Kilam is a special kind of Kurdish folk song telling of the soul without interruption. From the 1970s to the 1990s, numerous kilams traveled on tape back and forth between Germany and other countries. Listening to the cassettes time and again helped families and lovers, especially in the era of guest workers, through the difficult years of lonesomeness and longing.
Loops imply infinity—like the Kurdish circle dance. What does it do to us, when we have to look for this circle in the diaspora? In her performance, Saki Aslan plays cassettes and evokes a choir in an êzîdî-futuristic act. By listening, singing along, soliloquizing, and dancing the Kurdish circle dance to techno beats, she sheds light on an astounding oral tradition. The piece is both a collective listening session and a live concert, expressly inviting the audience to sing and dance along.
Jacqueline Saki Aslan iis a Yezidi-German multimedia performance artist. Her artistic practice encompasses performance, sound, installation, dance, and lyrics. Her performance lectures are carried out at the intersection of art, classism and remembrance culture. Saki predominantly deals with the question of how non-written, marginalized and diasporic narratives and knowledge archives can enter into public memory spaces. She is currently working on a sound installation.
Concept, Text & Performance:Jacqueline Saki Aslan
Musical design: Afra Bobo, Su Zelal Daş
Stage design: Jacqueline Saki Aslan
Dramaturgical advice: Marco Merenda
Choreographic advice: Pardis Azadeh, Sujin Lee, Rike Flämig
Support from: Bengü Koçatürk-Schuster, FSK Radio
Supported by the Mara & Holger Cassens Foundation, the Rudolf Augstein Foundation and the Alfred Toepfer Foundation F.V.S.