Alison Isodora (Panel)
she/her
thu May 29 | Goethe-Institut
One of Alison’s early recollections of contextual music-making occurred when, as a 9-year-old, she was asked to play violin for the gang members who lifted weights in the family garage. Numerous experiences with symphony orchestras, punk bands, gamelan groups, free-improv ensembles and new music outfits stimulated an appreciation of the myriad creative intra-actions possible between the composer, score, performer, audience and place.
Isadora’s chamber music, music-theatre performances, audio walks and installations often involve field-recordings from human and other-than-human sound sources that encourage attention to the materiality of sound. Recent works also explore possible creative connections between the audience and musicians, between professionals and amateurs, and invite active, embodied and situational musicking.
About the artist
Isadora was born and bred in Aotearoa/New Zealand and has been based in the Netherlands since the late 80s. She studied political philosophy and music in Aotearoa/NZ, violin and composition at the Koninklijk Conservatorium (NL) and theatre studies at DasArts(NL).
Her compositions are performed in diverse latitudes by groups such as Modelo62, Ensemble Klang, Array (Canada), Decibel Ensemble (Australia) and STROMA (NZ).
Isadora has been a research fellow at DAS THIRD (NL) and recently completed a PhD entitled Performing the Ecology of a Composition-Practice-in-Becoming. She works at the Koninklijk Conservatorium and is currently researching issues of representation and decolonisation within conservatoire curricula.
Alison Isodora will be part of the pre-performance panel: Interferences: Live - On Glitches, static, and Sonic Histories. The panel is co-developed in collaboration between Sieve Bonaiuti, meLê yamomo, Leonie Schmidt and Zoë Horsten. It’s supported by Goethe-Institut, ASCA and AYA.
Access to the panel is included in the ticket for the Thursday May 29 performance
