Name: VOGP Music of survival
Start: 2018-03-02T00:00:00.000Z
End: 2018-03-02T00:00:00.000Z
Location: Union Hall

Artist

Admin

Conductor

Karmina Šilec

Carmina Slovenica

Juan Sebastián Cáceres Lara

VOGP Music of survival

Maribor

Slovenia

Union Hall

Public

Concert

Approved

Accordionist

Instrumentalist

Archlutenist

Baroque Flutist

Baroque Oboist

Baroque Trumpetist

Bassist

Bassoonist

Cellist

Clarinetist

Contrabassist

Cornettist

Flutist

Guitarist

Harper

Harpsichordist

Hornist

Lutenist

Mandoline Player

Musette de cour Player

Oboist

Organist

Percussionist

Pianist

Recorder Player

Saxophonist

Tenor Violinist

Timpani

Trombonist

Trumpeter

Tuba Player

Vibraphonist

Viola Pomposa Player

Viola da gamba

Viola d’amore Player

Violinist

Violino Piccolo Player

Violist

Actor

Broadcasting

Chefdirigent Musiktheater

Choir

Choreographer

Chorus Director

Chorus master

Composer

Costume designer

Dancer

Dramaturge

Executive producer

Extra

Hairstylist

Illustrator

Librettist

Lighting designer

Makeup artist

Orchestra

Orchestra Operations

Other

Photographer

Poet

Repetiteur

Set designer

Sound designer

Stage Manager

Stage director

Teacher

Translator

Video designer

Vocal coach

Wig & Makeup Designer

Writer

Writing and performance

Tenor

Singer

Baritone

Soprano

Mezzo-soprano

Contralto

Bass

Countertenor

Bass-baritone

Alto

Child vocalist

Continuo

Silent

Spoken

VOGP Music of survival: Concert Various

A village in Sumatra during WW2. Women of various nationalities have been interned without explanation: The Dutch, British, Irish, Portuguese, Chinese, Australian … Twenty nationalities of all social classes are forced to bow to the Japanese flag. The internees are coping with torture, hard work, sickness and expanding death ─ typhoid fever, dysentery, malaria, lice, fleas, scabies, hunger and unbearable heat kill over one third of them.

In the barrack 9, with the purpose of encouraging the internees, musician Norah Chambers and missionary Margaret Dryburgh establish a vocal orchestra. They fear for their lives according to a strict Japanese prohibition of any gatherings, social as well as religious. Every concert implying a risk the orchestra secretly rehearses in four voice groups, and all together in the Dutch kitchen at night. The music brings motivation and hope although the number of women steadily decreases.

The internees get charmed by long loved music bringing out powerful memories. Their thoughts fly away from isolation, hunger, fear, loneliness and smelly dirt, they recollect peace, order, beauty and joy of their "previous" lives. The survivors testify there were three things that helped them survive ─ love of God, sunrises and sunsets, and the transcendent singing of the vocal orchestra.

The VOGP project reflects the moments in lives of women facing suffering and death. It highlights the idea of hope, religion and beauty echoing from the music produced by the female vocal orchestra in times of violence in the middle of an unexpected tropical-forest drama.

Wishing to understand VOGP explores the calming and socially necessary elements in music that gains the power to take over control in the worst possible torture. It tries to catch women’s intimate and collective emotions within those painful moments, reflecting a devotion to preciously supporting music.

VOGP sets music against suffering. Music as a testament. Music as a dehumanisation denial. Music as a symbol of hope.

In a concert hall, the audience comfortably follow the story of women’s suffering ─ yet another mythicized human tragedy, one more WW2 topography of pain, a reflexion of historical memory, spirituality, morals and truth. Recapturing the aestheticized trauma helps to get to understand brutality, volatility and injustice. And music remains in the very core of the general meaning on the edge of disaster.

VOGP expresses the complex relation between music, trauma, mourning and legacy, to discuss the reasons for music to become a universal symbol in suffering and the ultimate sanctuary in despair. It has the power to overwhelm all senses, one’s body and soul, to shift the tormented to some other world. It can possibly rule over death.

VOGP puts music in self-reflecting frame: it presents its own representation, through its impact it illustrates its own exceeding the social and rational structure.

Music stands for the weak, so VOGP leads to consideration and warning: a vocal orchestra in Palembang camp (Indonesia), choirs and an orchestra in Westerbork camp (The Netherlands), internees marching with music in Sachsenhausen camp (Germany), Goldov ensemble in Treblinka camp (Poland), a prison orchestra in Auschwitz camp (Germany), concerts in Drancy camp (France), puppetry performances with women’s a cappella singing in Kaiserwald camp (Latvia) … internees in Bloemfountain camp (South Africa), first prisoners of war in Norman Cross (Great Britain), internees in Guantanamo (Cuba), Ra's al-'Ayn (Turkey), Jasenovac (Croatia), Moor River (Australia), Santiago (Chile), Slocan (Canada), Batangas (Philippines), Perm (Russia), Rosario (Argentina), Bački Jarak (ex Yugoslavia), Manznar, (USA), Busan (South Korea), Krasnoyarsk (Russia), Hoeryong (South Korea), Shark Island (Namibia), nowadays in Argun (Chechen Republic) …

Music: J. S. Bach, J. Brahms, L. van Beethoven, A. Dvořák, F. Chopin, M. Ravel and others in arrangements by internments Margaret Dryburgh in Norah Chambers

English

VOGP Music of survival by Various, pen 02 kov 2018, Nuo (2018/2018), Dirigentas Karmina Šilec, Union Hall, Maribor, Slovenia

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