode of One Band Stand evolved into a live "conceptual" performance. By that I mean it was not just a musical event, due to the theme, we developed a creative approach to presenting the songs, which included "performative action," visual coding (projected text, styling consideration), and feminist references.

This all came about via a process of active methodology (discussions about the theme, blogging, Wally's intervention, production training), which allowed musical and creative strategies to form in a cool way. For 5 straight days the workshop participants completely committed themselves to hard nosed study, and were open, for the most part, to the prescribed non-musical aspects of participation.

As evidenced by the songs that the participants made - music production-wise - the workshop was a success because, as one can hear, there is nice musicality, expression and style in the final compositions. Also as mentioned before, by incorporating a "theme" and bringing in an expert guest from a different discipline, the project was able to expand beyond the dimension of musical performance, and because of this, the performance event was also a conceptual success. As a result, I am excited to see the ways in which One Band Stand will continue to expand beyond music and experiment/explore its parameters of presentation in the future.

In the end, the band did not perform together musically. I under estimated the time required to fulfill the training part of the project. I now know that we would have needed at least another few days (in addition to the 5 days mentioned) to jam and rehearse together, in order to establish a decent collaborative set. For the future I will have to adjust the time outline of the workshop.

Thanks and gratitude to SCHOOL/Sessions On, Andrea Lumplecker, Wally Salner, Sylvie Weber, Karolina Jawad, Eva Derschmidt, Jakub Velikovsky & Dominik Traun.

- Ihu Anyanwu

For the presentation of the performance One Band Stand: The Paradox of Feminism, the performative setting showed the „Making of“ a feminist workshop in music production - where the students introduce their final work to the audience.
Therefore we showed the original environment of SCHOOL – as a classroom setting with its formal "arrangements" e.g. frontdesk, powerpoint projections, instructor, feminist students in school uniform (hairdo suffragette), laptops, head-set etc. - leaving the contextual and formal remnants on the stage.
- Wally Salner


Freitag, 4. November 2011

ONE BAND STAND: Recap Day 3, 4 & 5

Well its Friday night, and we have just rounded out our last and final session before the performance tomorrow, and it was an exhilarating day! These ladies stepped up to the plate and came with their "A-game" of dedication and concentration, putting in the time necessary to reach our deadline. Not only did we focus many hours on the technical stuff, but we also were graced with the fine presence of fashion designer and artist Wally Salner, of Fabrics Interseason.

Ms. Salner is well versed in Feminist theory and practices, and has explored these issues in the context of fashion and art. We spent time together in discussion about a number of subjects including: the paradox of feminism, feminist visual codes in music and performance, the various waves of the feminist movement, as well as, together coming up with a plan for presenting the One Band Stand performance. These discussions were really enriching I think for all of us.

Lectures Days 3, 4 & 5
Wednesday: Rhythm Theory, Warping, Basic Drum Kit
Thursday: Reference Song, Develop Instrumental Parts, Sequencing
Friday: Sequencing, Section Arrangement, Guest Lecture by Wally Salner, Planning Performance

Donnerstag, 3. November 2011

PLAYING/LOBBYING session2 with Chilo Eribenne

"Image is part of the package as well as making a statement about my culture." (Chilo Eribenne)

Mittwoch, 2. November 2011

One Band Karolina

Q: What do you do? If student, what do you study, and where? If working, in what field?

A: I'm actually from Berlin and came to Vienna to study theater-film and media science and philosophy at the main university.

Q: What is your interest in electronic music? What kind of music do you listen to? what genres, name some artists you like.

A: I want to understand how this music functions, mainly I want to get a technical access to it. Actually I'm bad at names, so DJ-ing is not on the top of things I want to do, rather to learn the basics, the technical know how of the Ableton-software in order to produce stuff on my own.

At the moment I'm tending more to listen to more playful electronic music with vocals like Hype Williams! The flow and lightness of their sound is special! Disco, Chicago house are really danceable to me like Mr. Fingers- Tevo Howards, is someone who I admire on that field. Minimal techno, Detroit deep house, Dubstep either - I like Omar S, Magda, Instramental also Rodhead, Phono. And of course the releases/ artists by Ostgut Ton. I like a lot of different stuff actually.

Q: What is your opinion about the "Paradox of Feminism" as a theme for our workshop series?

A: To your blog entry: Why are independent, creative women "ashamed" to call themselves feminists - I noticed that too. For example, a lot of my friends, which I would also describe with those attributes, being feminist means to them fighting besides frustrated unhappy women: "So you are making music with those women?" WTF.

Their impressions about feminists work are really a pity, even though they themselves are women and academics. I think this workshop is a possibility to show what "cool feminists" are doing and to perceive it in another context. Like in other political sections, there isn't just one way to get attention about things that are going wrong.

They also said feminist ambitions means reproducing more cliches and stereotypes than to change or delete them. Well, I guess that is where we are now, and its a long way but I'm sure things will change by time the more people recognize the possibilities.

And yeah, maybe it is really because of the heavy vinyl-bags as the Guardian article said.

One Band Eva

Q: What do you do? If student, what do you study, and where? If working, in what field?

A: I finished my studies of music 10 years ago - it was for teaching music in gymnasium, with also piano first instrument and cello second. I have been teaching in schools for 3 years and 3 months and gave it up because it took all my energy. I did some other studies and worked as an immobile-seller last year, then gave that up also because of the same reason.

Now I am living from giving private lessons in piano and cello and right now - because I haven't enough students, from the government - although will change soon i hope.

Q: What is your interest in electronic music? What kind of music do you listen to? what genres, name some artists you like.

A: I have been into electronic music in listening and dancing for a long time and have created a lot, and my latest song made it to the radio - because i really worked hard on it.

I see myself living from my music but the challenge for me is to become faster in producing and bring things to an end. I want to perform live with also my voice - practicing a lot with the voice. So, I need to really handle Ableton - know the sounds I like and the best effects for the sounds and my voice.

I love a good, round - special techno-sound - sunny but not superficial, not dominating but inspiring, more minimal, less is more. I want to do techno with love. The songs I finished are a bit slower than I planned them - so: chillout, downtempo....Breakbeat, Dubstep - however, I don't know many names of artists (like Peter Kruder, Scheibosan, Tina 303, Rob?,....) but I am listening a lot to different electronic sounds on the internet and go to Pratersauna, Fluc, Ostclub…..I love also Balkan, electronic-swing, Hiphop…The last really amazing party was in the Pratersauna with Stadtpark-label !!!

Q: What are you hoping to gain from this workshop? Are you interested in music production or dj-ing? How do you see yourself growing with this information?

I need to learn to do both producing and DJ-ing. But for now: more DJ-ing because I want to perform live - also creating live with voice and piano, cello. Anyway I have to produce some sounds before I do it live. So again: getting competent and fast in improvising with Ableton i want to.

One Band Sylvie

Q: What do you do? If student, what do you study, and where? If working, in what field?

A: Studying Theater Film and Media at University of Vienna, currently working in curating video art.

Q: What is your interest in electronic music? What kind of music do you listen to? what genres, name some artists you like.

A: I'm interested in the techniques of producing electronic musik or producing music in general. Just out of curiosity. Music I like: Pop, Folk: Beach House, Fink, Bon Iver, Bibio, Other Lives, Scott Matthews, Twin Shadow, Fleet Foxes, Jazzanova Electronic/ Experimental: STBRKT, Little Dragon, Flying Lotus, Mount Kimbie, M83, Shigeto, Balam Acab, Paris Suit Yourself ,Thrupence, James Blake, Lukid, Stimming, Brand Brauer Frick, etc. Hip Hop: Classic old 80's Hip Hop.

Q: What are you hoping to gain from this workshop? Are you interested in music production or dj-ing? How do you see yourself growing with
this information?

A: I'm interested in the production process, hoping to get a little insight into producing music maybe for further projects in the future.

Q: What is your opinion about the "Paradox of Feminism" as a theme for our workshop series?

A: It's quite important, particularly as a women, to deal with topics like the still under-represented female working on production side of the electronic music industry. A workshop series like this one should happen more often and not only through just talking about those topics, but also through a practical creative approach/ intercourse.

Dienstag, 1. November 2011

One Band Recap: Day 1 & Day 2

So on Monday night, we started the "One Band Stand" project at Sessions On. The idea for this project is to create a band which performs for one night only, with a series of music production workshops leading up to the performance. The participants are supposed to have very little technical knowledge of Ableton software and music production so that we can start from scratch. Also for an extra challenge, for this particular session of One Band Stand, I would like to incorporate aspects of the theme - "The Paradox of Feminism," (although I am not yet sure how specifically and will have to do some research to support this).

Of the 3 participants who I am training for this project, one of the ladies is actually a musician who has used the program before. She is a young, working mom, who plays cello and sings but she does not feel confident in Ableton. Meanwhile the other two, are theater arts students who have not use the software before, neither do they play any instrument proficiently.

Lectures so far have been:
Day 1 - Ableton interface tour, importing clips, creating audio tracks and scenes. Launching Scenes
Day 2 - Recording vocals, playing midi Instruments, Audio Effects, Sends and Returns

Montag, 31. Oktober 2011

The Guardian asks "Why are there no female DJs on DJ Mag's top 100 list?"

Well that is a hot button question to ask while heading into this first date of One Band Stand, given that our current theme at Sessions On is "The Paradox of Feminism," which in short points to a current wave of uneasiness that a sizable number of independent creative women have affiliating themselves with the term "Feminism."

I think that we chose this as a subject because we wanted to acknowledge this unease that we feel as a real and big issue. There is definitely a fear in declaring ourselves feminist. And what are those reasons? I will speak for myself - I don't want to come off as being a victim of sexism. On one hand, I might be ashamed to acknowledge myself as a kind of victim of any kind, even if in some instances I might have been. So there is shame involved. The second point is that there have been pretty good times where I definitely benefited from being a woman working in a male dominated field (electronic music) as a novelty. I also do have so many cool and open minded male music friends and professional partners who are supportive.

So at this point in my growth, I would say that the positives out-weigh the negatives, of course otherwise I would quit. However, there should not be a conflict between being a "feminist" and having healthy, symbiotic professional/social relationships with males. "Feminist" should not be a dirty word that potentially alienates us from our male counterparts. It should in fact be an acknowledgement of the common experience us females have, good and bad, and suggestions of ways to progress forward as issues arise in regards to gender - whether that be in relationship to each other as females, as well as with males.

Unlike race, which is clearly visible to other people, is not a choice, and yet affects how one is treated publicly, being feminist needs to be declared in order to be visible to others, is socially polarizing and is therefore easy to be "in the closet" about it. So with the "The Paradox of Feminism," not only do I acknowledge myself as a feminist but also I acknowledge that 1.) the feminist closet is real, and there fester uneasy feelings/fear of self-declaring as a feminist 2.) I would like to explore feminist approaches/theories and re-frame my production workshop in these days to incorporate some of these (where applicable). And since "The Paradox of Feminism," as a subject is our work in progress, so is my approach and definition, which I will expand on and touch on throughout this week.

Now back to the Guardian article, well - geez, now this is the kind of question that incites frustration, passionate responses, and finger pointing!!! "Yeah-yeah see, we told you those guys are sooooo sexist!!" But you know what ladies and gents? I am the kind of lady who likes to create my own opportunities. And definitely, I believe that if I build it - someone will come for sure! So first of all, I do not, and neither do any awesome ladies need to be on this DJ Magazine list. Its always nice to be acknowledged, but that is not the main reason why I do what I do. So that is my first reaction. Then my second reaction is ok well who is on the list? From the top 20 I have not seen anyone who I particularly dig creatively, ok?

Thirdly, I think the most interesting thing about this article is the comments section where people are listing cool female djs and producers. Now this is interesting to see who people are naming: Magda, Dinky, Cassy, Maya Jane Coles, Anja Schneider and a few others. A few of them I have never heard of before but am interested in learning more about. Based on the ladies being listed I can see that this audience veers towards minimal techno and house for starters, again interesting.

So my conclusion on the article is, its cool that they bring up this subject, because this is exactly the kind of stuff that is not openly discussed in dance music culture. The more we point out what is not working, the more informed and aware we are to make changes for the better (even if I do not particularly care for the DJ Magazine selection, it is still an important platform). And just because we ladies are now allowed to sit at the table (at least it seems so) that does not mean we are done with our work in bringing about a healthy, gender positive equality to the field that we love - electronic and dance music.

Sonntag, 9. Oktober 2011

SIGNATURE JEANS QUILT, Constanze Schweiger

Session 1: Saturday November 5, 12am - 6 pm
Session 2: Sunday November 6, 12am - 6 pm
Session 3: Sunday November 13, 1 - 7 pm

Das Interesse für Handarbeiten aller Art ist fester Bestandteil der Jugend-Rebellion der 1960er Jahre. Ausgehend von Amerika wächst seit damals das Interesse an Quilts und dem Quilten auch in Europa. Feministische Geschichtsforscherinnen überprüfen die Rolle der Frau in der Gesellschaft und der Kunst und machen stolz auf die vergessenen Werke ihrer weiblichen Vorfahren aufmerksam. Erstmals werden frühe Quilts in hochrangigen Museen (z.B: "Abstract Design in American Quilts", Whitney Museum of American Art, New York, 1971) neben Kunstwerken gezeigt und ausführlich als Dokumente, die die geteilten Erfahrungen einer Gemeinschaft beschreiben, studiert. Sie werden als stille Vorboten bewusster Abstraktion im Bild gelesen und Künstler - wie die des Minimalismus oder der Prozesskunst - zeigen grosses Interesse an solcherlei "minderer" Kunst.

Dabei ist es besonders interessant wie Quilts funktionieren. Produziert werden sie traditionell in der Gruppe zu einem festlichen Anlass. Die Quilting Bees verbringen mehrere Tage gemeinsam an einer Patchworkdecke; sie nähen, trinken Zitronenlimonade, hören Musik, tauschen sich aus. Die Produktion wird zum geselligen Ereignis, jeder schreibt sich im Verlauf individuell in die Handarbeit ein, die am Ende wie eine Chronik die geteilten Erfahrungen wiedergibt. In weiterer Folge aber reisen Frauen auch regelmässig zu den Quilt Study Group-Treffen, um ihre Projekte einander vorzustellen und Techniken auszutauschen; sie zeigen sich ihre Werke, indem sie diese vor Ort ausbreiten und gemeinschaftlich hochhalten. Ausgetauscht werden nicht nur Erfahrungen, Wissen und Ideen, sondern auch die Stoffe. Manchmal werden getragene Kleidungsstücke zusammengetragen und zu Memory Quilts verarbeitet. Auch dabei mischen sich die Materialien symbolisch für Erinnerungen, die mit ihnen verbunden werden können.

An zwei Nachmittagen werden die TeilnehmerInnen des Workshops eine vorgefertigte Patchwork-Komposition aus alten, getragenen Jeans Hosen mit einem Vlies und einer Unterseite zusammensteppen. In dieser letzten Verarbeitungsphase werden sie in die abstrakt gestaltete Schauseite des Quilts auf mehr oder weniger "dilletantische" Weise unterschiedlich assozierte oder gemeinsam definierte Markierungen wie tags aus Nähstichen einschreiben. An den Workshop anschliessend wird die quasi kollektiv mit einem Stichbild verzierte Decke dem Projektraum school für diesen Winter zur Verfügung gestellt.

ONE BAND STAND, Ihu Anyanwu a.k.a. G.Rizo

Workshop: Monday October 31st - Friday November 4th, 5pm - 9pm
Live Performance: Saturday November 5th - 8pm

„One Band Stand“ is an electronic music project that will present a fictional laptop Band to perform together For One Night Only! Members of „the Band“ are inexperienced in making electronic music, so they are first trained in a series of bootcamp style workshops leading up to the performance.
Members of „the Band“ will play together in different constellations, each playing the role of band leader, composer and session player at various times.

One Band Stand ist ein elektronisches Musik Projekt. Es präsentiert eine fiktionale Laptop Band, die “for one night only” performen wird. Die Bandmitglieder sind keine professionellen Musikerinnen (vor allem unerfahren in Bezug auf elektronische Musik), daher gibt es zu Beginn eine Serie von ‘bootcamp style’ workshops, die letztendlich in einer gemeinsamen Performance münden. Die Bandmitglieder werden in verschiedenen Konstellationen zusammenspielen, jeweils und zu unterschiedlichen Zeiten die Rollen der Band leader, Komponistin und Session Spielerin einnehmen.

Samstag, 8. Oktober 2011

PLAYING/LOBBYING session3 with Andrea Lunzer

Date: Nov. 9, 2011, 6 pm

"Das Interessante am Auflegen ist die Möglichkeit zwischen Epochen, Stilen, Stimmungen, Genres und Künstlern hin- und herzuspringen. Dadurch können die einzelnen Tracks als Dokumente ihrer Zeit oder der jeweiligen Bewegung fungieren. Musik auflegen, also mit Platten spielen, bedeutet für mich, mit diesen Kontexten zu spielen."

"The nice thing about djing is, that I get the chance to jump back and forth between different eras, styles, genres and artists. By doing so pieces of music become documents of a period or a certain movement. So putting on music, playing records, to me means playing with these coherences."

PLAYING/LOBBYING Session2 with Chilo Eribenne

Date: Nov. 3, 2011, 7 pm

Chilo has been playing for a quite a while now. From small clubs and parties to The Marquee Cafe, The Hanover Grand, The YMCA and Cafe de Paris, she has occasioned to take to the decks providing an unexpected Disco, classic Soul, Minimal Techno, Vocal House and Electronica, whichever is required to keep the party firing. She has played with original all female dj group, The Pussy Posse back in the early 90’s at warehouse and glamorous A list parties. Her main sound is electro funk, Chicago House, Soul and retro funk! Say yeah!!!

PLAYING/LOBBYING, curated by Andrea Lumplecker

Dates: Wednesdays October 26, November 2 and November 9, 6 pm (open end)

"Es sind mehr geworden, es sind immer noch wenige." (Pinky Rose)

Die DJ sessions sind absichtlich exklusiv für Frauen und Mädchen, die ihre Musik lieben, sich über ihre Platten austauschen und ihre Spieltechnik verbessern möchten, und durch gemeinsames Üben und einander Vorspielen beginnen, auch für eine Öffentlichkeit zu performen. An diesen drei Abenden werden drei (weibliche) DJs eingeladen, die in Lectures ihr Wissen, ihre Technik und ihre Erfahrungen weitergeben. (Die sessions sollen später als Jour fixe in school weitergeführt werden.)

Wednesday Oct 26: mit Sandra Manninger
Thursday Nov 3: mit Chilo Eribenne
Wednesday Nov 9: mit Andrea Lunzer

Sandra Manninger djing @ school, September 2011

Freitag, 7. Oktober 2011

MODELS / FACES: Andrea Lumplecker

Date: Samstag 12. November, 13 bis 18 Uhr

Eine wichtige feministische Strategie ist die Sichtbarmachung von Frauen, die Vorbilder (Models) für uns sind, die lange Zeit von der Geschichtsschreibung ignoriert wurden und von denen man immer noch zu wenige kennt (in Kunst, elektronischer Musik usw.)

Wir werden an diesem wochenende unsere weiblichen Vorbilder/Models aus Kunst, Musik, Film, Philosophie, Architektur, Geschichte usw. recherchieren, sie einander präsentieren und diskutieren – um dann jeweils ein Portrait zu wählen und mittels Schablonen/Siebdruck Technik auf eine Baumwolltasche (tote bag) zu drucken. Wir werden anschliessend die Taschen an uns fotgrafieren. Die Fotos werden in school präsentiert, die Taschen gehören den TeilnehmerInnen.


Reading Group Dates: Sundays October 30, November 20, November 27, December 4

Der Begriff stammt aus der Musiktheorie und bezeichnete früher eine rhythmisch schwache Kadenz. Ausserdem ist es der Titel eines Buches von Susan McClary, die sich mit geschlechtsspezifischer Terminologie in der Musiktheorie auseinandersetzt und Subtexte musikalischer Werke behandelt.
Die Geschichte weiblicher Musikproduktion erzählt von permanentem Verschwinden und Vergessen. Um eine neue musikalische Sprache zu finden, erscheint es notwendig, den entstandenen Verlust von Zeit, Gleichgesinnten und Role Models sichtbar zu machen. Durch Erforschen und Sammeln von Biographien und Werken von weiblichen Kom
ponistinnen (Produzentinnen), durch gemeinsames Anhören, wird die Rezeption des SOUND im Status Quo ein wenig zurecht gerückt.

FEMININE ENDINGS ist ein Researchprojekt in dem sich verschiedene Dokumentationsebenen (Bild, Sound und Text) überlagern und eventuell zusammenfügen. Form und Inszenierung des Outputs werden in den Sessions erarbeitet.

"In not performing music composed by women, we have missed out entirely on what half of our population has to say to us through music." (Libby Larsen)

Wendy (Walter) Carlos in ihrem Studio, 1980

Donnerstag, 6. Oktober 2011