BIO FROM: http://syrphe.com/c-drik.html
Composer, musician, mastering engineer, author, independent researcher, concert organiser, curator who operates in the field of noise, electronic and experimental music since 1989, born in Zaire (DR Congo). Lives in Berlin (Germany). Lived in Belgium and the Netherlands. Explores electronic, experimental and noise music from Asia and Africa, label manager at Syrphe, radio host at Radio Staalplaat, 88vier/Colaboradio and Boxout.fm, member of bands such as Axiome, Tasjiil Moujahed, Cedrik Fermont + Marie Takahashi, Tasjiil Moujahed, Salims Salon, Ambre, and many more.
Thanks to the internet Cedrik discovered more non-western music and artists not commonly featured in the written histories he had to study at university. He wanted to explore deeper than the traditional western sound artists such as Schaeffer and Stockhausen.
Cedrik discusses a particular show he performed in Turkey, where the audience were mainly musicians interested in sharing their work with him. Focused on punk, industrial and breakcore. Following on from his journey in Turkey, Cedrik continued his exploration to Thailand and Vietnam hoping to unearth Eastern Electronic and experimental music not previously published in a catalogue. He believes nothing was ever published on these particular countries.
As we know up until recently Sound Art and Experimental music has been primary focused on the West. In the seventies and eighties things were published on psycho-acoustic.
We and the media have created a block between non-western music and art. This pushed him to travel more and document as much as he could through note taking, interviews, radio shows, pictures and running his own label focused on putting out specific music from specific environments.
- Download his FREE PDF that discusses worldwide Sound Arts.
- Explore http://syrphe.com/c-drik.html for a database on African and Asian sound artists, really cool 😉
GRANTS:
In the beginning he never needed the help of a grant as he could afford his own travels. He wasn’t well connected either so getting a grant would have been a much longer process. Cedrik was interested in a more DIY approach.
I like the fact he analyses the pros and cons of grants, for in the art world grants are almost a stepping stone to being more respected. However he dislikes the urgency and capitalist thinking in which you must have a ‘real’ reason to do something and that there will be a form of ‘profit’.
Networking is essential
Cedrik and Annie published a book on Sound Arts in South East Asia, primarily focused on the music coming from the Philippines that was not reaching a Western audience. They showed awareness as neither of them were locals and were exploring the ‘scene’ rather than living in it. Cedrik was concerned that they would miss people out so decided to publish the book for only a small amount of money.
Continuing this idea, Cedrik wanted to update and reshape the history of Sound Arts but in an economically inclusive way. Like many art books that have staggering price tags, Cedrik doesn’t see the point as it closes off opinions from the people that may not be able to afford it. He wanted people from South East Asia to become involved in his work by reviewing, commenting, point out mistakes etc. He takes an almost guerrilla approach to publishing.