Liliane Chlela presents the world premiere of 'I; the hybrid and the antidote' at LGW24

I, the hybrid and the antidote portrays the particularities of being part of a diaspora, when it comes to the way an artist’s work and identity are considered by others. Music genres play a significant role in shaping the informal work of different cultures, and its impact on gender and social inequalities is enormous, be it within the diaspora or externally. Norms, criteria, and geographic distinctions within genres are not constant, and can evolve as a result of social, cultural, and economic interplay. But as music genres traverse different cultures, sonic expectations and biases tend to persist. This results in rigid, restricted, and uncritical preconceptions of geographical identities within genre-based communities.

In diasporas, representation in music helps preserve and celebrate the sonic heritage of communities, but at the same time, the exoticisation of music genres perpetuates stereotypes, limits opportunities for “underrepresented” groups, and erases the contributions of marginalized communities to musical genres and subcultures. Chlela:

“Many of these communities face the challenge of preserving their cultural traditions in the face of assimilation and cultural homogenization. Festivals and music events can help keep traditions alive and promote intercultural exchange. However, a counterproductive phenomenon is the exoticisation of music genres that confirm stereotypes and erase the uniqueness of communities and their traditions.”

Portrait of Liliane Chlela seated in an industrial space

I, the hybrid and the antidote finds Chlela delving into sound design, electronic beatmaking, and artistic collaboration in an effort to forge her own path and to advance a complex dialogue about the politics and pains of migration. At its core, the project consists of a series of “Phases” in which she works with regionally-specific rhythms and scales, analyzing and dissecting them using synths, field recordings, and her computer. Intricate rhythms snap and ricochet in unexpected directions. Grainy streaks of distorted noise intermingle with mutated samples and haunted synths, creating an atmosphere of transfixing tension. Born out of spontaneous improvisational creation, the tracks bring to life an inner logic of vulnerable feelings and sonic musings.

But the project doesn’t stop at just these recordings. To truly create the antidote to a bifurcated existence, Chlela will turn to a group of multi-instrumentalists and multi-disciplinary collaborators: Utrecht’s innovative ensemble Flare Quartet; Egyptian musician, producer and violinist Nancy Mounir; Beirut’s multi-instrumentalist, video artist and puppeteer Yara Asmar; Lebanon-born, Montreal-based recording engineer, producer and musician Radwan Ghazi Moumneh (Jerusalem In My Heart).

A collage of three photos: Radwan Ghazi Moumneh performing live at LGW; Yara Asmar performing for a COSMOS Embassy Film and Nancy Mounir performing at LGW with ensemble.

Liliane Chlela released her new album, Anatomy Of A Jerk, on July 5th. It's an album that reflects on sonic storytelling, exploring improvisation and the manipulation of sounds from wide-ranging musical genres. Her fifth record warps manic synth patterns into percussive motifs, cutting abruptly in and out of poignant melodic interludes. While this material will not be performed at Le Guess Who? 2024, it's still a very recommended listen, both for those who are new or already acquainted with Chlela's work. Tune in below.

Liliane Chlela presents I, the hybrid and the antidote at Le Guess Who? 2024 on Thursday, 7 November. The project has been produced as part of Consortium Commissions, an initiative dedicated to spotlighting emerging artists from the Arab world, run by Brussels-based NGO Mophradat.

Photography: Liliane Chlela by Scene Noise - Fares Zaitoon
Jerusalem In My Heart at LGW17 by Tim van Veen
Yara Asmar for COSMOS (screenshot)
Nancy Mounir and Flare Quartet at LGW22 by Juri Hiensch