Feature Film Program
The Maribor Uprisings: A Live Participatory Film
Politics has moved into the streets. In Maribor, you must decide how you’ll participate.
Free
Fri Jun 16 8:00 PM
The Film
The Maribor Uprisings: A Live Participatory Film
Maple Razsa, Milton Guillén | USA, Slovenia | 90
In the once prosperous industrial city of Maribor, Slovenia, anger over political corruption became unruly revolt. In The Maribor Uprisings--part film, part conversation and part interactive experiment--you are invited to participate in the protests. Drawing on the dramatic frontline footage from a video activist collective embedded within the uprisings, you begin in Maribor as crowds surround and ransack City Hall under a hailstorm of tear gas canisters. As a group, you must choose which cameras you will follow and therefore how the events will unfold. Like those who joined the actual uprisings, you will decide between joining non-violent protests or following rowdy crowds towards City Hall and greater conflict. These events stand as an example for any number of ideological stand-offs today. What sparks outrage? How are participants swept up in—and changed by—confrontations with police? Could something like this happen in your city? What would you do?
Performer
Orakel
Orakel is an electro-acoustic project of Kora/oud player/sound artist, Kane Mathis and tabla player/poet, Roshni Samlal, who began their collaboration at the Brooklyn Raga Massive. Using electronic compositional elements of sound design, field recordings, and drones, synthesized by composer Kane Mathis and writing by Roshni Samlal, they create a newly cinematic context for traditional elements of Indian classical percussion and Kora repertoire. Both traditions contain philosophies of improvising within rhythmic structures and Orakel explores the ways in which each tradition’s canon is complimentary to the other’s. All of the compositions are based on shifting “taals” or rhythmic cycles found in Indian classical music that mathematically resolve into other cyclical material. The kora adds its own idiomatic rhythmic statements called “kumbengo” to the interaction. Breaks and arrangements draw alternately from both traditions.
