In line with the theme, the event will showcase two guest researchers who are actively investigating the use of sound and listening as instruments for communal practice and imaginative world-building. These guests are Bint Mbareh, a Palestinian sound artist who explores communal singing practices and the profound significance of water as a source of both life and destruction, and Tatiana Heuman, an Argentinian musician, researcher, and artist whose work revolves around the concepts of dream listening, dream translation, and oneiric cartographies.
Bint Mbareh is a sound artist and researcher with a curiosity about the superpowers of communal singing. Her initiation into music came through her research on rain-summoning in Palestine. She conducted research initially to combat the myth of water scarcity pushed by Israeli settler colonialism. She learned that the songs that helped communities summon and harness rain, at their core helped people build a relationship with their environment, decide what time of year it is, communally determine how to share resources fairly, and that when used in current life, these uses could still be evoked, rather than remembered. She now studies death and rebirth as analogies for necessary upheavals, still looking for these significations in Palestinian landscape, especially the shrine of Nabi-Musa (AS), the prophet Moses. She holds a BFA from University College Maastricht, and an MA Ethnomusicology from Goldsmiths University of London. Since 2019, she has been a co-founder and co-curator of the Exist Festival in Palestine.
Tatiana Heuman is an artist and researcher exploring the intersections of sound, movement, and media through an embodied listening practice. With a MFA from the Academy of Media Arts Cologne and certification in Deep Listening®, Tatiana facilitates labs and workshops applying somatics and dreamwork to foster community exchange. Her fieldwork centers on dialogue, vulnerability, and transformation across perspectives. Previously, Tatiana toured internationally as a musician with the free improvisation band Ricarda Cometa and under her solo experimental electronic music project Qeei. She has performed in various festivals such as CTM, Heroines of Sound, and Tauron Nowa Muzyka. Recently, she released ‘Luminous,’ her latest hybrid-club-sound work, in 2023 through Infinite Machine. She has composed and performed for dance productions with choreographers Olivia Hyunsin Kim/ddanddarakim and Constanza Macras/Dorky Park and held residencies at institutions like PACT Zollverein, Theater neben dem Turm, and Hellerau European Center for the Arts. By cultivating sensitivity to inner and outer worlds, her practice works to build relationships across disciplines and cultivate social change.
Readings & Materials
- Tatiana Heuman. Waking up and how to hypnopomp: the when, the why, the how and more, in UNSEEN, 2022
- Bint Mbareh. Dina presents three works in progress, mixtape for Radio Fantasia (Issue 051), 2023
- Rouzbeh Shadpey. Toward the Shore of Listening: An Underscore, in Voicing Abstraction / Wave #7. Amersfoort: Infrasonica, 2022
- François J. Bonnet. The Order of Sounds. A Sonorous Archipelago, Ch. 1.1: The Grip of Sound (Urbanomic / MIT Press: 2016)
- Jacques Attali. Noise: The Political Economy of Music. Theory and History of Literature, v. 16 (University of Minnesota Press: 1985)
- Cielo Vargaz Gómez. Nomad Noise. Leaks for a Porous Listening, in Urvakan Reader. Yerevan: Urvakan Festival, 2022
- Budhaditya Chattopadhyay. Re-Sounding Souths, in CTM Festival Magazine, 2023
- Arutiunian, Andrius. This World Will Disappear Before You Read It, in Urvakan Reader. Yerevan: Urvakan Festival, 2022