Sachs/Drool’s Forgotten Lingua Franca Enactment


SUNDAY 30th JANUARY 1PM at 1/1 61 West Princes Street
Culled from the salvages of Biblical and Talmudic refuse, Sachs/Drool have concocted a compendium of dead words, a forgotten lingua franca awaiting re-discovery, which they molded into a three part participatory, interactive, electroacoustic vocal workshop/performance. An introduction to this world of haunted folklore, they will unravel some of the underlining processes that lurk in the background of this work. With words like Melach, Idna, and Azikim.

Below is what they will be doing the night before:
This month PRIMATE ARENA is coming over to the UK for a string of shows, workshops and talk.PRIMATE ARENA is Israel’s first consistent platform for a wide palette of experimental and improvised music. Hosted by Eran Sachs and Alex DROOL, PRIMATE ARENA is a bi-weekly freeform happening for experimental & out muzak events (mostly in Tel Aviv), dedicated to Psych, EAI, Noise, Speech/Sonic/Concrete Poetry, Avant Rock, post millennial obscurities, pre millennial obscurities, the history of 20th century experimental music & other adventurous ventures. Over the past three years they have created a platform – central to Tel Aviv’s now vibrant, thriving scene – that has nurtured a community of adventurous local musicians including Maya Dunietz and Yoni Silver and hosted visiting internationals such as Adam Bohman, , Jérôme Noetinger, Arnaud Rivière, Ignatz Schick, Daniel Padden, Bob Ostertag and many others. Primate Arena encompasses a regular performance series a number of ensembles and a radio programme.

This is an overview from a recent lecture by Eran Sachs:
From the surface below Tel-Aviv might seem like Manhattan: it aspires upwards, its
horizon is vertical, its gaze is focused towards the top of the corporate pyramid. But while
the oh so familiar New-York skyline actually mirrors its essential neurotic spectacular
nature, making it equally attractive to fundamentalists-with-wings and brokers-on-the-
rise, the typical architecture of Tel-Aviv, as well as the dominant visual embodiments of
its urban culture, transmit a categorically different kind of schism.

Tel-Aviv is a hedonistic city, caught in an endless party. Aptly conveyed in the works of
media artist Ran Slavin, Tel-Aviv is an Insomniac City – it flows day and night,
incessantly, fusing manic nightlife and real-estate frenzy. It exemplifies a Dionysu-centric
character that is seemingly ex-placed, detached from the engulfing conflict zone,
oblivious to all but its own dynamic.

But the matter of fact is that it is a thriving metropolis located at the heart of an on going
war zone, in a society which has experienced the vicious circle of wars, occupation, terror
attacks and violent counter-reactions. The experience of terror, of suicide bombers and of
fear, is constitutive to the psychodynamics of the Israeli reality, as is the obscure notion
of threat, of being chased, of being under-siege. The defense mechanisms are stern,
active, powerful – both on the national level and on the individual level. Avenge But One
of My Two Eyes, the latest film by Israeli documentarist Avi Mograbi accurately traces
just how deep this mentality of “siege” runs. The ongoing effects of facing extreme
situations obviously give rise to multiple phenomena expressing states of anxiety and of
panic. Israel is not a happy place, and the society is far from joyous. This is the reason for
the crude language of public media; it is why Israel lacks a real Pop culture; this why
there is a strong link between the Zionist movement and Goa Trance parties.

Still, the driving life-force in Tel-Aviv is immense. But the Party cannot look the War in
the eye. Confronting the actual stressful reality is counter-Dionysic (and bad for business)
and therefore a non-option. Accordingly, the inherent underlying processes of the city are
those of denial: repression, assimilation, sublimation. The prevalent typography in Israel,
for example, apparent in deigns for the most successful signs and logos, expresses the
hidden effectiveness of the logic of military symbols. The schizoid nature demands that
the City turn a blind-eye, in a manner that has by now become a Zionist hallmark: see, but
do not see. Tel-Aviv is the first Zionist city, and as such, the original false representation,
the romantic dismissal by the Zionists who regarded its neighboring Palestinian city of
Jaffa as an “empty, abandoned city”, has by now multiplied itself as a plethora of blind-
spots: there is no terror, no war, no occupation. Everything is OK. Let us build further.

During the last war, even as missiles were landing on Israel’s Northern and Southern
cities, the stock market did not even flinch. In the words of sonic artist Finkelstein, Tel-
Aviv typifies The Art of Escapism. In Jaffa, this ignorance-by-choice serves as the
breeding ground for crude and merciless gentrification. The most successful industry in
Israel is naturally that of security, celebrated by the monumental erection of a
questionable wall, an industry which operates to ensure that the party goes on,

One can, nevertheless, point to subversive and critical positions taken by individuals and
political organizations. Active stand can interrupt the automatic workings of the dominant
code. In so far as “noise is a weapon” (Attali), one can recognize different tactics of
reaction taking by artists who are engaged in Noise music. Culturally, Noise is often
referred to as a genre of “ultimate hedonism”; conversely, in a hedonistic society
characterized by schizophrenic escapism, Noise offers a form of involvement, both
emotional and political. In our lecture, we shall survey different tactics of Noise and the
utilization of sound within subversive works in Israel, presented within their specific
social context.

David Oppenheim & Eran Sachs

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