Behind The Processing Series is the understanding that trauma is multifaceted, complex, and reveals itself over time. As a “survivor” of sexual violence, this series allows me, my collaborators, the audience, and our nation, to do the work: to processslowly— over time: each concert goes deeply into one aspect of the experience per sitting.

The Processing Series is the opposite of a reduced, essentialized story, which can become a trap for sentimentality, oversimplification, and victim-to-hero narratives. Instead, by dedicating the time to the experience, we can begin to travel through the multidimensional world of trauma and its aftermath, understanding its terrain of loss, conflict, and renewal. Whether we identify as trauma survivors or we hope to be pillars of support for others, the series joins people together to meditate, listen, integrate, and release.

Each concert features a core group of performers as well as several guest performers, and is co-curated by Lucy Dhegrae and the composer of the focal work. 

* indicates a world premiere.

Part I

I Was Breathing

Katherine Young’s At least, drink water* for voice and electronics begins the concert, exploring the overwhelm of self care. Practice-based works by Yoko Ono, Pauline Oliveros, Alison Knowles, Pamela Z and Bethany Young make up the middle section of the concert, ending with How to Hold*—also by Young— which draws on several healing modes (EMDR, meditation, physical vibration, group therapy) and combines them in an instruction-based score for voice, violin, and percussion.

Part II

More Beautiful Than Words Can Tell

Osnat Netzer's Philomelos* takes text from Shakespeare's Lavinia, whose tongue and hands are cut off after she is raped, so as to not identify her perpetrator: "sorrow concealed... burns the heart to cinders..." The struggle to articulate one's experience after trauma is further explored in works by composers Peter Kramer, Jason Eckardt, Chaya Czernowin, Georges Aperghis, Philippe Leroux, Maria Stankova and Vinko Globokar.

Part III

A Barely Arching Bridge

She Gets to Decide*, by Eve Beglarian, combines personal history, the painting Thérèse Dreaming by Balthus, and the words of Judge Aquilina during the trial of Larry Nasser: "Leave your pain here, and go out and do your magnificent things." Works by Kate Soper, Amadeus Regucera, Caleb Burhans, Susan Botti, Luciano Berio, Francis Poulenc, and Guillaume de Machaut explore personal narratives and text-based compositions.

"A barely arching bridge connects the terrible to the tender.” —Rilke

Part IV

Frying Pan

The final concert will culminate in a new work* by Angélica Negrón, accompanied by documentary-style interludes of her creation that incorporate pieces of Skype meetings, public conversations, and rehearsal discussions from the earlier stages of this project. Sharing the spotlight is a work co-composed by Negrón and Dhegrae, Frying Pan*, for voice, electronics, and music boxes.