

POST-SUMMER CHOIR
Author and choreography Johhan Rosenberg
Vocal coach Anne Türnpu
Costumes and make-up Pire Sova
Props manager Linda-Mai Kari
6 + 13.05. Balti Station tunnel, Tallinn
3.07. Baltoscandal Festival, Rakvere Market
11.07. Belly-up dream (dog or fish?), Kaunas Artist House
19.08. Noblessner, Krusenstern Square
Performance was created in collaboration between Von Krahl Theatre and the Estonian Academy of Music and Theatre (EAMT).
Performers; Markus Andreas Auling, Lauren Grinberg, Karl Birnbaum, Hanna Jaanovits, Richard Ester, Alice Siil, Hele Palumaa, Laurits Muru, Kristina Preimann, Herman Pihlak, Juhan Soon, Emili Rohumaa, Edgar Vunš, Astra Irene Susi, Kristin Prits, Rasmus Vendel, Jette-Loona Hermanis, Liisa Saaremäel, Netti Nüganen
Support and care; Tallinn City Government, EAMT School of Performing Arts, Angela Mooste, Jaak Prints, Erki Naumanis, Ekke Hekles, Johanna Ulfsak, Rainer Põldeots, Kodulinna Maja, Maike Lond, Rakvere Turg, Kaunas Artist House, Katrin Vingel, Ann Virkus and Iris Lillemägi


Post-Summer Choir is a durational singing spectacle in public spaces. Choir performance that explores and peels layers of colonization and self-colonization – In bodies individually - collectively, across generations and in specific places. As we look back on centuries of violence and oppression and begin to confront the very real wounds we have inflicted on the land and on each other. From a physiological approach towards the myths of geopolitical grounds.
Hallid ja mustad laulvad inimkujud seisid hommikust õhtuni lagedal rannaserval ning igatsevad pilgud nende päevitunud nägudes pöördusid aina mere poole. Nad on Järelsuve koor. Ja nad ootavad laeva. Valget laeva. Laev, mis neid päästma tuli, pidi olema valge, helevalge, valge kui jumala päike taevas... Sellel laeval oli kõigi usk ja lootus viimaks ühinenud. Laev, mis viib kõiki tagasi juurte juurde. See laev oli tekkinud usulisest luulevahust, ent omandas Tallinna merekaldal aegamööda pisut reaalsema kuju. Valgel laeval sõitsid ka esivanemad, kes suve lõppedes uuestisünniks naasesid.
Neil järelsuve koori liikmeil on roostetanud nahk ja peaskulunud rehvidest patsid, mis päikese käes sulavad. Laeva oodates on nad joonud liigselt merevett ning näevad nüüd luulusid ja nägemusi. Nad laulavad ja hõiskavad vägisõnu ning müüvad esivanematele kolpasid. Nii on nad otsustanud tulla jagama ja tähistama kaotust, kuumust, õnne ja ebaõnnestumisi, raputades liha oma luudelt ja hääled peast. Nende valge laeva revolutsioon on vastupandamatu. Nad mäletavad, kuidas maailm toimis enne neid.
The performance attempts to decode how our actions leave traces on the land and on each other's bodies, and from there, how collective emotions affect our language, physicality, and movement.
The choir is singing around the cultural political landscape of emotions. Collective emotional layers that are shaping our language and from there on our bodies and movement. The collective, interactive and musical project seeks to approach the effects of post-Soviet trauma in particular on contemporary bodies and landscapes with the extended neighborhoods, language and traditions.

I aim to manifest a body from a concept of “body multiple” - the choir. As a sort of creative machine or assemblage that absorbs its surroundings, processes them, and produces songs and choreographies through collective voice and imagination. Performance is rooted in dance of levering uncontrollable techniques, weaknesses and confidences of performing as it unfolds in the distraction of baring public of various contexts. The performative practice seeks to reclaim the past, from its dust, and make it central again to a collective political work.
How can we walk into a more ecstatic, blended union with the world? We need daily reminders that we are all mutually related and becoming. We need to slip loose our ideas of death, sex, our tired rituals or heteronormality. And begin to dance with other species. Our cells are made of a love that is neither strictly penetrative nor gendered.
It’s been a hot hot summer, not successful. riding my hair through rotten apples. it smells like the end of something, not yet. flies gnats dizzy wasps not afraid of anyone. ingrown toenails already in the cold sand, liver stains, rotten jellyfish, but it's not all over yet, it's warm, it's still kind of shabby, it's not yellow, there are marks that don't stay, they only appear once and it's gone, it's still a while, this hot summer was here for us too. And here I Sing my old good cabbage song; I cry for seven, harvest nine. I lack a hundred. I don’t mind them anymore.


POST-VASARA CHORAS, July '24
Kaunas Artist House
Curator of the exhibition: Agnė Bagdžiūnaitė
Curator of the discursive and performative program: Edvinas Grinkevičius. Visual graphics: Kornelija Zizaitė. The event is part of the festival “Belly-up Dream (Dog or Fish?)“. The project is financed by the Lithuanian Council for Culture.











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Pastimees ; skandalistika-osakond-the-morning-after-baltoscandal
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Kultuur.err.ee/; galerii-rakveres-avati-baltoscandali-juubelifestival
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virumaateataja.postimees; millest-laulis-jarelsuve-koor-vaata-videost
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virumaateataja.postimees.; baltoscandal-kond-olemise-vahealal-koos-schrodingeri-kassiga
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virumaateataja.postimees; jarelsuve-koorilauljad-toovad-oma-pead-rakvere-turule
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virumaateataja.postimees; jarelsuve-koori-proovi-parast-rakvere-turul-kutsuti-politsei
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virumaateataja.postimees; vaata-kuidas-toimetas-lausvihmas-jarelsuve-koor
Järelsuve koor on performance avalikus ruumis, mis laulab laule ajast, kehast ja kuumast järelsuvest.
Otsides lootust, kuidas saame astuda ekstaatilisemasse, segunenud ühendusse maailmaga. Et saada igapäevaseid meeldetuletusi, kuidas oleme kõik omavahel seotud ja alati liikumises.




6.05 18.00 + 13.05 20.00
Poolteist tundi laulab ja liigub koor Balti jaama tunnelis. Kõnni mööda või peatu ja jää. Performance põhineb Aino Kallase “Lasnamäe valge laev” (1913) ainetel.