the coll­ec­ti­ve

Sound­ing Situa­tions deve­lo­ps high­ly inno­va­ti­ve music thea­ter whe­re the per­for­mers and musi­ci­ans, the audi­tive and the audi­ence meet in both phy­si­cal and ima­gi­na­ry space for artis­tic action. Their pro­jects crea­te moments whe­re poli­ti­cal art, cur­rent ques­ti­ons of our socie­ty, rea­li­ty, uto­pia, and artis­tic magic mer­ge into a mul­ti­laye­red art­work.

Often the group works bet­ween count­ries, con­ti­nents, and cul­tu­ral boun­da­ries in trans-tra­di­tio­nal expe­ri­ments hence over­co­ming chal­lenges and reve­al­ing the beau­ty of our shared human exis­tence.

Isn’t that what poli­ti­cal­ly moti­va­ted art is sup­po­sed to do—open up per­spec­ti­ves?

And isn’t that what art in gene­ral should do, at least on an aes­the­tic level?

[field notes maga­zi­ne on Rwandan Records release]