Dr Bridget Rennie-Salonen, flautist, and practitioner and researcher in Performing Arts Health, is Postdoctoral Fellow at the Africa Open Institute at Stellenbosch University. She is chair of the steering committee of the South African Performing Arts Health Association and is a core member of an international research collaboration, the Musicians’ Health Literacy Consortium, on musicians’ health education and health literacy. Bridget’s PhD focused on musicians’ occupational health curriculum content, implementation, and assessment. The methodology was Interpretative Phenomenological Analysis. She is also interested in the field of somatics and the interaction of the psychological, physical, and artistic aspects in performing artists, from preventative, therapeutic, and performance optimisation perspectives. Bridget also lectures part-time at the Stellenbosch University Music Department. She is highly sought after as a flute teacher, and many of her students have excelled in competitions and in overseas studies, won scholarships for study abroad, and now teach and perform, several occupying positions in South African orchestras. A very well-known performer in multiple genres, Bridget has appeared as soloist with several South African orchestras. As the Solo Principal Flute of the Cape Town Philharmonic Orchestra, she was the recipient of the prestigious Ben & Faye Carklin Award for Artistic Excellence. Recent awards include Fiesta, Silver Ovation, Fanie Beetge Academic Prize, and Oppenheimer Memorial Trust awards. Bridget is the principal flute of the Cape Town Festival Orchestra, permanent guest principal with the Free State Symphony Orchestra, and Baroque traverso flautist with the Camerata Tinta Barocca.
Claudia is a post-doctoral fellow of the National Institute of Humanities and Social Sciences and is hosted by the Africa Open Institute. She completed her PhD in Musicology at Stellenbosch University in 2017, under the supervision of Prof. Stephanus Muller (Musicology) and Prof. Thomas Cousins (Cultural Anthropology). Her doctoral research focuses on varying strategies of musical settlement and migration in the Western Cape. Claudia is initially trained as a cellist and classical singer and is also an experienced vocal ensemble and choral singer. In 2008, she was accepted as foreign student at the Gnesin State College of Music in Moscow, Russia to pursue masterclasses. After returning to South Africa, she served as the Treasurer for the South African Society for Research in Music (SASRIM) and on the Society’s Publications Committee. She has experience as a part-time lecturer at the Stellenbosch University Music Department.
Claudia’s interdisciplinary work continues the research interests set out in her PhD. dissertation by connecting the legacies of settler colonialism in South Africa to issues of musical ownership in a project entitled ‘Of Music and Land: Settler Colonialism and the Politics of Artistic Ownership and
(Re)location’. Her other research interests include the relationship between settler colonialism and Christianity in South Africa, music and migration, and apartheid music censorship under the South African Broadcasting Corporation (SABC).
Claudia’s publications include a chapter on the composer William Henry Bell in a volume published by Routledge entitled Archiving Settler Colonialism: Culture, Race, and Space and edited by Yu-ting Huang and Rebecca Weaver-Hightower (2019) and an article on SABC censorship from 1986 to 1996 in Muziki: Journal of Music Research in Africa (2016). In addition, Claudia has presented research papers and presentations in South Africa and the United States.
Marietjie Pauw holds an Andrew Mellon-funded postdoctoral research position with Africa Open Institute for Music, Research and Innovation at Stellenbosch University (South Africa) for the period 2017–August 2020. She is a visiting scholar and artist in residence at Stellenbosch Institute for Advanced Studies (STIAS), as part of a duo research project with sonic and visual Khoi artist activist Garth Erasmus (October–November 2020). Marietjie’s PhD in artistic research (2015) examined perspectives on interventionist curating in classical flute music concert practice, using geo-political aspects of landscape as lense for curations. She has published articles in Ellipses (online journal), Herri #1 (online journal), Herri #4, Acta Academica, LitNet Akademies, Journal of the Musical Arts in Africa, South African Music Studies, NewMusicSA Bulletin, Perspectives of New Music (forthcoming) and Oxford Artistic Research (forthcoming).
Marietjie has commissioned and premièred many South African flute compositions, and performed on national festivals. With musicians Ilse Speck, and Barbara Highton Williams, she has performed in Ulm, Germany, and Princeton, USA. Since 2015 her improvisatory work with Garth Erasmus has explored openings into decolonial aestheSis, site-specific aspects of music-making, and interventionist curating amidst publics, institutions, art, history and music-making. The documentary films Kreun, (Aryan Kaganof, 2016), Khoisan ghost kreun (Kaganof, 2016), Nege fragmente uit ses Khoi’npsalms (Kaganof, 2018), Suiwer in Blauw (Kaganof, 2018) and Sewe, Joubert Straat (Kaganof, 2019) comment critically and respond artistically to Marietjie and Garth’s music-making. Through collaborating in improvisatory sonic events, Marietjie and Garth explore aspects of socio-politics, music, and technology amidst contingent contexts. Audio pieces of their sonic collaboration can be heard on Greg de Cuir Jnr.’s online exhibition for Media City Film Festival (Detroit-Windsor) at https://mediacityfilmfestival.com/dark-dark-gallery/, available August 27–September 27, 2020.
Mellon postdoctoral researcher musician at Stellenbosch University www.aoinstitute.ac.za [Bio]
Flute coach, Stellenbosch www.johnmanmusiccentre.co.za [Bio]
Visiting artist residency https://stias.ac.za/ideas/projects/xnau-xnau%e2%81%80gemp/ [Project outline]
Something in Return (online audio exhibition 27 August–27 September, 24 sound pieces improvised by Marietjie Pauw & Garth Erasmus) 2020. https://mediacityfilmfestival.com/dark-dark-gallery/
Improvising Khoi’npsalms (article) 2020. http://www.ellipses.org.za/project/khoinpsalms/
Improvising Khoi’npsalms (article) 2020. https://herri.org.za/4/marietjie-pauw-garth-erasmus-francois-blom/
The strain of the voice in Michael Blake’s Umngqokolo (article) 2020. Perspectives of New Music
What do we learn from listening back to Khoi’npsalms? (article) 2020. Oxford Platform for Artistic Research (OAR), Issue 4
Justinian Tamusuza: An African Festivity for solo C-flute, and Michael Blake: Umngqokolo for solo alto flute (audio, compact disc&online, AOI CD 04) 2020.
Trois Pièces pour quatre Flûtes en Ut by Bozza, (audio, Tamássy Flute Hour) 2020. https://www.facebook.com/113579030401359/videos/323835378745362/
Gluck, Lovely fields so gentle troubled (audio, Tamássy Flute Hour) 2020. https://www.facebook.com/113579030401359/videos/2144828428995574/
Alto flute head improvisation (audio, with Garth Erasmus) 2020. https://www.facebook.com/113579030401359/videos/279727599953258/
Under my fingers (Busking album, audio, 77’) 2020. Flute M Pauw, Edit P-H Wicomb.
“Die Land”-musiekvideo: Mites en nostalgie (opinion piece) 2019. https://www.litnet.co.za/litnet-akademies-weerdink-die-die-land-musiekvideo-mites-en-nostalgie/
Life writing 7 Joubert Street (article) 2019. https://herri.org.za/1/marietjie-pauw
Kaganof, Sewe, Joubert Straat (film, 12’) 2019. https://herri.org.za/1/marietjie-pauw
Kaganof, Suiwer in Blauw (film, 22’) 2018. https://vimeo.com/276730238
Kaganof, Nege fragmente uit ses khoi’npsalms (film, 21’) 2018. https://vimeo.com/260032997
Reverberations of Poerpasledam (article) 2017. https://www.litnet.co.za/reverberations-poerpasledam-flute-piano-arnold-van-wyk/
Musicking Poulenc’s ruins in Stellenbosch (article) 2017. https://journals.ufs.ac.za/index.php/aa/article/view/3352
An African Festivity (article) 2017. https://www.tandfonline.com/doi/abs/10.2989/18121004.2017.1321233
Mapping music and musicking (Paper: SASRIM Conference proceeding publication 2017)
Spirit by Michael Blake, with improvisation, played by M Pauw and A Osborn (video, At face value, SANG, Iziko Cape Town. Video D Osborn). 2017. URL forthcoming
Domicilium by Pierre-Henri Wicomb (audio, versions for flute, saxophone and trumpet) 2017. https://soundcloud.com/wicomb/domicilium-123-excerpts
Kaganof, Khoisan ghost kreun (film, 16’) 2016. https://vimeo.com/181203686
Kaganof, Roesdorp naklank (film, 4’) 2016. https://vimeo.com/197036312
Roesdorp (curation, with Garth Erasmus, event documents) 2015. https://www.newmusicsa.org.za/kreun.html
The flute becomes a gun (article) 2015. https://journals.co.za/content/journal/10520/EJC-551bc0690
PhD in artistic research through music (dissertation and video links) 2015. https://scholar.sun.ac.za/handle/10019.1/97579
Kaganof, Threnody for the Victims of Marikana (film, 27’) 2014. http://vimeo.com/110378819
Fofa le nna, Two flutes compact disc by M Pauw and B Highton Williams, Die Burger (Wayne Muller, review) 2013. https://www.netwerk24.com/Vermaak/Pauw-en-Williams-vlieg-en-vleg-met-fluite-20130804;
Fofa le nna, Two flutes compact disc by M Pauw and B Highton Williams, The Flutist Quarterly (Julie Koidin, review) 2013. https://search.proquest.com/openview/e27e16f384d854f6c7fda251826210e7/1?pq-origsite=gscholar&cbl=26252;
Fofa le nna, Two flutes compact disc by M Pauw and B Highton Williams, National Flute Association, New Products, 78 (review) 2013. https://www.nfaonline.org/docs/default-source/fq-issues/2013summerc5ab2e78e818448cbe3d3f495f355f02.pdf?sfvrsn=eaf115dd_0
Incantesimo by Hendrik Hofmeyr (audio on compact disc recording, Fofa le nna) 2012.
Ainsi qu’on oit le cerf bruire by Hendrik Hofmeyr, chamber cantata: Marianne Serfontein, soprano; Marietjie Pauw, flute; Anmari van der Westhuizen, cello; Bennie van Eeden, piano (Hendrik Hofmeyr discography, Sunset Recording Studios/Huguenot Foundation of South Africa) 2002. https://en.wikipedia.org/wiki/Hendrik_Hofmeyr
Kokopeli by Katherine Hoover and Dance of the Blessed Spirits by CW Gluck (audio booklet Afrimusik Dreamcatcher) 2000. http://www.musiques-regenerees.fr/Bloch/Disques/Afrimusik03.html
Volkswagen Stiftung Research Fellow and Project Leader of the Hidden Years music archive (Hidden Years).
Dr Lizabé Lambrechts is a Volkswagen Stiftung Research Fellow, partnered between Africa Open, Institute for Music, Research and Innovation (Stellenbosch University), the School for Oriental and African Studies (University of London), and the British Library and Archive. She completed her PhD in 2012 on five South African music archives as sites where embedded notions of power and politics become visible. After being appointed as the project leader of the Hidden Years music archive project she obtained training as an audio-visual archivist at ICCROM, an affiliate of UNESCO. She serves as the Vice Chair of the South African Society for Research in Music (SASRIM).
Her Ph.D. research was focused on investigating five music archives in South Africa as sites where embedded notions of power and politics become visible. This work was an attempt to situate music archives within the recent critical discourse on archives and processes of archive making, a discourse wherein the music archive was mostly absent. Employing self-reflexive ethnographic methodologies combined with a rigorous theoretical framework, allowed for a wide range of theoretical explorations about notions of politics, community, crises, storytelling, apparatus of capture, loss and being lost in the archive. In addition, this work incorporated a critical interrogation of archival methodologies such as the creation of inventories, catalogues, classifications, chronologies, descriptions, numbering systems and finding aids to explore the mechanisms of the archive that serve to institute and maintain power. This study revealed that archival processes, individuals, institutional spaces and contexts, function within an intricate web that is continually working towards creating the archive.
During her post-doctoral work, she has published and worked with a variety of media and contexts in order to explore notions of archive, its impact on the present and our understanding of the constructions of history. Some of these projects include the collaborative exhibition project “Lingering absences: Hearing landscape through memory” (2013), a collaborative sound installation “As you are standing here” (2016), and a performance piece, “Archive in Process” (2016), wherein the daily life and routine of an archivist was performed in front of a window where passers-by could view and interact with the various processes that determine archival collections.
Through pursuing interdisciplinary work spanning music and culture studies, history, curatorship and archival science, her work locates its civic responsibility both in terms of the past and the present. Whereas her work is historically concerned with re-inscribing marginalized voices into the historical record, it is also aware that institutional and personal archives harbor the potential to reinvent and to look at things anew.