The SPOR Festival 2021 programme is out!

Eating a Man - Spor festival
1/3 © Marc Fluri
Eating a Man - SPOR Festival
2/3 © Marc Fluri
Eva Reiter - Eupepsia/Dyspepsia - Spor Festival
3/3 © Carlos Suárez

September 8-11 in Aarhus, Denmark

SPOR Festival‘s vision is to thematise, actualize and promote the contemporary music and sound art, nationally as well as internationally. SPOR creates a platform for stronger connections to the international sound art and music scenes – and therefore fruitful exchange which can inspire artists and further develop the Danish contemporary music. 

This year’s festival includes two productions in the Sounds Now project: Eating a Man from Christian Winther Christensen, and Eva Reiter’s Eupepsia/Dispepsia.

Eating a Man from Christian Winther Christensen

Eating a Man SPOR festival
© Marc Fluri

Composer Christian Winther Christensen and stage director Anna Berit Asp Christensen embark on a musical and personal voyage exploring the concept of “the unknown/alien”. The investigation takes its starting point in Christian Winther Christensen’s 10 year old mocumentary-work ’The Documentation About Apu Sakar’. In this work Christian agrees to eat an Indian man after his death. The purpose of the ritual is to honour the deceased by letting his spirit live on through the consumption.

Now, ten years later, the work has been re-composed and new questions have emerged: questions about the symbolic meaning of cannibalism, honorable cultural exchange and the concept of feeling strange or alien.

How does this production make you feel? Like a really bad taste in the mouth thinking about colonialism.

Eupepsia/Dispepsia by Eva Reiter

Eupepsia/Dispepsia SPOR festival
© Karin Harasser

A performance-concert in conference-format devised by musician and composer Eva Reiter and Karin Harrasser, Professor of Cultural Studies at the University of Linz. In the 18th century, strange and magnificent hybrids of baroque and indigenous music began to emerge from the Jesuit missions of the Bolivian Chiquitania. Eupepsia puts this musical archive to work through a mixed instrumentarium that combines baroque and electric instruments. Intrusion, hybridisation, appropriation, assimilation: a reflection on the long-term effects of colonialism.

The programme develops the motif of eupepsia as a metaphor for and practice of transatlantic relations. Taking an archive of European baroque music in Chiquitos/Bolivia as our starting point, we will sound out modes of appropriation, silencing, projection that were (and remain) in play in encounters between indigenous and European cultural practices. Music was used by the Jesuit missionaries as a means to convert and “civilise”. This modern idea resonates in cultural education strategies until today. But though toxic and destructive, the European disruption of indigenous worlds produced new and fragile worlds, in turn articulated into music. Eupepsia therefore offers hybrids (between baroque and contemporary music, European and New World compositions, text-sound collages), not as solutions or remedies, but as sound-objects to ponder the longue durée of cultural violence.

Full festival programme and ticket purchase available here.

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