What happened during 2015?

Watch the video!
Project 05

Report 2015

Festival Programme

Concerts & Times
Project 01

Festival Programme

FRIDAY April 10th
Opening Concert
Surround Perspectives

SATURDAY April 11th
Baroque Perspectives
Panel discussion
Perspectives Beyond

SUNDAY April 12th
Panel discussion
Closing Concert

details
12.30
16.00

details
13.00
14.30
16.00

details
14.30
16.00

Composers

Project 02

Composers

For this years festival we have selected a wide variety of non normative composers, ranging from 17th Centrury to present day.

Participants

Project 03

Participants

Amandine Affagard - theorbo
ATOS-Trio
Samira Aly (Tegel Quartet) - violoncello
Erika Buchholz - soprano
Nestan Bagration-Davitashvili - piano
Andrew Crooks - piano
Sara Ferrandez - viola
Marta Forsberg - electro acoustics
Daniela Gubatz - baroque violin
Thomas Hoppe - piano
Ulrike Ködding - traverso
Siri Landgren - performance
Eunjung Lee - piano
Estelle Lefort - soprano
Jia Lim - harpsichord
Paul Livingston (Tegel Quartet) - viola
Karin Lovelius - mezzosoprano
Isabella Lundqvist - soprano
Kajsa Magnarsson - electro acoustics
Mark McNeill - piano
Fiona-Maraike Nakamura (Tegel Quartet) - violin
Anastasia Nikolova - soprano
Johanna Oelmüller-Rasch - baroque cello
Marie Radauer-Plank - violin
Jayne Stark (Tegel Quartet) - violin
Bonnie Wagner - piano

What is Specs On?

Specs On! International Feminist Art Music Festival is aiming to create a platform for art music with a clear gender related focus.

Festival Concept

With queer theory as a starting point we are inviting you to an annual art music festival, with the assumption and hope that we will increase variety on the international art music scene and make other, more seldom heard stories be told.

In a series of chamber music concerts we will present works of non-normative composers ranging from baroque to contemporary electro-acoutics that easily could fit into the repertoire. We will also hold discussions with representatives from different parts of the music world; intendants, music professors, music teachers of varying teaching level, composer and musicians to bring the structural problems into light.

Not necessarily all participants will be women. The importance lies in showing pieces that do not belong to the norm or continue to reproduce the power structures already in place within classical music.

Background – why now?

Being one of the most segregated and gender stereotypical environments in the world, the field of classical music continues to avoid the issues of gender structures. The repertoire in itself and the decisions on new commissions are clearly gendered.
Female art music composers as well as composers with non-normative reference frames or onsets are still played to a lesser extent than their normative (male) equivalents.
Gender differences are huge when grants and prizes were awarded, shows a survey from Swedish National Radio. Of all the repertoire performed by Norwegian orchestras in 2013, only 0,055% was composed by women. During the past couple of years the Swedish Royal Philharmonics have had women conducting only 3% of the time. The prestigeous orchestras, like Berliner Philharmoniker and Wiener Staatsoper, have even openly discriminated women. Statistics from Bachtrack shows that of the Top 150 Conductors of the world, we find 5 women (3,33%) and the top list of composers we have to go down to place 260 to find 5 women. The list can go on and on.

While the current order of power is hiding behind unfounded statements about "The Quality of High Art" and how this concept of Quality cannot and should not be subject to political intervention, the general discussion often seems to land in the question of quotation.
For Third Wave Feminists that question is subordinate to the discussion of a widening of perspectives, an increased awareness of, discussion of and the ultimate change of gender related power structures.
In classical and contemporary art music that would more concretely mean a widening of the perspective of how quality in music is defined and questioning the current power structures that defines these and similar concepts.
The art music scene would be further vitalized if we dare to show a broader variety of views beyond those already in the norm.

This festival should have happened years ago. This should have been the consequence of the women rights movement in the early 1900s, or the second wave feminism during the 1970s. Even though the number of female composers and conductors have increased over the years, the discussion around why they don't reach the top segment of their discipline is missing. We need a thorough and broad debate of cause and consequence with our gender spectacles firmly put on.

Time and location

In 2015 the festival will take place over a weekend Friday 10th through Sunday 12th of April, at the me Collectors Room, one of the largest privately owned galleries in Berlin. Between December 2014 and August 2015 they show the feminist exhibition Queen Size, consisting solely of art made by women.

Put your gender specs on!

Emil Roijer
Artistic Director
Sina Ural
Producer

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