#marloeggplant

[femalepressure]

Marlo De Lara: academic, artist, psychosocial studies, film and sound, cultural studies

marlodelara.info

[marlodelara]

“Marlo hails from Baltimore in the US and our good fortune in having her currently resident in the UK rests on her Leeds-based PhD studies. Expending energy on multiple fronts, Marlo created the internationalist Ladyz In Noyz compilation series that began in 2008, the related documentary forming part of our film programme in 2016. She’s also a regular speaker and workshop presenter on subjects relating to the challenges to DIY, feminism, marginalized populations, and music/music technology/music industry. Amongst all this, she finds time to make music and appear at a range of mouthwatering international festivals, her music often borne of barely perceptible tones and textures that slowly bloom and erupt via the use of autoharps, contact mics, vocals and loops.“

http://tuskfestival.com/artists/marlo-eggplant/

[marlodelara]

LFTMX_20_Marlo Eggplant

Marlo Eggplant is a Leeds based artist we've wanted to hear a mix from for a real long time. As the curator of the Ladyz in Noyz collective and owner of record label Corpus Callosum she has consistent

[marlodelara]

Digital interactive game installation at Titwrench Stockholm festival 2014, Fylkingen, Stockholm, Sweden.

https://titwrenchstockholm.tumblr.com/2014

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(live) improv curated by marlo de lara / marlo eggplant

what defines an improvisation? an improvisation is defined by the Oxford English Dictionary (2014) as: 1. to create and perform (music, drama, or verse) spontaneously or without preparation 2. to produce or make (something) from whatever is available

in order to perform or create media, a level of preparation is required and with that certain level of intention to be spontaneous or ‘improvisational’. this piece plays with concepts of intention, interaction, and virtual community. by entering into the exercise, the participant becomes part of an international improvisational community, activating the media improvisation. the improvisation requires both the media artists from across the globe and the participant.

the exercise (in a nutshell): the participant rolls the dice. each corresponding artist is then played to create an improvisational sound/film interaction. artists have submitted two minute or less films or sounds.

Contributors with corresponding file numbers: Khorsun & Kisbali (Moscow, Russia) – “Aliboy” – song clip – 13 Megan Moncrief / Lazurite (NY, USA)  – videos and sounds – 3,7,8 Bonnie Mercer (Austrailia) – guitar loop - 9 Rosalind Hall (Austrailia)– rosalind-hall.com - Saxophone, spring tube extension - 16 Rebecca E Davies (Brighton, UK) – “#FFFFFF” - video - 5 Donna Brown / Poundland (Seattle, WA, USA) – videos - 4 Kate Fear (Blackpool, UK) – “Chicken Feed” – song clip - 12 Sarah McWatt /Psoas (Leeds, UK) – “alto” - flute, breath, vocal improvoisation - 15 Daria Ramone (Leeds, UK) – drone - 10 Jesika McEvoy (Seattle, WA, UK) – old television/radio sample – 14 Freudian Slit (Brighton, UK) – “Hands” – vocals - 11 Marlo de Lara / Marlo Eggplant – videos: field recordings and sample – 6,1,2 Ingrid Plum (Brighton, UK) – “Letting Go” – recorded live performance - 18

[marlodelara]

PRJKTR Issue 003

Yasmin Mobayad / Bonnie Sanders / Oscar Ronan _____ Candy Brat / Wolfkid 666 / Jack Jeasche / Alexandra Bell _____ Courtney Ward / KUBU Studio / Marlo Eggplant / Eamon Donnoley.

online archive of interview during the Ladyz in Noyz Australia tour of 2016 with Soraya Mobayad.

[marlodelara]

Call: Marlo Eggplant (Leeds, UK/ Baltimore, MD)

Responses: Chrisie Caulfield (Leeds, UK) Furchick (Perth, Australia) Marya Errin Jones (Alberquerque, NM, USA) Nuyulu Callejas (Brooklyn, NY, USA) Nelly Khorsun (Moscow, Russia) Marisa Demarco (Alberquerque, NM, USA) Monica Isabel Sanchez (Washington D.C.) Ingrid Plum (Brighton, UK/Denmark)

The musical pattern/technique of 'call and response' is useful to the understanding of the mutual practices of feminist collectives. The roots of 'call and response' in musical discourse lie within a framework where a leader presents a space for democratic direct interaction by introducing a line of music/sound/words. An immediate aural reaction is returned in kind, signifying the singular expressions of reciprocation/accordance/enquiry invoked from members within the performance space.

In this film, a call was made out to the international 'Ladyz in Noyz' collective, a virtual collaborative network of women practitioners in experimental musics and sound arts. The network functions as a frame or 'the leader' in which all that participate are acknowledged and counted as unique and integral voices to the whole community. The initial call/performance was sent out to members and responses were culled in this audiovisual collage. In addition to being a document to the ideals of the 'Ladyz in Noyz' network, this film exemplifies the ways music and feminist networking can be demonstrated, heard, and seen.

The film premiered at Tusk Festival 2016 and at the Women in/on Sound June 2016 gallery.

A film review by Tristan Bath was published in The Wire, December 2016, Issue 394.

Another review can be found here: International Call and Response: Ladyz in Noyz | Yeah I Know It Sucks

[marlodelara]

"I think people have an emotional relationship to music so when you take it out of the category of it needing to sound like "what music sounds like", and it's about the DOING of sound, "sounding" - everyone knows how to make a sound." - Marlo DeLara

Yorkshire Sound Women Network SWN in collaboration with Catalyst: Festival of Creativity presents "Live Looping and Effects Pedals" with Sarah Statham and  Marlo DeLara aka Marlo Eggplant. Marlo and Sarah explained how to use looping pedals and apply effects to different instruments, and encourage participants to experiment and improvise with these new techniques.