"Syncing 2257"
Retrieving: https://ouk-apw.adlibhosting.com/webapi/wwwopac.ashx?database=collect&search=priref='2257'
Added or Updated: Come Closer: Queer Choir Amsterdam (2257)
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0 => "Het Queer Choir Amsterdam presenteerde deze avond hun eerste performance, ‘The Glitch at Garden’s Gate’, waarin de ruimte van de Oude Kerk werd ingezet om de traditionele betekenis en presentatie van een koor anders vorm te geven, te vervreemden (als in: ‘to queer’). Het Queer Choir Amsterdam, dat werd opgericht tijdens de eerste lockdown in 2020 en sindsdien op regelmatige basis samen repeteert, zong eigen werk dat in een collectief proces tot stand is gekomen. Hoe verhoudt queerness zich tot de architectuur en geschiedenis van de Oude Kerk? Hoe zich in deze ruimte te positioneren? Het koor onderzocht deze vragen door niet alleen composities te zingen, maar ook ruimte te maken voor improvisatie, glitches (haperingen), momenten van rust en interactie met het publiek, waarbij de rollen van koor, dirigent en toehoorder meer in elkaar overliepen. Dit resulteerde in een meerstemmig programma van ongeveer 45 minuten met liederen vol queer vastberadenheid, verzet en plezier. Na afloop konden bezoekers nog even napraten en werd het werk van Susan Philipsz aangezet, die in haar werk ook de ‘ongetrainde’ stem inzet. Met ruim 200 bezoekers was deze avond uitverkocht."
1 => "This evening, the Queer Choir Amsterdam presented their first performance, 'The Glitch at Garden's Gate', which used the space of the Oude Kerk to reshape, alienate (as in: 'to queer') the traditional meaning and presentation of a choir. The Queer Choir Amsterdam, which was formed during the first lockdown in 2020 and has been rehearsing together on a regular basis ever since, sang its own work created in a collective process. How does queerness relate to the architecture and history of the Oude Kerk? How to position themselves in this space? The choir explored these questions by not only singing compositions, but also making room for improvisation, glitches (hiccups), moments of quiet and interaction with the audience, with the roles of choir, conductor and listener becoming more intertwined. This resulted in a polyphonic programme of about 45 minutes with songs full of queer determination, resistance and fun. Afterwards, visitors had a chance to chat and the work of Susan Philipsz was turned on, who also uses the 'untrained' voice in her work. With over 200 visitors, the evening was sold out."
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