Zeynep Ayşe Hatipoğlu and Fulya Uçanok are both performers, improvisors, composers and artist researchers. Both began with a conservatory education, and later set-off to explore contemporary, experimental and non-conventional sound worlds. Their paths crossed in 2016 at Istanbul. Since then, they have been hooked on sounding together.
Debut album, Released in 2023 February: Nine Stages of Not Arriving
SAVT is an improvisation trio (Tanbur- Merve Salgar, Cello-Z. Ayse Hatipoglu, Classical Kemence- Elif Canfeza Gündüz) based in Istanbul and Strasbourg. Since their foundation in 2015, the trio has formed a repertoire bringing together improvisation and contemporary written music. Consisting of tanbur, classical kemençe, and violoncello, SAVT seeks new ways to create a unique musical language that expands the taksim tradition and encourage new music composition for traditional instruments.
Klank.ist ensemble is a meeting spot for improviser/composers since 2019. Participants experience creative processes that ranges from improvisation to individual composition, with different weights of decision-making through collective production frameworks such as semi-planned improvisation, comprovisation, open form and free improvisation. Common principles such as transformativity of the process, re-negotiating hierarchy, aesthetic flexibility and diversity, openness to interdisciplinary collaborations aims both continuity and outward interactivity.
Current members// Eda Er, Aslı Kobaner, Fulya Uçanok, Zeynep Ayşe Hatipoğlu, Merve Salgar
This practice-based research project will explore experimental music practices of Middle Eastern female sound artists; its title —‘Heya’or هي means ‘she’ in Arabic. It folds around three cities Cairo, Tehran and Beirut, which were the nuclei of the Arab and Green Springs of 2011 and subsequent protests in 2019; have also been a hotbed of subversive music ever since. It is my hypothesis that experimental music such as phonography (field recording based sounds) and computer-based music, produced by women in these coinciding yet disparate contexts is concomitant with their political activism. There is a paucity of written work on these artists, their experiences and motivations. This research aims to reveal this activity and elucidate the resilience and significance of breaking from sonic norms as a mode of resistance and community-building through recorded technologically mediated, as well as live music.
Co-creation, a collective artistic practice, and exploiting nonverbal communication inherent in musical improvisational composition will enable an exchange of experience and knowledge rarely mobilised by traditional research methods. Networked Music Performance will form a considerable part of the practice because of the democratising nature of this collective creative process (see Knotts 2015:50).
The project is lead by Jilliene Sellner and has been granted Chase DTP funding as a PhD supervised by Holly Rogers and Iris Garrelfs at the Music Department at Goldsmiths University, London from Autumn 2020 (previously guided and supervised by Thor Magnusson and Mimi Haddon at the University of Sussex)
Futured Artists: Nour Sokhon, Yara Mekawei, Z.Ayse Hatipoglu