Free Jazz III. Sound. Walks.
The sound of the harmonium is tightly woven into the history and culture of Bangladesh, but for artist Reetu Sattar, it is not just an instrument. In her performance piece Harano Sur (Lost Tune), she uses it as a way to explore the violence and social upheaval which has affected her home country in recent years.
A film documentation of a performance involving a physical structure, 33 musicians and 29 harmoniums with 4 shehnais, Harano Sur (Lost Tune) connects observations of losses to completely ambiguous mental states, consciously manifesting a collective feeling of powerlessness amidst deteriorating socio-political conditions that are slowly decaying.
Reetu Sattar (Bangladesh) works in Dhaka and Berlin. Her interdisciplinary practice encompasses live performance, documentation and objects as archival memories in an effort to re-examine history and human perception. Her search of a new language as response to the empathetic mind reaches her to working inside seemingly impossible spaces, allowing for contents to be emergent rather than determined as the body negotiates repetition, disruption, meaning and memory. She has presented her work at the International Film Festival Rotterdam, Liverpool Biennial, and Dhaka Art Summit, among many other venues. Her performances have been staged internationally at venues in London, Birmingham, Bangkok and Goa.
Image: Reetu Sattar, Harano Sur (Lost Tune), 2017-2018. Documentation of performance at the Dhaka Art Summit, 2018, co-commissioned by Samdani Art Foundation and the Liverpool Biennial in association with the New North New South and the Archaeology of the Final Decade. Photo by Pranabesh Das. Courtesy the artist.