Mekawie too says being part of this “musicians’ team” has been amazing, and that she has high hopes for the dubplate studio’s future.īasel Nazmi is one of the participants who have been trained to use the dubplate studio and will be manning it after Kishore has gone back to Denmark. Miriam Nessler, who plays recorder and came across the call for participants by chance on the 100Copies Facebook page, says she’s now thinking about making electronic music, having not been into it before. On Saturday, after their new track is recorded and transferred to dubplate onstage, Kishore will grace Cairo with another performance of his own, billed as “sounds of avant-garde ghetto dance from Denmark and India.” Kishore then brought the performers into the piece one by one. The participants had discussions during each break, deciding who should play what and when. Three used laptops, while others used a recorder, a drum, vocals, and a loudspeaker. In the laughter-filled rehearsal, seven of the participants stood on stage and performed two seven-minute “compositions of improvisation,” as Kishore puts it. The group, initially split into two, has now reunited in preparation for Saturday night. A video of what they’ve been doing can be seen here. Four full records have been made so far, Kishore says. The first day of the workshop was spent recording, and after that they were mainly confined to the dubplate studio, learning how to digitally master sound specifically for records, and about the procedure of cutting the mastered sound onto a dubplate. Kishore says that whether produced out of a desire to control people’s brainwaves or to cut up dialogue from old Egyptian movies, all this sound production should not be lost – which is where records can come in. While one person sought to hypnotize people, another aimed to destroy music. While initially a selection process was planned, in the end, Kishore says, they didn’t feel it was appropriate to exclude anyone.īur says that on the first day, when Kishore asked the participants to describe their relationship to music, the answers were pretty diverse. Musician, artist, and curator Yara Mekawie, a participant who has performed previously at 100Copies, says it was “super news” when she heard that vinyl cutting would be possible in Egypt again. These 12 had responded to an open call issued by 100Copies and DEDI. Some participants have worked together before. Heba Rifaat is a professional vocalist, for example, and Nouran Sherif and Ola Saad are sound and visual artists. The 12 workshop participants are of varied backgrounds, but each has their own artistic practice. “We’re going to transfer the entire dubplate studio to the stage,” he says. Kishore has been in Cairo running a training workshop that started on 5 December and finishes on Saturday night with the live performance of a five-minute track that will then be mastered and cut in front of the audience. “This is the sort of thing that makes me love my job,” says Muna Bur of DEDI, explaining that the institute’s idea of civil society is pretty broad. Later in 2011 DEDI issued a call for proposals on the topic of civil society and transition, and Refaat and Hari proposed setting up a sister studio to the Kommunal Dublate Service in Egypt, where apparently there is no vinyl pressing business still functioning.
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