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Chooc Ly
(Vietnam)

Bio:

In this remix, some of the essential sonic ingredients used are a recording of "Liquindi" performed by members of the Baka Community (Congo Rainforest) and "Việt Nam tôi đâu?" (Vietnam). There's also a Cambodian sample

Chooc Ly (aka Chooc Ly Tan) is a multi-disciplinary artist, DJ, music and cultural producer who works across moving-image, DJ sets, radio podcasts, event organising, and club nights, with a background in sculpture and performance. Her practice sets out to create new visions of reality by subverting or repurposing systems and tools we use to understand the world around us– such as concepts and methodologies from physics, politics and music. Often, Chooc Ly draws attention to power imbalances, using video and sound as mediums to find an experimental cadence within the personal histories, found footage, and political undertows that inform and inflect the Afro-Asian diaspora, in the face of ongoing colonialism(s). Her recent film commission On The Offbeat explores these disruptive and productive moments of suspension that surround syncopation, tracing the significance of the offbeat through Vogue Fem, diasporic rhythms, critical theory, and insect behaviour.

Her DJ sets forge astral connections through kaleidoscopic spectrums of club music and futuristic sound— fierce and emotional. She also runs the platform Décalé, a discursive experimental artist’s platform and club night, in collaboration with artist-curators Léïla Arenou and Kadeem Oak. Together, they aim to showcase visual artists, music producers and DJs who are disadvantaged by societal norms.

Past gigs include: Chinabot x Radio Flouka (Paris); After-Eight at Radar (Reykjavík); GGI 끼, Body Movements Festival, Howl Queer City IV, Queering Now (all in London); Swallow (Los Angeles), Regenerative Feedback (WORM, Rotterdam); Chalet Wote Festival (Accra, Ghana), and Poekhali! (Landmark, Bergen Kunsthall, Norway). Recent music releases include Exaltation Onirique on the Chinabot compilation ‘5’, ‘Coeur Bioluminescent’ for OUTPUTS Sampler1, and remixes on Metronomicon, Lost Map and La Boocle.

Chooc Ly has participated in talks as part of the Sonic Culture programme, CalArts – California Institute of the Arts; Decolonising Queer Artistic Space and Practice: Critical Dialogue with Asia-Art-Activism; DIY Science, Technology & Gender’, DIY Festival, London; and Signals: Experiments in Sound at the Tate Modern, London. She is a Lecturer in Fine Art, currently teaching on the MFA Fine Art programme at Goldsmiths University and the MA Photography programme at The Royal College of Art in London.

CONCEPT

Given my multicultural background, I initially felt lost about which regional ingredients I could use for this project. I grew up in France, so I'm very culturally French. Yet, choosing a French protest song as the primary piece to remix didn't feel natural.

My mother was born and raised in Vietnam to a Vietnamese mother and a Gabonese father. My father is from Cambodia. My parents were refugees who arrived in France in the late 1970s. While my mum hasn't experienced much of her West African heritage—her father, a Tirailleur 1), was sent to Vietnam, and they never met—she was culturally Vietnamese, with Vietnamese as her mother tongue.

At first, I felt unsure how to represent myself through this project. I've always seen myself as a polycultural being with a coexisting cultural heritage, but choosing where to source the protest song sparked a small existential crisis. Eventually, I thought: ‘why not converge all "I know" to be part of me?’

Vietnam came to mind first as the lead for a protest song. Still, I knew I had to include elements from Cambodia and Gabon as well to reflect the whole of my heritage.

It feels important to acknowledge the existence of the colonial and imperialist borders that continue to shape and divide regions in order to overcome them. As such, Pisitakun's "Middle Sound" Project is important, and I'm happy to participate. However, I'm also uncomfortable obeying Western-colonial cartography. Middle Sound’s interactive map links each producer to a specific region, so how do I represent movements of resistance in connection to my history?

For my contribution, I would like to thank songwriter Việt Khang, who kindly gave me permission to use his song "Việt Nam tôi đâu?" (Where Is My Vietnam?) as part of this project; Orchéstre Baka Gbiné and Martin Cradick for letting me use their recording of water drumming (Liquindi), and I would like to honour Cambodian musicians, remixers, and bootleg-makers whose sound and rhythm have found their way into this remix.

The Vietnamese protest song “Việt Nam tôi đâu?” by Việt Khang addresses the contested territory of the Spratly Islands; in 2011, Chinese oil rigs stationed near the Islands escalated tensions over this resource-rich territory claimed by both China and Vietnam. Protests erupted in Hanoi, with demonstrators demanding action against China's aggression, but the Vietnamese government forcibly dispersed them. Witnessing these events from his home in My Tho, songwriter Việt Khang composed "Việt Nam tôi đâu?" where he criticised the government and urged the people to continue protesting, both against China's aggression and against the lack of action from the Vietnamese leaders. Việt Khang was arrested shortly afterwards, sentenced to prison for 4 years and 3 years of house arrest, and has since been released.

While I couldn't find specific recordings from Gabon, I was drawn to the Liquindi sounds of the Baka community, who live in the Congo Rainforest—a region that, according to Western cartography, spans six Central African countries, including Gabon and Cameroon.

I felt the Baka, as an Indigenous people who are semi-nomadic 2) and deeply tied to the rainforest, transcend these colonial borders. I tried to reach out to Orchéstre Baka Gbiné, who is said to be the author of the drumming (Liquindi) featured on the Voice of the Rainforest album. This research led me to be in touch with Martin Cradick, Baka Gbiné’s producer who communicates on their behalf. I'm grateful to Orchéstre Baka Gbiné and Martin Cradick for allowing me to use their work Liquindi 1.

In relation to the map used in this project, I want to acknowledge how Western colonial borders are constructed, and the Baka community's strength in maintaining their connection to nature and the rainforest despite this ongoing power dynamic. Thank you again to Orchéstre Baka Gbiné, Martin Cradick, and Cambodian music-makers.

To the Wretched of the Earth 3). May music continue to empower resistance movements and convey our connection to nature, both here on Earth and with the cosmos.

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1)Tirailleur  were a corps of colonial infantry in the French Army and among the forces deployed to Indochina to combat the Vietnamese uprising against French rule

2) While they still move seasonally between forest camps and villages, external pressures such as conservation laws, deforestation, and government policies have limited full nomadism. Many now engage in farming and wage labour, though their cultural and spiritual ties to the forest remain strong.

3)From Les Damnés de la Terre (Engl. The Wretched of the Earth) by Frantz Fanon (1961)

Lyric

VIETNAMESE

Việt Nam Ơi

Thời gian quá nửa đời người

Và ta đã tỏ tường rồi

Ôi cuộc đời, ngày  sau tàn lửa khói

Mẹ Việt Nam đau

Từng cơn xót dạ nhìn đời

Người lầm than đói khổ nghèo nàn

Kẻ quyền uy giàu sang dối gian

Giờ đây

Việt nam còn hay đã mất

Mà giặc Tàu, ngang tàng trên quê hương ta

Hoàng Trường Sa đã bao người dân vô tội

Chết ngậm ngùi vì tay súng giặc Tàu

Là một người con dân Việt Nam

Lòng nào làm ngơ trước ngoại xâm

Người người cùng nhau

Đứng lên đắp lời sống núi

Từng đoàn người đi, chẳng nề chi

Già trẻ gái trai, giơ cao tay

Chống quân xâm lược, chống kẻ nhu nhược

Bán nước Việt Nam.

Việt Nam Tôi Đâu, Việt Nam Tôi Đâu?

Việt Nam Ơi

Thời gian quá nửa đời người

Và ta đã tỏ tường rồi

Ôi cuộc đời, ngày sau tàn lửa khói

Mẹ Việt Nam đau

Từng cơn xót dạ nhìn đời

Người lầm than đói khổ nghèo nàn

Kẻ quyền uy giàu sang dối gian

Giờ đây

Việt nam còn hay đã mất

Mà giặc Tàu, ngang tàng trên quê hương ta

Hoàng Trường Sa đã bao người dân vô tội

Chết ngậm ngùi vì tay súng giặc Tàu

Là một người con dân Việt Nam

Lòng nào làm ngơ trước ngoại xâm

Người người cùng nhau

Đứng lên đắp lời sống núi

Từng đoàn người đi, chẳng nề chi

Già trẻ gái trai, giơ cao tay

Chống quân xâm lược, chống kẻ nhu nhược

Bán nước Việt Nam.

 

Từng đoàn người đi, chẳng nề chi

Già trẻ gái trai, giơ cao tay

Chống quân xâm lược, chống kẻ nhu nhược

Bán nước Việt Nam.

Việt Nam Tôi Đâu, Việt Nam Tôi Đâu?

ENGLISH

Oh Vietnam

Half a lifetime has passed by

And I can finally see clearly

Oh this life, after the fire and smoke has dispersed

Mother Vietnam is in pain

With each heartbreak I examine life

People are miserable with suffering and poverty

While the powerful become wealthy on lies.

Right now

Does Vietnam remain or is it lost?

That Chinese invaders can run rampant on our homeland?

For Paracel and Spratly Islands, countless innocent citizens

Have died piteously at the hands of Chinese gunfire.

 As a child and citizen of Vietnam,

How could I heartlessly ignore such an invasion?

Everyone, let us all together

Answer the call of our rivers and mountains.

Each group march forth, whether you are

Old or young, woman or man, raise high your fist,

Counter the invading army, counter those spineless men

Selling out our nation Vietnam.

Where is my Vietnam? Where is my Vietnam?

Oh Vietnam

Half a lifetime has passed by

And I can finally see clearly

Oh this life, after the fire and smoke has dispersed

Mother Vietnam is in pain

With each heartbreak I examine life

People are miserable with suffering and poverty

While the powerful become wealthy on lies.

Right now

Does Vietnam remain or is it lost?

That Chinese invaders can run rampant on our homeland?

For Paracel and Spratly Islands, countless innocent citizens

Have died piteously at the hands of Chinese gunfire.

 As a child and citizen of Vietnam,

How could I heartlessly ignore such an invasion?

Everyone, let us all together

Answer the call of our rivers and mountains.

Each group march forth, whether you are

Old or young, woman or man, raise high your fist,

Counter the invading army, counter those spineless men

Selling out our nation Vietnam.

Each group march forth, whether you are

Old or young, woman or man, raise high your fist,

Counter the invading army, counter those spineless men

Selling out our nation Vietnam.

Where is my Vietnam? Where is my Vietnam?