Why improvising? What does it mean ‘free/open improvisation’? Are there cultural, social, and political implications in our artistic paths/proposals? Everything started from these three questions: by evidence, not so simple ones.
This year the Sons Libérés festival - organised by the INaudible Collectif - will be 10 years old, while our Collective itself has already blown up more than 30 candles in a long time! In fact, it was founded by Guy Strale, with a group of friends, in the Eighties. Today, Guy is still the president and the backbone of the Collective, some of those friends switched to another kind of music, or to another life... In 2005, INaudible gave birth to the first Sons Libérés festival.
And here we are: after ten years full of good music, battles to get the little money that make us going forward, new encounters and many rapid disappearances... but the world changes, you know… the hair of some whitening, others no longer have the same energy, but all we keep unchanged the desire to improvise and, in doing so, to improve, enrich the spirit, nurture friendships, discover new things...
These are - among others - the reasons why we decided to dedicate Sons Libérés 2015 to the Artivism and to decline this issue starting from a reflection on time (Tempo al Tempo): the different perceptions we have of it; the need we all have to give us the time to decide what is really important and what is not; the time to think about how to use - for example - the new communication technologies without being overwhelmed by them...
A reflection on time: time seasons, working time, time to oneself, etc. Time faces nowadays an exploded temporality and a source of conflict, a social and personal discomfort to which music the real art of the time, and especially improvised music so directly related to experienced musicians, cannot avoiding to face.
To contribute doing so, during Sons Libérés 2015 the INaudible Collective and our guests will bring some of the sounds/images collected OUT in the city into the place where we improvise (IN) and vice-versa. IN/OUT will play a certain dynamics combining music, video, dance, visual, poetry,social and personal issues.
In short, to quote Tim Hodgkinson’s important words:
“Every artistic practice, and perhaps anything to be defined as 'a practice', also has an immanent history. By this I mean that it doesn't only get shaped by external factors but filters and draws in stuff from the outside that is grist to its own mill. The 'mill' of free improvisation is a particular aesthetic practice that generates a very wide field of possibilities in which the ear moves between, within, and against, not only the different things that are being sounded, but also, and in a way much more importantly, the very many more different things that might have been sounded but never are. A music of decision! So that if free improvisation is to survive, it is only by feeling its way forwards, taking this and rejecting that, according to what works best within this aesthetic process that defines it as a practice. Neither the material nor the technology that's drawn into the process can define the process. Neither do 'historical' allegiances to different kinds of material. Not the music of a community, but the community of a music.” [Does Free Improvisation Have A Future?, London, November 2010]
“Not the music of a community, but the community of a music.”
So it is with this spirit that we will welcome all of you joining us in Brussels at Atelier Mommen (Rue de la Charité 37) on 6-7 November and at La Quincaillerie du Temps Present (Rue du Viaduc 66) on 8 November for the Festival Sons Libérés 2015 – Tempo al Tempo.