Heya. Performing Agency: women, networks and experimental music and sound in Cairo, Tehran, Istanbul and Beirut

该项目将探讨中东女性实验音乐艺术家的实验音乐实践与政治和社会机构之间的联系。Heya是一个基于实践的研究项目，使用协作方法来平衡研究人员和受试者之间的角色，音乐创作中固有的非语言交流提供了传统研究方法无法获得的经验和知识的交流。女性主义音乐学家探索性别、噪音和女性主义表演等主题，几乎只限于欧洲和美国的主题。Heya将通过作曲，表演和社区建设来调查中东女性作曲家的文化和社会状况。塔拉·罗杰斯对女性主义音乐话语的研究试图否定“现有文化秩序的再现”。计算机文化的语言（以及音乐制作）继续嵌入诸如“主”和“从”，“控制器”，“命令”，“触发器”和“砰”之类的词。根本没有一种现有的共同语言来以任何真实的方式使电子音乐和实验音乐去殖民化。这种缺乏有意义的语言意味着女性主义音乐学和民族音乐学以及阿拉伯现代主义的学者大多未能融合，从西方以外从事音乐实践的女性的经验中产生本体论。现代主义和ME中的“先锋派”往往与该地区的政治机构难以区分。现有的在线网络在整个中东地区都很容易进入，加快了音乐的传播，在整个地区建立了跨国团结。这些网络激发了人们对“另类”音乐形式的兴趣（安德森，2006年，第57页）。通过网络（特别是在Youtube上）制作和分发的深奥的，实验性的，噪音和金属，或公开或地下现场播放，是反对流行文化（和霸权）或机构“环境”的“反叛”和“行动主义”的行为。ME女性研究中的当代跨学科话语正在发展和跨学科。自阿拉伯之春和伊朗绿色运动（波斯之春）以来，在这些以穆斯林为主的国家（埃及、伊朗和黎巴嫩）的各种社会和政治背景下，对性别、革命和国家建设之间关系的理解将成为开展协作工作的整体基础。2019年的革命运动和当权者的反应将对这些地区的女性艺术家产生重大影响，因此也会对本研究产生重大影响。本项目将探索为电子和实验音乐创作开发一种新的非殖民化描述语言，这反过来将为本项目和该领域内外的话语提供信息。这一点很重要，在理论上也很重要，因为所使用的语言和方法将产生音乐学、ME女性研究和更广泛的音乐文化（包括电子音乐制作语言）方面的基本（目前缺乏）知识。该项目将增加对ME中妇女的数量有限的比较研究，揭示现代化和全球化对ME中性别角色的影响，并对ME中妇女及其与技术和全球网络的关系的知识做出重大贡献。Heya的学术观众包括实践研究者，民族音乐学家，音乐学家。从ME中涌现的音乐项目，如埃及女性实验音乐，平行波斯和伊朗实验音乐已经引起了欧洲媒体的关注。Heya将通过CTM柏林、Mutek、NTS Radio、Resident Advisor、The Wire、The Guardian和Quietus等平台引起广泛观众的兴趣，这些平台都有类似的项目，但往往以男性艺术家为主。

This project will explore connections between experimental music practices with political and social agency for Middle Eastern female experimental music artists. Heya is a practice-based research project that uses collaborative methods to balance roles between researcher and subjects, and nonverbal communication inherent in musical composition provide an exchange of experience and knowledge not accessed by traditional research methods. Feminist musicologists exploring subjects like gender and noise and feminist performance, are almost exclusively limited to European and American subjects. Heya will investigate the cultural and sociological situation of women composers in the Middle East through composition, performance and community building. Tara Rodgers' approach to feminist music discourse has sought to negate "the reproduction of an existing cultural order". The language of computer culture (and therefor music production) continues to be embedded with words such as "'master' and 'slave', 'controller', 'command', 'trigger' and 'bang'". There simply isn't an existing common language for decolonising electronic and experimental music in any real way. This lack of meaningful language has meant that feminist musicology and ethnomusicology and scholars of Arab modernism have mostly failed to merge to yield ontologies from experiences of women outside of the West who engage music practices.Modernism and the 'avant garde' in the ME are often indistinguishable from political agency in the region. Existing online networks, readily accessed throughout the Middle East, expedite the transmission of music creating a transnational solidarity across the region. These networks stimulate an interest in 'alternative' musical forms (Anderson 2006, 57). Esoteric, experimental, noise and metal produced and distributed over the web (particularly on Youtube) or played live, either publicly or underground, are acts of "rebellion" and "activism" positioned against popular culture (and hegemony) or deterritorialization of institutional "milieus". Contemporary interdisciplinary discourse within ME women's studies is evolving and interdisciplinary. An understanding of relationships between gender, revolution and state building within the diverse social and political contexts since the Arab Spring and Iranian Green Movement (Persian Spring) in these predominantly Muslim countries (Egypt, Iran and Lebanon), will form an integral basis from which the collaborative work will be done. The revolutionary movements and responses by those in power in 2019 will have a significant impact on female artists in those regions and therefore on this research.This project will explore developing a new decolonised descriptive language for electronic and experimental music composition which will in turn inform this project and discourse in the field and beyond. This matters and is theoretically significant because the language and methods used will generate essential (currently absent) knowledge in musicology, ME women's studies and music culture more broadly including the language of electronic music production. The project will add to the limited number of comparative studies of women in the ME, bring to light the effects of modernism and globalisation on gender roles in the ME, and make a significant contribution to knowledge about women in the ME and their relationship with technology and global networks. The academic audience for Heya includes practice based researchers, ethnomusicologists, musicologists.Musical projects emerging from the ME such as Egyptian Female Experimental Music, Parallel Persia and Experimental Music from Iranian have already attracted attention in European media. Heya will be of interest to a very broad audience through platforms such as CTM Berlin, Mutek, NTS Radio, Resident Advisor, The Wire, The Guardian and Quietus, which have all featured similar projects, though often with a predominantly male artist bias.