Inspired by Mehring's Dadayama, Georg Klein and Tetsuo Furudate have created a space and sound situation, that reflects Dadaisms in Germany and in Japan from today's perspective. However, they are not striving to homogenously blend the cultures. Just as the Dadas did, they rather stress the gaps and contradictions between the two worlds, that remain open despite all cultural and economic exchange. Furudate and Klein set their focus on what may be the most solid common ground between Eastern and Western Dadaism: the desire to polarise.
This desire can be heard already in their respective musical styles: Defying the clichés of Japanese reserve, Furudate physically shakes his audience with violent noise cascades. Klein, on the other hand, tends to work with subtle, unassuming sounds that blend organically into the surroundings. Originating from common material, but ultimately remaining incompatible, these two sound worlds alter with harsh cuts throughout the performance.
Dadayama's spatial situation translates the Dadaistic polarisation in a literal way: Klein and Furudate interpret "Da - da" ("There - there") as the opposition of two places. "Yama" means mountain in Japanese. "Ma" signifies in between. Consequently, the spatial equivalent of the Dadayama word - as Klein and Furudate read it - is a flat, hill-like platform in the centre of the concert space. It descends symmetrically on two sides and thus separates the audience in two factions, sitting back to back.
On two opposite sides of the concert space, the artists have installed a pair of speakers each for their pre-recorded sound material. On the other two sides, they have symmetrically placed four speakers which are associated with the four members of the maulwerker ensemble. Each of the vocalists has a little wireless microphone that directly feeds into one of the speakers. Thus, Georg Klein creates an acoustical mirror situation, which allows the performers to communicate with their own feedbacks. Soft vocal noises or the sheer contact of microphone and skin become larger-than-life musical events. The microphone enters into the sound of language. Feedbacks from the mouth, the body and the speaker mingle with excerpts from Dadaist texts - especially self-definitions by Dadaists. Sounds created by live-electronics add to the musical scenery.
Klein and Furudate draw their sound material from dada texts by Takahashi Shinkichi, Walter Mehring, Murayama Tomoyoshi, Raoul Hausmann und Hagiwara Kyojiro. (Marcus Gammel, DRadio)
The concert performance consists of 6 parts, each devided in to different parts played by Georg Klein and Tetsuo Furudate in alternating order:
A IN BETWEEN
B ON THE WAY
C ON THE TOP
D IN FRONT
E SIDE BY SIDE
F DADA TOTAL
Klein's parts are played by the maulwerker in different space constellations (amoung the public, left/right side of the public, above and in front of the public). Furudate uses a huge video screen for text and pictures, and in the last part (DADA TOTAL) as a background for a minimalistic dance performance.