Basée entre Berlin et Le Caire, Kamila Metwaly est une journaliste et curatrice dont la recherche se concentre sur le champ musical. Elle a travaillé dans les champs radiophonique et cinématographique, tout en ayant une présence importante sur les scènes culturelles et activiste du Caire pendant plusieurs années. Depuis 2014, elle a publié dans plusieurs journaux égyptiens consacrés à la musique. En 2017, elle a rejoint SAVVY Contemporary où elle est actuellement en charge du projet curatorial sonore « Untraining the Ear: Listening Sessions. » Elle a été impliquée dans plusieurs projets d’expositions consacrés au son et à la musique comme « What Has All This Got To Do With Coconuts And Rice: A Listening Exhibition on José Maceda » et « We Have Delivered Ourselves from the Tonal: Of, With, Towards, on Julius Eastman ». Elle a co-curaté l’exposition rétrospective « The Dog Done Gone Deaf: Exploring The Sonic Cosmologies of Halim El-Dabh » avec Bonaventure Ndikung à la Dak’Art Biennale au Sénegal (2018), et “The Long Term You Cannot Afford. On The Distribution Of The Toxic” (2019). En 2020, elle a lance et co-fondé SAVVYZAAR, une radio indépendante de SAVVY Contemporary, avec Arlette Louise Ndakoze, Kelly Krugman et Bonaventure Soh Beijing Ndikung. Elle a été chercheuse invitee à l’édition 2021 du Donaueschingen New Music festival et a rejoint l’équipe de la DAI Roaming Academy avec Akinbode Akinbiyi.
Dans son travail curatorial et ses recherches sur les arts sonores et la musique expérimentale, Metwaly revient constamment à la question : qui écoutons-nous? A travers diverses manières d’aborder l’écoute, elle tente de ré-imaginer un monde égalitaire qui écoute au plus près l’ensemble voix-corps-esprit et qui défie les histoires colonials, racists, oppressives, sexists que les histoires sonores charrient. Travailler avec le son, l’oralité, l’acousmatique ne revient pas seulement à souligner l’importance de la politique de l’écoute, mais aussi à proposer d’activer l’oreille en tant qu’organe politique des histoires corporelles. Pour plus d’informations, cousultez les sites:
https://www.savvy-contemporary.com/en/events/2018/untraining-the-ear-listening-session-no-7/
https://savvy-contemporary.com/
Kamila Metwaly is a music journalist, and curator based between Berlin and Cairo. Metwaly founded an independent arts and culture publication in Egypt, which specialized in music, arts, and cultural writings, from 2004 to 2009. Later, she worked in radio and the independent film scene, maintaining a strong presence in Cairo’s cultural and activist scenes for many years. Since 2014, Metwaly has specialized in music journalism for various independent Egyptian and Arab publications. In 2017, Metwaly joined SAVVY Contemporary and is currently curating an ongoing sound project titled « Untraining the Ear: Listening Sessions. » She has been involved with various sound-based exhibition projects in the space, including « What Has All This Got To Do With Coconuts And Rice: A Listening Exhibition on José Maceda » and « We Have Delivered Ourselves from the Tonal: Of, With, Towards, on Julius Eastman » and has co-curated a retrospective exhibition « The Dog Done Gone Deaf: Exploring The Sonic Cosmologies of Halim El-Dabh » with Bonaventure Ndikung at the Dak’Art Biennale in Senegal (2018), The Long Term You Cannot Afford. On The Distribution Of The Toxic (2019). In 2020 she has launched and co-founded SAVVYZAAR, an independent and free radio of SAVVY Contemporary, together with Arlette Louise Ndakoze, Kelly Krugman and Bonaventure Soh Beijing Ndikung. She has been appointed as a guest music researcher for the Donaueschingen New Music festival 2021 edition and joined the tutors team at DAI Roaming Academy together with Akinbode Akinbiyi.
In her work, Metwaly returns constantly to the question: Who Do We Listen To? which becomes a cue to her curatorial work and a long-term investigation into histories of sonic arts and experimental music. Through various approaches to listening listening, Metwaly attempts to re-imagine an egalitarian world that listens closely to the voice-body-mind nexus that challenges the colonial, the racist, the oppressive, the sexist and the aggressive histories that sound histories carry. Working with sound, the aural, and the acousmatic does not only stress on the politics of listening, but also becomes a proposal into activating the ear as a political organ of bodily histories.
https://www.savvy-contemporary.com/en/events/2018/untraining-the-ear-listening-session-no-7/https://savvy-contemporary.com/