#SupportAuditiv Dr. BORIS ALVARADO

As a Chilean composer, I have had the opportunity to work with the AuditivVokal Dresden ensemble on pieces whose connection to the indigenous peoples of South America allowed for the establishment of a mythical and unexpected bridge, uniting the heterogeneity of peoples into a greater whole called "humanity," which is nothing other than the overcoming of individual differences in language and territory. This was the experience with my work "Txenca" (2022), in which they, along with their principal conductor and founder, managed to transform linguistic diversity into the opposite of an obstacle to communication between peoples, achieving the impossible so that extinct indigenous languages ​​could survive long ago alongside modern ones in this new Babel, in mutual respect.

At the same time that this is happening, and with absolute political incomprehension, from Latin America, I see how the gradual strangulation of tax contributions has begun, along with ways of prioritizing a vision of society that is abandoning the people, giving way to a State that, in a way that is incomprehensible today, determines the life of territories according to policies derived from power and the economy, forgetting the original, distinct identity of the spaces where culture is expressed. Therefore, these kinds of state measures should instead contribute to ensuring that every nation, as a form of representation, allows for the full existence of the professional and serious work of groups like AuditivVokal, so that they can permanently achieve the ideal of creating and shaping, from the material that constitutes the people, a State that is the work of men who write the history of their people, giving meaning to the immediacy of the land and its customs, incorporating into them the rationality of the work of the spirit. This is what I perceived and still perceive in this beautiful vocal group from Dresden, dignifying not only their own work, but also the sense of territory of the nation-city that arises from it.

Thus arises our plea—from the brilliance of distance—for this group, under the leadership of its director, to continue working in the best conditions and to appeal to a people that is missing, to the connection of thought with its time, where the allusion to the making of the vocal music of the future, passes through that political need to think of a common place that must be, however, a becoming in conditions to produce its own political portrait of the idea of ​​art and territory for Dresden, Germany and the Universe.

What is at stake is the freedom they have brought into play for thought, exploring in each performance the idea of ​​expression in its political implications, in the intellectual schizophrenia of peoples, to expose the essential link between the “machine of subjectivity production” and the “processes of singularization.” This analysis seeks to “resist” by proposing alternatives to the pre-established modes of cultural codification that depend on the idea of ​​a homogenized and anesthetized “great family” of consumers. Things and their space constitute the landscape of the world, but to grasp it, we must be able to make things resonate at another frequency, to dislocate the order and hierarchy that separates them and values ​​them according to seemingly natural criteria. And this, I reiterate, is AuditivVokal, an ensemble deeply rooted in its city, which is a fold of the world.

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Dr. Boris Alvarado, Chilean composer and philosopher

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