Under temaet EPIPHANY har den aarhusianske festival for ny musik og lydkunst, SPOR, offentliggjort det fulde program for sin 2017-udgave.

Det engelske ord "epiphany" kan bedst oversættes til dansk som åbenbaring, men dækker også over manifestationer af noget overnaturligt eller magisk. På SPOR 2017 udforsker man gennem temaet små fortryllelser, der er i clinch med hverdagen.

Det kommer i programmet til udtryk gennem forskellige situationer, der erobrer de rum, hvori hverdagslivet udspiller sig og kaster nyt lys over de mønstre og rutiner, som knytter sig til det daglige liv.

»Eksempelvis laver Ea Borre og Sandra Boss et værk, som tager udgangspunkt i en kendt situation – en gademusikant, som sidder og spiller – det er noget man bumper ind i, når man er i sit almindelige hverdagsliv. Men de vender, drejer og strækker det, så de ender med noget, som bliver en lille bobbel af magi, som både har den her kendte hverdagslige følelse, men som samtidig sætter sig fuldstændigt ud over den«, forklarer den ene af festivalens kunstneriske ledere Anne Marqvardsen.

Værket hedder Sustained Effort og gør brug af en akkordeon-lignende lydskulptur af ekstreme fysiske proportioner, der bliver en del af en offentlig performance i Aarhus' byrum.

Ligeledes laver den polske komponist, performer og kunstner Jagoda Szmytka en syv dage lang performance, hvor hun bor i et udstillingsrum til frit skue for offentligheden. Og således bidrager programmet på forskellig vis med små performative, der rummer åbenbaringer.

»Der er en meget stærk personlighed i årets tema og i de værker og kunstnere, som er blevet inviteret indenfor, og som er blevet udvalgt. Det, der generelt kendetegner SPOR er, at der altid er en ret stram kuratering og tematik, som tegner festivalen rigtigt meget, uanset om vi gør det solo, eller om vi gør det sammen med en gæstekurator. Vi inviterer ikke bare de kunstnere og ensembler ind, der alligevel turnérer i maj måned«, pointerer Anne Marqvardsen.

SPOR er født med idéen om at have en ny kurator hvert år. I 2007 var det Anne Marqvardsen og Anna Berit Asp Christensen, der vandt kuratorkonkurrencen. Året efter indtrådte de som festivalens direktører og har siden givet kuratorstafetten videre til vægtige danske komponister som Bent Sørensen og Simon Steen-Andersen, til udenlandske udfordrere som Joanna Bailie og Jennifer Walshe eller fællesskaber som f.eks. det belgiske Nadar Ensemble, der kuraterede festivalen sidste år. Men på tiåret for deres debut kurateres festivalens program atter af direktørparret Marqvardsen og Christensen.

»EPIPHANY er også et tema og en overskrift, der relaterer sig personligt til det arbejde vi selv har haft med festivalen. Det er vores tiende festival i år, og på en måde tror jeg der ligger en grundforståelse for os begge to af, at vi har arbejdet så utroligt eksperimenterende med den her festival, og vi har valgt at lave så mange ting, som var ukontrollérbare og uden at vide, hvad det ville ende med. Det har affødt de her bittesmå åbenbaringer eller magiske ting, som vi ikke kunne være sikre på. Så der ligger også noget personligt i det tema i forhold til, hvordan vores egen rejse har været med den her festival gennem 10 år«, fortæller Anna Berit Asp Christensen.

Efter at have vokset sig til den institution, den er i dag, har SPOR kræfter til at realisere flere og mere ambitiøse tiltag. Det afspejler sig eksempelvis i projekter som SPOR New Music School, hvor der under festivalen de seneste to år er blevet komponeret samtidsmusik og lydkunst af musikskoleelever på 11-15 år. Men festivalens udvikling ses også i musikprogrammet:

»Alt, hvad der er på programmet, er noget vi holder af på en helt særlig måde, og som betyder rigtig meget for os. Men der er ingen tvivl om, at jeg er rigtig stolt over, at vi i år kan præsentere en meget stor Manos Tsangaris-produktion. Han er en utrolig anerkendt figur på ny-musik-scenen i hele Europa, og man har aldrig haft en Tsangaris-produktion i det format før i Danmark«, afslutter Anna Berit Asp Christensen.

SPOR finder sted i Aarhus 8-14. maj på forskellige lokationer i Aarhus.

Læs mere på festivalens hjemmeside.

© Søren Fiil Vesterbak

»Music for me can do something very special. It brings people together in shared experiences, but it can also be a very personal mental tool. Personally, I use music all the time – to create energy on a run, to create concentration for work tasks, or to find peace in stressful situations, such as in the dentist's chair. And of course to create joy and a good mood. Music is always an essential ingredient in good memories.«

Rikke Andersen has been at the helm of SPOT Festival since January 2024. With a background as a venue manager and booker at Fermaten in Herning, she has solid experience from both the creative and organizational side of the music industry. She has previously worked in the record industry, been deeply involved in marketing and communication, and has had a hand in several cultural projects.

© Mike Højgaard

»Music, to me, is an open road to adventure, where anything can happen. Music, to me, is a freedom that holds all emotions. Music, to me, is the most private thing and something many can share. Music, to me, is incomprehensible, enlightening, entertaining, religious, philosophical, vibrating, magical, and the strongest force I know. Music, to me, is something that makes me aware of life. Music, to me, is a free bird.«

Gustaf Ljunggren is a Swedish musician and composer based in Copenhagen. His works are often driven by a desire for introspection and immersion in a noisy world. In 2026, Gustaf Ljunggren releases the album Along The Low Road, created in collaboration with the Icelandic musician Skúli Sverrisson. Ljunggren has contributed to hundreds of releases as an instrumentalist and arranger, and over the years he has worked closely with Emil de Waal, CV Jørgensen, Steffen Brandt, Sofia Karlsson, DR Pigekoret, Eddi Reader, Anders Matthesen, and many more. For the broader Danish public, Gustaf became a familiar face when he served as bandleader on Det nye talkshow on DR1, hosted by Anders Lund Madsen. Since 2011, Gustaf Ljunggren has been the driving force behind SPOT Festival’s concert series Naked.

© Ida Sofie Skov Larsen

»Music for us is a way to create a connection and community with other people.« 

Although Schæfer has only released three singles so far, the band has already made a mark on the Danish music scene. The duo and their friends, Anna Skov (vocals) and Emil Mors (keyboards), write socially relevant, subtle and humorous songs that point fingers at both the outside world and themselves.

in brieflive
13.03

I Am an Empty High-rise, Where the Pain Sits in Every Wall

Ensemble Lydenskab, Martin Ottosen, Ulla Bendixen, Gerd Laugesen & residents at the social-psychiatric housing facility Sønderparken: »Everyone Leaves Traces«
© Phillip Jørgensen
© Phillip Jørgensen

It is both difficult and unfair to approach the concert Alle sætter spor (»Everyone Leaves Traces«) with a critical mindset. It concerns real people with something at stake and with their hearts invested: residents at the social-psychiatric housing facility Sønderparken. They placed their inner lives in the hands of six artists and thus became co-creators of a total of nine songs, which premiered at Museum Ovartaci.

The project Musikalske alliancer (»Musical Alliances«) is simultaneously art, research, and relief. A co-creative endeavour intended to give a voice to people within psychiatry. The result was songs marked by banjo-tinged gallops, painful violin stabs, empty houses filled with inconsolable crying, torn torsos and deep, lingering bow strokes – but also hope, care, and softened edges. Acting as mediators of these life experiences were the poet Gerd Laugesen, three musicians from the ensemble Lydenskab on cello, violin and guitar, as well as pianist Martin Ottosen and vocalist Ulla Bendixen from the electro-folk band Sorten Muld.

It was a capable group that delivered a high musical standard. Even so, it seemed as if this important project succeeded with its co-creation and its conversations, but perhaps not entirely with its artistic expression. Was it because the lyrics were filled with clichés? Or rather because the entire staging felt somewhat inward-looking – almost like a school concert? Despite Bendixen’s wonderfully airy and expressive vocal, the performance felt strongest in the few segments shaped by poetry readings. Yet I had to learn, by indirect means, that the poems were adaptations, while the song lyrics were the residents’ own words. And those were the voices I was meant to learn to listen to.

in briefrelease
13.03

When Joik Meets Drill

Zak Norman & Charlie Miller: »Takkuuk«
© PR
© PR

The Greenlandic word Takkuuk means »attention«, and it is the slightly ironic title of one of the more chaotic projects at this year’s CPH:DOX. The film is a collaboration between visual artist Zak Norman, film director Charlie Miller, and the Belfast-based electronic duo BICEP, and it also features seven musicians from Kalaallit Nunaat and Sápmi. In other words, a multitude of voices and agendas are at play, and the project clearly bears the marks of that.

The process leading up to the film sounds more interesting than the work itself. Norman and Miller travelled around the Arctic, seeking out musicians and researchers while filming glaciers and ice. The film’s seven young musicians then entered the studio with BICEP to create a shared soundtrack: a kind of club-oriented remix of seven very different practices, ranging from drill and heavy metal to joik, throat singing and drum dance. It might have been fascinating to follow those encounters, but instead the film takes us in another direction.

The editing shifts between a documentary strand of interviews and a surreal music-video aesthetic, where specially built cameras pan across the surface of the ice, bathing it in coloured filters referencing the northern lights and club lighting. In the interview track, the participants are allowed to steer the conversation themselves, which sends it in many directions. We touch on the spiritual undertones of traditional musical expressions, and here one would have liked the film to linger longer. One intriguing sequence explains how drum dance relates to the performer’s heartbeat, and how that rhythm is almost the same as the pulse of drill. More of that, please.

In a subsequent talk, the filmmakers explained that the work was originally produced as an audiovisual installation for five screens. That makes sense and might have worked better. Considered as a documentary film, Takkuuk is fragmentary, chaotic and directionless, which is a shame, because the young musicians seem to have much more to offer.

»Takkuuk«, Zak Norman & Charlie Miller (UK), 2025 (67 min). Screenings: 12, 17 and 19 March