介绍： Various - Wie es ihr gefällt - Festival 1991-1994, Vol. 1
[CD: Z.O.O., Germany, 1995; #12-1]
TRACKS:
1 Joëlle Léandre & Annick Nozati - Nuage En Voyage
2 Domina Dea –Saga
3 Domina Dea Feat. Yatsuba – Soul For A Woman
4 Martina Zeisig & Sylvia Bruckner – Windsbräute
5 Ida Bittova-Kelarova – Jsem Lehka
6 Fa...

介绍： Various - Wie es ihr gefällt - Festival 1991-1994, Vol. 1
[CD: Z.O.O., Germany, 1995; #12-1]
TRACKS:
1 Joëlle Léandre & Annick Nozati - Nuage En Voyage
2 Domina Dea –Saga
3 Domina Dea Feat. Yatsuba – Soul For A Woman
4 Martina Zeisig & Sylvia Bruckner – Windsbräute
5 Ida Bittova-Kelarova – Jsem Lehka
6 Fastilio – Vitesse De Bande
7 Les Reines Prochaines –Der Hund, Der Stinkt
8 Uschi Brüning & Simone Weissenfels –Und ...
9 Lachende Not – Ich Weiss Nicht, Wie Man Die Liebe Macht
10 Maggie Nicols – Words
11 Maggie Nicols & Julia Doyle – Fears & Tender
12 Attacca Subito – Rockefeller Building
13 Hilde Kappes – Ave Maria
14 Billy Tipton Memorial Saxophone Quartet – Big Beat
15 Laura Gallati & Magda Vogel – Sans Frontières
16 Dagmar Andrtova – The Virgin Is Jumping From The Tower
17 Zrazy – Wild Child
Future changes not excluded
For the sixth time in Berlin: The female musicians' festival "Wie es ihr gefällt" [="As she likes it"] has become a network and only shies away from techno and drum 'n' bass
Last fall, the crew of the female musicians' festival "Wie es ihr gefällt" compiled 42.195 kilometers of tape material on a CD – the years 1991 to 1994. The mileage is now much higher: The festival, which begins tomorrow, will have welcomed over 300 female musicians on stage in its sixth year. And it's done so with a concept that has barely changed since its beginnings, more framework than program.
It should be cross-genre, that's very important, ideally innovative and professional," explains Angela von Tallián, one of the organizers. Her colleague Inge Morgenroth adds: "In the first year, we had almost exclusively Berlin musicians. That changed significantly the following year, although we're still very committed to the local scene."
From the original idea of ​​creating a forum for female musicians chronically underrepresented at festivals, a global network of organizers, critics, and performers has developed – with minimal funding of around 80,000 German marks this year. After four years, festivals under the same name were even organized in Munich (1995) and Zurich (from 1994) – by musicians who had themselves performed on stage in Berlin. Meanwhile, the legendary SO 36 in Kreuzberg has become too small for the crowds, and the program has moved to the Kulturbrauerei in Prenzlauer Berg.
The general response is all the more unusual given that – fundamentally unpopular – it is still mostly the women who push boundaries and are represented with their shows at "As She Likes It." Kazuko Hohki, for example, works as a filmmaker and actress and is also the head of the Japanese minimal rock band Frank Chickens. Or Zeena Parkins, from the circle of the New York avant-garde Knitting Factory, who will score films by Maya Deren and Germaine Dulac in her Lumen project. Hardly any rock, but lo-fi, jazz, experimental – the denial of identity as an increase in possibilities. Angela von Tallián sees the fact that women have to assert themselves more harshly in the music industry as one reason "that many of them are very differentiated."
Once you've left the stereotypes behind, you're no longer able to make one-track decisions. The same applies to the women's music festivals "Canaille" (from November 8th to 10th in Frankfurt/Main, dedicated to improvised music) and "Rocksie" in Dortmund.
Sure, "Wie es ihr gefällt" also features some old acquaintances: Irène Schweizer, bass virtuoso Joelle Léandre, and singer Annick Nozati have reunited as the trio Les Trois Dames. Good old Anne Clark, meanwhile, has rehearsed a new program with Berlin musicians that aims to combine the pen-headed wave roots of the 80s with the here and now to create a kind of trip hop. However, the organizers, perhaps due to their generation, have so far shied away from techno and drum 'n' bass in their contemporary form, as "too trendy" – and future changes in listening habits are not excluded.
Also worth mentioning: Dagmar Krause, the avant-garde Eisler and Weill interpreter, who, accompanied by Marie Goyett on piano, will be performing her own songs for the first time. And if you miss Iva Bittovà's violin and voice this time, you only have yourself to blame. Oh yes: men are allowed in too—and they don't even have to be kept on a leash.
（Gaby Frank）