{"id":151098,"date":"2025-09-02T13:06:57","date_gmt":"2025-09-02T11:06:57","guid":{"rendered":"https:\/\/www.humboldtforum.org\/?post_type=event&p=151098"},"modified":"2025-09-02T13:07:01","modified_gmt":"2025-09-02T11:07:01","slug":"pagtatahip-winnowing","status":"publish","type":"event","link":"https:\/\/www.humboldtforum.org\/en\/programm\/termin\/opening\/pagtatahip-winnowing-151098\/","title":{"rendered":"Pagtatahip – Winnowing"},"content":{"rendered":"
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The artist and composer meL\u00ea yamomo<\/strong> draws from a constellation of sonic sources.\u00a0Archival recordings\u2014of a Malay soldier held in a WWI German camp intoning loss in captivity; of indigenous Kalinga soundscapes captured by early twentieth-century European composers amidst the aesthetic fervor of musical Orientalism; of a Filipino librarian in 1920s Berlin voicing anti-colonial poetry; and of a Javanese dancer on European tour cantillating the Panji epics\u2014resound from Berlin\u2019s Phonogrammarchiv and\u00a0Lautarchiv<\/span>\u00a0as living traces on exile. These spectral voices intermingle with contemporary field recordings by meL\u00ea and his brother Jay\u2014lullabies, intimate murmurs between father and son, and echoes from a Southeast Asian village once called home. Together, they form an entanglement of dislocation and return, where the sonic debris of colonial encounter intertwines with familial memory, inviting a listening across an entire century.<\/p>\n

The title Pagtatahip<\/strong>\u2014a Tagalog word for the traditional act of winnowing rice\u2014offers a guiding metaphor. To sift is to separate, but also to circulate: to let histories rise, scatter, and settle anew. This becomes both the conceptual and compositional ethos of the piece.<\/p>\n

concept und composition: meL\u00ea yamomo<\/em><\/p>\n

spatial sound design: Nico Daleman<\/em><\/p>\n

Curation and dramaturgy: Jay Yamomo<\/em><\/p>\n<\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t\t <\/div>\n<\/section>\n\n

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Participants<\/h2>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t<\/div>\n<\/section>\n\n\n\n\n
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meL\u00ea yamomo<\/strong> has lived in Lucena City, Los Ba\u00f1os, Manila, Seoul, Bangkok, Warwick, and Munich, and currently resides between Amsterdam and Berlin. He is an Assistant Professor of New Dramaturgies, Media Cultures, Artistic Research, and Decoloniality at the University of Amsterdam, a member of the Amsterdam Young Academy, and author of Sounding Modernities (Palgrave Macmillan, 2018). He is the project leader and principal investigator of the EU-JPICH project Decolonizing Southeast Asian Archives (DeCoSEAS), and the Dutch Research Council project \u00bbSonic Entanglements\u00ab. meL\u00ea is the fourth winner of the Open Ear Award, the most prestigious composer prize in the Netherlands, and one of the 2020 KNAW Early Career Awardees, by the Netherlands Royal Academy of Arts and Sciences. He is also a resident artist at Theater Ballhaus Naunynstrasse where his creations Echoing Europe, sonus, and Forces of Overtones are on repertoire. meL\u00ea curates the Decolonial Frequences Festival and hosts\/produces the Sonic Entanglements podcast. In his works as artist-scholar, meL\u00ea engages the topics of sonic migrations, queer aesthetics, and post\/de-colonial acoustemologies.<\/p>\n<\/div>\n <\/div>\n <\/div>\n\t\t<\/div>\n\t\t <\/div>\n<\/section>\n\n

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