Analogue Alchemy

Into the Music and Mind of Shiva Feshareki

by Jason Noghani

The music of Shiva Feshareki addresses some of the most pressing questions concerning music and culture in our time. She is a highly versatile and diverse composer whose musical output encompasses a wide spectrum of resources and influences ranging from classical music, mid-20th Century experimental electronic music, and electronic dance music genres such as drum n bass and jungle. Her oeuvre includes orchestral music, chamber music, solo instrumental music, conventionally notated music with memorable and sublime harmonies, and cutting-edge electronic music which pushes conventional boundaries to unchartered dimensions.

However, it is unarguable that she is perhaps most in her element and most clearly defined as an artist when working with her trademark turntables, which alone have formidably established her as one of the foremost musical innovators of her generation. The turntables themselves, and the performance practices of which she utilises throughout her performances, are what most accurately describe her both as a musician and as a human being, and the implications underlying this are both mesmerising and profound; something of which is evident when engaged in conversation with Shiva, whose rigorous dedication to her art transcends far beyond the conventions of an archetypal DJ.

Perhaps the most noticeable aspect of Shiva’s turntabling practices is her ability to make something seemingly outdated remain fresh and relevant in light of the rise of digital technology. Throughout history, musical evolution has been in congruence with material evolution, so the evolution of sound has similarly correlated with technological evolution, hence why digital technology most clearly represents our time, and analogue technology is now perceived in a more specialised and niche manner, despite having been the musical tour de force up until very recently. Shiva’s predilection for analogue technology largely has to do with the quality of the sound produced by vinyl, but also due to the human touch it offers, which largely explains her love of mid 20th Century electro-acoustic music such as Daphne Oram, Eliane Radigue and James Tenney.

These underlying motives seek to address the dehumanising aspect mindlessly produced digital music can create nowadays, and also invite new possibilities for a seemingly outdated musical practice. Shiva’s single-minded and unceasingly innovative approach to her chosen medium is largely inspired by the electronic pioneers of the mid 20th Century, and the techniques she incorporates and even invents for the turntables always produce new and exhilarating outcomes, which sound both relevant today and for times to come. Through this radical approach, she has both reasserted the importance and relevance of early electronic musicians, and emphasised their necessity in musical progress in today’s world. Furthermore, she has also increased the sonic possibilities of the medium whose cultural stereotypes would have posed limitations on less imaginative artists who perform on turntables, and therefore she has helped transform the perception of something once seen as being merely functional to becoming an instrument of colourful and diverse cosmological proportions.

The experimentation does not just end with the turntables however, even though they are integral to Shiva’s musical decisions and underlying musical philosophy. This is evident in her approach to spatialisation, where the acoustic space is treated in a similar manner to the turntables. No two acoustic spaces or two turntabling sets are ever entirely alike, which means new outcomes are inevitable each time a work is performed, as can be seen in her works GABA-Analogue and O; both for turntables and orchestra, and both being made of exactly the same materials, yet programmed and experienced differently due to each being tailored appropriately to the acoustic space of a performance.

Shiva is also one of the few composers to have emerged out of the contemporary classical music establishment, who has addressed issues of a cultural relevance to our time, without pandering to pastiche or kitsch impulses. Having been particularly inspired by electronic dance music and culture (most notably drum n bass and jungle), she has always been involved in dissolving the cultural boundaries between conventional and experimental artistic practices, and subsequently inaugurating the audience of both extremes without a compromise of integrity. Her influences stretch far beyond sole musical inspiration, and fields such as psychoacoustics and cognitive psychology have a considerable impact on the musical decisions she makes. With such consideration of detail, she has been able to subtly invite audiences into situations they may have once been unfamiliar with, and through imaginative means, she is able to create music that stretches the minds and imaginations of listeners. This evolutionary approach to music-making is of seminal importance in our time, in our day and age of sharing information at a previously unforeseen scope, whereby her substantial musical knowledge and innovative practices have exposed larger audience numbers to new musical possibilities at a time where cultural stagnation has made the evolution of music a potential ecological crisis.

One thing that Shiva has managed to achieve beyond most other experimental artists of her generation, has been the emergence of a growing and dedicated fan base surrounding her and her work. Most particularly, she has been a considerable role model for young up and coming female artists, who may not have had the confidence to pursue their art had it not been for the positive influence of artists such as Shiva. Although we live in a time when gender equality is almost rectified in the developed world, there are nonetheless still obstacles to overcome the conditionings and perspectives of a male-dominated past, and it is through the integrity of the work of someone like Shiva that this outdated perception can gradually be laid to rest, as we grow to realise that great art is beyond gender, race and cultural boundaries; something of which is of paramount importance as we emerge in the dawning days of the Aquarian Age.

(Click here to read Shiva’s Interview)

New Forms, which came out on February 22nd 2019, is the first official release of Shiva Feshareki’s music. The album consists of original material composed specifically for the album, material derived from and remixed from a variety of sources including her own instrumental works, and highlights from a performance that took place in Moscow in the summer of 2018. The underlying principle which defines the record poses several questions regarding particular issues and queries relevant to our time.



Are There Too Many Music Festivals?

by Jonathan Wynn, University of Massachusetts Amherst

Coachella unofficially kicked off the 2017 U.S. festival season in April, and while this year’s event in Indio, California included expanded space and more tickets available, there are concerning trends in the live music industry.

Tennessee’s massive Bonnaroo attracted 38 percent fewer attendees in 2016 than the year prior. While the 2017 event rebounded, the total attendance was the third worst since 2006. And last year’s turnout at the popular Sasquatch! festival in George, Washington dropped by half.

Have we reached what Paste Magazine called “peak music festival”?

Festivals are certainly big business. Over 32 million people are attending U.S. festivals every year – more than the entire population of Texas. In my book “Music/City: American Festivals and Placemaking in Austin, Nashville, and Newport,” I detail the reasons for the rise of music festivals, which include declining record sales and the willingness of younger audiences to seek out new experiences.

But the growing uncertainty has left some promoters, musicians and fans nervous. Are attendance declines irregularities, rather than trends? Looking ahead, what factors might cause a significant slump in the U.S. festival market?

A growing corporate presence

One plausible reason for flagging crowds is overcommercialization.

As I walked around festival sites during my research, logos and brands were omnipresent, whether it was a massive Doritos vending machine-themed stage at Austin’s South by Southwest Music Festival or the Bud Light stage at Nashville’s Country Music Association CMA Fest.

In a way, a growing corporate presence indicates how festivals have thrived. Corporations are targeting popular festivals because they’re excellent sites for what’s called “brand activation” – a way to directly engage potential consumers with corporate logos and products. In that effort, North American corporations spent US$1.3 billion sponsoring music venues, festivals and tours in 2014. Anheuser-Busch led the charge, sponsoring almost one-third of music-based properties. Toyota marketed at Stagecoach, Sasquatch!, Life Is Beautiful and at least a half dozen other events. (Forbes notes that the big winner at this year’s SXSW wasn’t a hot up-and-coming act, but Mazda, for successfully hosting a series of top-name performances.)

Despite such heavy commercialization, musicians and audiences expressed minimal concern in my interviews.

“I don’t mind,” said one festival-goer, “since I know it helps keep ticket prices reasonably low.” The on-stage talent felt similarly ambivalent. One headlining musician told me he appreciates that it’s the festival producers who have to cultivate brand relationships, not him. When he’s on stage, he says, “I’m not representing Heineken, I’m just playing my songs.”

Still, other artists grumbled. Several worried that festival branding might eventually go too far.

Creeping conformity

Their unease is justified. Behind the banners and logos, success in the festival industry has brought about another issue: consolidation.

Since 2000, larger entertainment firms have purchased some of the biggest events and venues, mirroring what happened in the recorded music industry in the 1960s and 1990s, when smaller labels were gobbled up by a handful of larger, international companies.

In 2001, the world’s second largest music promoter, AEG, purchased Goldenvoice, which produces 11 festivals, including Coachella. AEG is an international sports and entertainment conglomerate with ownership stakes in dozens of sports teams and arenas. AEG is still, however, second to Live Nation, which produces over 60 festivals and has controlling stakes in major festivals like Bonnaroo, Sasquatch!, Lollapalooza and Austin City Limits. With their size and buying power, these agencies can book bands for multiple events and offer gigs at venues ranging from large stadiums to smaller clubs.

Such consolidation brings about a related concern: uniformity. Firms within a larger institution tend to operate similarly, particularly in times of economic crisis – something sociologists call “institutional isomorphism.” In many cases, competing companies will conform to the models of their more successful counterparts in the hopes of replicating their success.

Sure enough, with only a couple of promoters organizing the biggest festivals, the same artists seem to be performing at the same ones. Twenty of the 103 performers at AEG’s Coachella this year are among the 166 acts playing at Live Nation’s Bonnaroo. That means that one-tenth of Bonnaroo’s lineup and one-fifth of Coachella’s lineup are exactly the same. Consolidation and uncertainty beget monotony.

Though they are not necessarily problems individually, the combination of commercialization, consolidation and uniformity just might be bringing about what Seattle’s alt-weekly, The Stranger, called “festival fatigue.”

The future of festivals?

If fatigue does arrive in 2017, we can look to the last crisis for some solutions. The 2008 recession dampened ticket sales and sponsorships. Festivals like Denver’s Mile High festival, Las Vegas’ Vegoose and New Jersey’s Bamboozle shuttered. But my research found the Newport Folk Festival to be an encouraging case study.

In 2008, Newport couldn’t attract a marquee corporate sponsorship as it had in the past. To save the event, producers restructured the organization into a nonprofit. Ever since then, their lineups have eschewed acts that headline larger festivals. Instead, they’ve set their sights on balancing a diversity of acts with regional performers.

Bonnaroo and Coachella dwarf Newport in size, as Newport’s venue, Fort Adams State Park, can hold only around 10,000 attendees per day. But Newport’s limited brand sponsorships and attendance cap are opportunities, not challenges. The festival’s producer, Jay Sweet, knows he can’t afford the bigger acts that hit the larger festivals.

Nonetheless, Newport has carved out its own niche: Moving away from an overly corporate and commercialized model of the contemporary festival, it now offers an eclectic, more locally sourced and modestly branded music experience.

In a way, it’s what festivals looked like in their earliest iterations – before the sponsors descended, and before the fatigue settled in.

The ConversationEditor’s Note: This article has been updated to correct the location of the Sasquatch! Music Festival.

Jonathan Wynn, Associate Professor of Sociology, University of Massachusetts Amherst

This article was originally published on The Conversation. Read the original article.

Commemorating International Day of the Tropics

[Jakarta, LTTW] The world recognizes the beauty and important role of tropical land, but we often shut our eyes toward the challenges it’s facing. Mono-culture malpractices which wiped out natural ecosystems and also “profit-oriented” tourism that exploit local cultures and environment instead of cultivating friendships and cross-enrichment between nations, are only a couple of examples of the challenges we have ignored. Therefore, as representatives of the tropics from Indonesia, together with campus community Friday Art Design Session, Listen to the World present visual works to invite and re-question the importance of nature as a place that allows us to live and have cultures.


“Wild for Love” by Adikara R. | 79 cm x 97 cm | Mix Media on paper | 2018


“Sajen dari Pasar” by Adikara R. | 60 cm x 60 cm | Mix Media on paper | 2016
“Ka-Lod” by Adikara R. | 97 cm x 79 cm | Mix Media on canvas | 2017


“Tropical Ruinforest” by Bintang Perkasa | 42 cm x 29.7 cm (two panels) | Mix Media on paper | 2018


“No Space for Nature” by Gesa Febrian | 29.7 cm x 21 cm | Digital Drawing | 2018


“RIMBA” by Ivan Kurniawan Halim | 109 cm x 79 cm | Mix Media on paper | 2017
“Tribute to Mother” by Reydo Respati | 79 cm x 48.5 cm | Mix Media on canvas | 2018


“CUT” by Reydo Respati | 97 cm x 79 cm | Mix Media on paper | 2018


“Tumpuk” by Ruslan Gani |70 cm x 40 cm | Acrylic on canvas | 2018



Persistence in Diversity

Why Dance (Arts) Must Be Supported At All Cost

[Jakarta, LTTW] On April 22, 2018, Namarina Youth Dance (NYD), Indonesia’s semi-professional dance company held a dance performance with the theme Dancing for the Future at Goethe Haus, a German cultural center located in Menteng, Jakarta. A week later, the world celebrated the International Dance’s Day. This series of event shows that arts (in this case dance) play a significant role in humans’ life. On top of that, the world also celebrated the World Day for Cultural Diversity for Dialogue and Development that falls on May 21, 2018, just a few weeks ago. With those celebrations in mind, we are going to discuss further why NYD’s performance becomes important, and the roles of arts in society.

Dancing for the Future is a part of NYD’s program DanceScape Series that combines three generations of dancers; NYD, NYD’s apprentice, and youngest students from Namarina Dance Academy. Through this program, NYD encourages audiences to support the role and function of arts in society as a departing point towards a better future. To achieve that, they first must prove to the society that they have persistence to encounter many differences, possibilities, and challenges that may come in the future. Hence, Persistence in Diversity becomes the central theme of event.

The routines created for this program incorporates Western Classical ballet and Indonesian traditional dance, accompanied with a recorded and live music played by Gado-gado Ensambal and Rhythm Salad League respectively in such order, which also derived from the same central theme.

The first routine showcased a pure Classical ballet that performed by the youngest students of Namarina Dance Academy. To stand and prosper, root is a necessary foundation in which the dance academy aware of, thus choose ballet as its base – making a bold statement that can also represent symbols of how the Classical ballet struggles to survive and remain exist in the changing world.

The opening dance, choreographed by Nickend Ayuthia| Photo: Suprapto
“The Future”, choreographed by Sussi Anddri | Photo: Suprapto

Although Namarina’s root and implementation are “imported” from the west, they never forget the importance of Indonesia traditional dance that also – similar to the ballet – shown to put up the fight to keep itself from vanishing, being replaced and, eventually, cease to exist. A fusion of both traditions create a real diversity, opening up and complementing each other, which transform into a bond and finally, an attempt of a new form of dance is born.

“Tradikal” choreographed by Dinar Karina | Photo: Suprapto
“Aku dan Waktu” (Me and the Time) choreographed by Sussi Anddri | Photo: Suprapto

The journey in finding a new form through fusion has been done by NYD to this day. For twelve years, Persistence in Diversity proves that this program is not merely a symbol for NYD – it’s a living cultural attempt.

Dance as a Tool to Materialize the Ideal

Ideally, diversity is an inevitable part of human nature. We genetically differs – from the place we live, our roles in society, perspective, and way of thinking. Even an identical twin are different, be it physically or personality. Yet, in reality, we can’t seem to grasp the notion; we still see diversity as something that stands outside ourselves. We have been avoiding, fighting, and destroying those differences. This is the reason why we need persistence so that we can achieve the supposed-to-be default ideal.

Through its form, dance (like any other form of art) has the ability to “materialize the ideal”. In visual art, for example, one can materialize his wildest, most idealistic imagination. Furthermore, dance (and music) has the ability to promote diversity in social life – strengthening social bond, and the same thing with break dance [click here to read a brief history of Breaking culture]. Besides giving an opportunity to “fight” and “kill” without victims, break dance also promotes respect and enriches the individuals and community. Dance also contains elements that can be treated as a powerful educational tool because, according to Sacred Bridge Foundation’s view, art is the only thing in the world that can ‘un-compartmentalized’ every field of study.

El Sistema, when music is a social solution to the street children in Venezuela | Youtube

With such immense ability, it is only logical to think that dance must be supported regardless the condition for the sake of the nations and a better world. The fact is, support for dance (and other arts) is huge in Western countries. In Europe, arts are fully supported by the governments of respective countries, while in the US philanthropists are very keen to become a patron. Take a look at Broadway; this institution was born because many young investors known as angel investors invest their money in performing arts.

Europe and US strongly support arts because they understand the significance of art in their society. But such immense support does not stop the artists to quit fighting. On the contrary, they keep on moving and not giving up in their endeavor to materialize their ideal – with or without support. This is what makes arts in Western countries keep evolving, because both the artists and supporters are aware of their roles.

The closing dance, choreographed by Andhini Rosawiranti | Photo Courtesy of Namarina Dance Academy

To applaud the hard work of Namarina and NYD to materialize their ideal, it is only right if we close this article with the quote from the Dancing for the Future documentary: “Persistence is beyond physical endurance. It’s a mental state.”


English Translation by Riri Rafiani


Defining Tradition of Sound Culture: Questioning the Importance of Authenticity | Essay by Guoda Dyrzyte

Foreword from Listen To The World

Many people regard Western music as highly precise music with no space for improvisation – the absence of freedom. Is it true? Before we jump into conclusion, we should have a proper understanding of what is Western music tradition (particularly classical, a Western tradition that started when science emerged in the Renaissance period).

The reason why many people assumed what I mentioned above is because Western classical music tradition is closely related to mathematics that set up the rules. With that said, mathematics actually only helps this musical form to have its basic structure – without eliminating the freedom to improvise. In fact, there are many forms and methods of Western classical music tradition that recognize freedom. Take a look at fantasia form and music arrangement in classical music, for examples.

Fantasia or fantasie is one of the compositions of classical music that signifies freedom where total improvisation is taking place. This form is used as a counterbalance to strict musical form. Meanwhile, music arrangement is a re-interpretation of a composition that is recreated using different musical approach (in terms of melody, harmony, structure development, orchestration, and so on), while at the same time retaining the main theme of the original work. In other words, both rules and freedom are maintained proportionally in the Western classical tradition.

From time to time, Western classical music tradition has been evolving; one of its latest developments (together with African-American tradition) is rock music that emerged in the 60s. Rock music has adopted many elements of its predecessor more than we know. It adopts classical music notation system, formation, instruments, forms (such as rondo form) and so on. Such “transmission” can be seen in music arrangement of Bach’s Fugue in D Minor by Progressive Rock band Egg, among others.

This little insight into classical music perhaps would help you understand the following article better; an article on a comparative study between Japan and Western Classical tradition.


Defining Tradition of Sound Culture: Questioning the Importance of Authenticity | Essay by Guoda Dyrzyte

by Maria Papadomanolaki

“In the future varying cultures will be unified and, assisted by technology, eventually we will have a global culture” [1]

It is difficult to talk about contemporary sound culture or cultures in general, their traditions and heritage while living in the age of post-globalization. Every culture has in one way or the other adopted different aspects of other cultures, and by slightly transforming them, made them part of their own heritage. Japan is one of the best examples for such a phenomenon, since this country already has ages worth of history of adopting cultural elements from other Asian countries and the west, transforming foreign ideas and making them part of their own unique heritage.

With the never-ending exchange of cultural heritage in the age of today’s global world, is it actually possible to define tradition and boundaries between? It also raises a question about the cultural identity, if all cultures borrow different aspects from other cultures and add to their traditions, do they automatically become their own heritage?[2] Or maybe Japanese composer Toru Takemitsu was right, and we are already living in a global culture where ancient traditions as we understand them do not have any meaning anymore, and exist just as a tool to tell nations apart.

An interesting aspect of Japanese culture is that it is like a sponge which absorbs other cultures’ heritage. Japanese borrowed many of Korean and Chinese traditions and adopted as their owns. At that time Japan was a closed country and no one from the West could go there. After the Second World War Japan was invaded by the United States of America, and the Japanese people started to think of the USA as the new center of the world. They started borrowing cultural elements from the states and using them to expand their own culture, e.g. J-pop and the avant-garde movements which influenced Japanese composers and experimentalists. The Japanese viewpoint to their own heritage (which from a western point of view is very unique) and its transformation within years puts into the consideration that nothing is original and all of the ideas are taken from somewhere. As Jean-Luc Godard once noted: “it’s not where you take things from — it’s where you take them to.”[3] The acceptance of such a fact becomes one of the key differences between Japanese and Western cultures approach to sound.

In Western cultures there is a concept of the genius creator that just magically gets an idea and makes a piece of music that it is completely his/her own. The fact that humans are influenced by environment is ignored most of the time. This leads into exploration of different ways of how Asian and Western cultures see music and its tradition. In West cultures, traditional music is seen as recreation of the past, it is completely separate from the present which is represented by a variety of modern music. In Japan modern music is played in the same way as the traditional music, using the same approach and understanding that music is not meant to be appreciated but to transport one to another dimension; to overcome our physical limitations and understand that everything is part of everything else and is constantly interlinked.[4]

An interesting collaboration called Kintsugi happened between Kakushin Nishihara, Serge Teyssot-Gay and Gaspar Claus, where west and east tried to come together as one global culture and explore boundaries between modern and traditional music. The base of this project – Kakushin Nishihara does not meet expectations of traditional Japanese musician. She is an exceptional traditional Japanese vocalist and biwa player. She also has lots of tattoos, has a very free style of dressing, and she is a child of our times. As Gaspar Claus described her, she is a reincarnation of this modernity and tradition process, but the best thing is that she is not even conscious of this, she does not represent something, this is what she is.[5] The instruments that are used in this project are cello, guitar and satsuma biwa. This set up is not as unusual as it may seem at first. Since nowadays it is quite popular to use exotic instruments in western music. However what makes this case slightly different is the way that the instruments are used. There is no strict score provided; it is more a group improvisation based piece rather pre-composed. It is very close to Japanese approach to music, where the freedom is given to the performer to improvise within the frame of a composition instead of empowering the composer.

Japanese music gave freedom to a performer in the form of graphic notation. These ideas would be difficult to sew into a classical score, as this would allow a pristine repetition of the piece. Music notation can be seen as another major difference between Japanese and Western approach to sonic culture. “Western music is all about searching for perfection while repeating successful composers; meanwhile Japanese music is all about creating new things by yourself.”[6] A classical score is a great, time-checked way to preserve music for the future generations. Of course, currently there is a variety of advanced recording technologies which allow people to hear recorded sounds exactly the same way countless times. It is worth keeping in mind, however, that the first sound recording device was invented just by the end of the 19th century. This means that without classical or traditional scores current cultures would not have an opportunity to reproduce and hear works of such renowned composers like Mozart, Beethoven or Tchaikovsky. Still, this poses a series of questions: why is it important to seek a complete perfection and precision to repeat a composition which has been played multiple times? Why is it so important to write notations which are strict and hardly leave freedom to the performers to improvise? The answer to these could be that in Western cultures people with power generally want to have authority over others, and in this situation the composer is the one who is in power and takes control over the performers as all that is needed is an instrument to produce a piece.

In the Japanese music, and oriental music in general, there is an opposite side. A notion of dominating music is for performers rather than for composers. Scores are not that precise and give improvisational freedom to a performer. Graphic notation in Japan has existed for ages. The oldest music style is called Gagaku and it is still to this day written by using shodo [7] and graphic notation which is not as mathematically based as Western notation. [8] Even though gagaku could be seen as too anachronistic for our contemporary world, some ideas are worth borrowing, for instance, sounds should be free from rules of music which contain formulas and calculations; music should have a freedom to breathe. “Rather than on the ideology of self-expression, music should be based on a profound relationship to nature – sometimes gentle, sometimes harsh.”[9] Music suffers when sound is refined by ideas rather than having an identity of its own. Since “music is shaped by many environmental conditions, collective movements of thought and theory, political events and cultural shifts, not simply by a lineage of narrow musical influence”[10], flexible graphical score makes that music always relevant for narrative time. There is a need to start valuing quality of sound, nature and spirituality more than an economic profit, fame and perfectionism. Oriental music provides a mirror that allows Western music to reconsider itself.[11]


  1. T. Takemitsu, Confronting Silence: Selective Writings. Tr. Yoshiko and Glenn Glasow. Berkeley:
Fallen Leaf Press, 1995, p. 59.
2. S. Tanaka, Japan’s Orient: Rendering Past into History, Los Angeles: University of California
Press, 1995, p. 112.
3. J.Jarmush, Things I’ve learned: Jim Jarmush. 13 June 2013,
4, 5. G. Sedita, Vincent Moon, Filmmaker and Explorer of the Invisible, 30 November 2016,
Vincent Moon, Filmmaker and Explorer of the Invisible
6. Conversation with Benas Sarka by author, 2016 December, Vilnius, Lithuania.
7. Shodo – Japanese calligraphy.
8. B. C. Wade, Music in Japan: Experiencing Music. Expressing culture, New York; Oxford: Oxford
University Press, 2005, p 34.
9. T. Takemitsu, Confronting Silence: Selective Writings. Tr. Yoshiko and Glenn Glasow. Berkeley:
Fallen Leaf Press, 1995, p. 4.
10. D. Toop, Into the Maelstrom: music, improvisation and the dream of freedom, New York: Bloomsbury
Academic, 2016, p. 151.
11. J. Corbett, ‘Experimental Oriental: New Music and Other Others’, in Georgina Born and David
Hesmondhalgh, Western Music and its Others: Difference, Representation, and Appropriation in Music,
Los Angeles: University of California Press, 2000, p. 169.

About Guoda Dirzyte

Guoda Dirzyte is a Lithuanian-born experimental musical instruments designer, composer and sound artist. Guoda’s work is mainly orientated towards exploring world music and sound culture. It focuses on the approach to life and communication rather than cultural industry, and critically examines the Eurocentric approach towards musical culture traditions.


This article was originally published on Sonic Field. Read the original article