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Sound (Dis)obedience

Sound (Dis)obedience 2025
27.-39. 3. 2025, Španski borci, Ljubljana

Thursday 27. 3. 2025
. Simon Klavžar, Jože Bogolin, Špela Mastnak, Luka Poljanec, Jan Čibej, Kristijan Kmet performing Timber by Michael Gordon
. Jazia: Salwa Jaradat, Cham Saloum, Ali Al-Hout

Friday 28. 3. 2025
. Marmalsana: Burkhard Beins / Tony Elieh / Maurice Louca
. Danielle Roccato
. Farida Amadou, Aquiles Navarro

Saturday 29. 3. 2025
. concert with workshop participants
. Vesna Pisarović / Tony Buck / Noël Akchoté
. Thuluth: Magda Mayas, Ute Wassermann, Raed Yassin

Workshop with Farida Amadou and Aquiles Navarro.
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 is a festival of listening. And of what happens when you listen to something unexpected. Music that resists singularity and resonates on the edges of oceans (as Primož Čučnik puts it in one of his poems).
A team of percussionists, led by Simon Klavžar, will set wood in motion with Timber by Michael Gordon. Jazia — a trio featuring Salwa Jaradat, Cham Saloum, and Ali Al-Hout — will explore Palestinian tradition. Burkhard Beins, Tony Elieh, and Maurice Louca (Marmalsana) will stretch nerves with an acoustic dialogue between drums, bass, and guitar. Italian double bassist Daniele Roccato will use microtonal nuances and spectral resonances — harmonics, polyphony, and various preparations — to show how an instrument can sound like a voice that breathes, whispers, screams, and tells stories. Belgian-Nigerian bassist Farida Amadou and Panamanian-American trumpeter Aquiles Navarro will, through repetitions and dynamic, unexpected shifts, become a striking resonator — hissing explosions dissolving into subtle rustles. The trio of Vesna Pisarović, Tony Buck, and Noël Akchoté will deconstruct, reinterpret, and reconstruct songs, questioning what a composition even is. In addition to performances by workshop participants, the ensemble Thuluth — Magda Mayas, Ute Wassermann, and Raed Yassin — will explore tensions between silence and chaos, between acoustic sensitivity and electronic intensity.
Sound (Dis)obedience brings questions, vibrations, movements, tension — a space for surprise, discovery, and connection. Come. Listen. Or don’t.
Tomaž Grom, artisticdirector 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, (Un)Listening will take you on an unforgettable musical journey that you absolutely cannot miss. Hahaha.

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

31.3. - 2.4.2200

Sound (Dis)obedience 2022, Španski borci, Ljubljana

Glasbeni festival
(Ne)poslušno / Sound (Dis)obedience

31. marec – 2. april 2022, Španski borci

(Ne)poslušno je prostor izmenjav, kjer se na koncertih, delavnicah, predavanjih in v drugih formah križajo raznovrstne mejne glasbene prakse.

(Ne)poslušno se ukvarja z uprizarjanjem, razvojem, reflektiranjem in širjenjem raziskovalnih praks v glasbi in zvočenju. Sklop raznovrstnih dogodkov, srečevanja, predstavljanja založniška dejavnosti, udejanjanje mednarodnih mreženj in diskusije za šankom večplastno naslavljajo to pestro ustvarjalno polje. (Ne)poslušno druži gostujoče glasbenike, zainteresirane domače ustvarjalce, publiko in strokovno javnost. Kot tak ni zgolj festival določene glasbe, marveč je tudi in predvsem udejanjanje odprtosti, sodelovanja in fleksibilnosti.

31.3. ob 19:30
1 – Drago Ivanuša – klavir / piano + Vita Kobal – violina / violine
2 – Jonas Kocher – akordeon / accordeon + Gaudenz Badrutt – elektronika / electronics
3 – Ute Wassermann – glas / voice + Joke Lanz – gramofoni / turntables

1.4. ob 19:30
1 – Samo Šalamon – kitara / guitar + Bojan Krhlanko – bobni / drums + Cene Resnik – saksofon / sax + Jošt Drašler – kontrabas / double bass
2 – Līmen II: Tilen Lebar – kompozicija, elektronika / composition, electronics + Sae Lee – klavir / piano + Mauricio Valdés San Emeterio – distribucija zvoka / sound distribution
3 – Ustavite se. / Stop.: Nina Dragičević – kompozicija / composition + Irena Z. Tomažin – glas / voice
4 – GRIFF: Ingrid Schmoliner – klavir / piano + Emilio Gordoa – vibrafon / vibraphone + Adam Pultz Melbye – kontrabas / double bass

2.4. ob 19:30
1 – koncert udeležencev glasbene delavnice / workshop concert (Jonas Kocher)
2 – Doug Hammond Griot solo performance – glas, bobni, sanza / voice, drums, sanza
3 – Step That Resonates: Zlatko Kaučič – bobni / Agustí Fernándes – klavir / piano + Martin Küchen – saksofon / sax

31.3.–2.4. od 12:00 do 16:00
glasbena delavnica Raziskava, refleksija/workshop Research, Reflect (vodi Jonas Kocher)

31.3. ob 17:00
Narobe / Na robu glasbene prakse
Knjigo bo predstavil urednik Luka T. Zagoričnik.

1.4. ob 17:00
Sodobni tokovi distribucije improvizirane in eksperimentalne glasbe
Debato z gosti vodi Miran Rusjan.

Dvajsetletno postopno uveljavljanje digitalne premene v glasbeni svet je pripeljalo do stanja, ko digitalna glasbena distribucija predstavlja edini pozitivni trend rasti znotraj glasbenega ekosistema, ki ga je v zadnjih letih znatno prizadela epidemija covida. Kako se znotraj digitalnih distribucijskih tokov obračata improvizirana in eksperimentalna glasba? Katere platforme za distribucijo posnete glasbe uporabljajo glasbeniki in založniki, kakšne so na drugi strani navade poslušalcev? Ali butična glasba terja butične pristope? Kakšno vlogo bo digitalna distribucija glasbe zavzela v času, ko se koncertni dogodki šele postavljajo na noge, ko mednarodne povezave krojijo cepilni potni listi in meddržavni konflikti? Predstavlja priložnost za širjenje dometa poslušalstva ali nevarnost za izgubo vrednosti v polju muzik, ki se postavljajo nasproti vzorcem, ki jih krojijo velikani globalne glasbene industrije?

Okrogla miza je del projekta Digitalni vlak za slovensko glasbo, ki ga sofinancira Ministrstvo za javno upravo v okviru Javnega razpisa za digitalno preobrazbo nevladnih in prostovoljskih organizacij ter povečanje vključenosti njihovih uporabnikov v informacijsko družbo 2021–2023. Partnerji projekta so SIGIC – Slovenski glasbeni center, Zavod Jazz Cerkno in Zavod Sploh.

(Ne)poslušno že od leta 2012 nastaja v soprodukciji s kulturnim centrom Španski borci.
Sofinancirata ga Ministrstvo za kulturo Republike Slovenije in Mestna občina Ljubljana.
S podporo: The Swiss Arts Council Pro Helvetia in Avstrijski kulturni forum Ljubljana.

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