The primary aim of the discussion is to engage with the thesis that traditional music criticism often reproduces dominant narratives that privilege the music of the Western classical tradition or the popular culture of the Global North. At the same time, the conversation seeks to clearly introduce the concept of intersectional criticism, particularly with the goal of encouraging the deconstruction of these hegemonies and the inclusion of musical practices of marginalized groups—for instance, through the analysis of categories such as race, gender, class, and sexuality.
How can music reshape these norms or resist them?
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Here we are again, without knowing exactly where we're
going. But we know why.Because sound moves us, provokes us, and brings us together.
Sound
(Dis)obedience brings questions, vibrations,
movements, tension — a space for surprise, discovery, and connection. Come. Listen. Or don’t.
Tomaž Grom, artistic director of the festival
Or, to put it another way:
Sound
(Dis)obedience is the best festival in the world.
As always, this year we expect: the most virtuosic and exciting performers,
global stars who play in the world’s most prestigious venues, some of the
finest musicians alive (or even, arguably, dead), and composers whose works
dominate the grandest stages. They are, simply put, victorious in every sense.
Oh, and let’s not forget: the most esteemed, top-tier, cutting-edge, legendary,
masterful, magnificent, and exceptional artists.
In short, Sound
(Dis)obedience will take you on an unforgettable
musical journey that you absolutely cannot miss. Hahaha.
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Sound (Dis)obedience is co-financed by the Ministry of Culture of the Republic of Slovenia and Municipality of Ljubljana.
Sound (Dis)obedience is engaged in staging, development, reflection and
dissemination of research practices in music and sound. An assembly of
diverse events, meetings, presentations of publishing activities, the
implementation of international networks and discussions behind the bar
multifacetedly address this diverse creative field. Sound (Dis)obedience
brings together guest musicians, interested local artists, audiences
and the professional public. As such, it is not only a festival of
certain music, but also and above all an realization of openness,
cooperation and flexibility.
Sound (Dis)obedience is a space for exchange, where by way of
concerts, workshops, lectures, and other forms, different border-line
musical practices can interact with each other.
Past programs