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DTSTART;TZID=Europe/Berlin:20260414T140000
DTEND;TZID=Europe/Berlin:20260414T180000
DTSTAMP:20260508T163158
CREATED:20260310T152505Z
LAST-MODIFIED:20260401T110433Z
UID:10000023-1776175200-1776189600@www.musicpoolberlin.net
SUMMARY:Wer bin ich als Artist – und wie zeige ich das? Profilschärfung für Künstler:innen
DESCRIPTION:Über den Workshop: In diesem Workshop geht es darum\, deine künstlerische Identität sichtbar zu machen. Wir arbeiten heraus\, was dich als Artist prägt: deine Haltung\, deine Geschichte\, deine ästhetischen Entscheidungen\, deine innere Linie. Im Zentrum steht dabei die Frage\, was deine Kunst trägt – und wie dieser Kern nach außen wirken kann. Wir nutzen dafür Elemente der RIENTH-Methode: eine Verbindung aus Reflexion\, Kreativität und strategischer Klarheit. Schritt für Schritt entsteht ein geschärftes Profil – ein innerer Kompass\, der dir hilft\, dich stimmig zu zeigen\, sicher aufzutreten und deine künstlerische Welt verständlich zu machen. Diese Klarheit bildet die Basis für alles\, was später sichtbar wird: Bildsprache\, Social Media\, Interviews\, Artist Bio\, Bühnenpräsenz\, Sprache. Gemeinsam entwickeln wir erste Übersetzungen für diese Bereiche: Wie kann deine Identität in Worten\, Bildern\, Gesten und Entscheidungen spürbar werden? Was davon unterstützt dich – und was trägt deine Kunst am besten? Das Ziel: eine Identität\, die du nicht spielen musst\, sondern die du bewohnst. Eine\, die dir Sicherheit gibt – und deinem Publikum Orientierung. \n 
URL:https://www.musicpoolberlin.net/en/event/wer-bin-ich-als-artist-und-wie-zeige-ich-das-profilschaerfung-fuer-kuenstlerinnen/
LOCATION:House of Music 2.OG\, Revaler Str. 99\, Berlin\, 10245
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DTSTART;TZID=Europe/Berlin:20260421T140000
DTEND;TZID=Europe/Berlin:20260421T180000
DTSTAMP:20260508T163158
CREATED:20260310T153654Z
LAST-MODIFIED:20260401T110701Z
UID:10000024-1776780000-1776794400@www.musicpoolberlin.net
SUMMARY:Everything You Need to Know About Music Supervision & Sync
DESCRIPTION:Making money with music is a dream for many — but you don’t always have to be on stage to do it. Sarah Rimkus explains what a Music Supervisor and Sync Manager does\, which clients and projects they work with\, and how you\, as a musician\, songwriter\, or producer\, can earn money in the sync business. \nThis workshop provides an overview of the work of a Music Supervisor and Sync Manager\, illustrated through several case studies. \nSo if you’re a composer\, producer\, musician\, songwriter\, sound designer\, etc.\, and you’re interested in this field of work\, you’re in the right place. We also welcome participants to share and discuss their own practical examples and experiences during the workshop. \nContent: \n\nIntro – Sarah Rimkus (CV / background)\nWhat does a Music Supervisor and Sync Manager do?\nMusic production? Sync & licensing? Collaborations?\nIndustries and potential clients\n(advertising agencies\, film productions\, directors\, freelancers\, creative directors\, etc.)\nHow do you get started? How do you build a network?\nCommissioning / client acquisition\nFees\, negotiation\, budgeting\, and quotes\nClient budgets: What information do I need from a client to prepare an offer?\nThe art\nThe client briefing\nThe creative process\nMusic research for moods or sync\, researching composers/musicians\, or rights clearance for releases\nCASE STUDIES\nPaperwork\n(GEMA\, GVL\, registrations\, etc.)\nDeepening learning outcomes through concrete case studies\nQ&A
URL:https://www.musicpoolberlin.net/en/event/everything-you-need-to-know-about-music-supervision-sync/
LOCATION:House of Music 2.OG\, Revaler Str. 99\, Berlin\, 10245
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DTSTART;TZID=Europe/Berlin:20260429T190000
DTEND;TZID=Europe/Berlin:20260429T230000
DTSTAMP:20260508T163158
CREATED:20260326T121502Z
LAST-MODIFIED:20260427T192520Z
UID:10000028-1777489200-1777503600@www.musicpoolberlin.net
SUMMARY:Shifts to the right - Questions of alliances and what to do in music scenes
DESCRIPTION:Taking an incident of right-wing vandalism at a music/cultural space in Schöneweide as a starting point\, we want to open a conversation on how we as music scenes deal with current moves to the political right and cultural infrastructures under pressure. We are particularly interested in the question of alliances — how they are built\, where they fail\, and what they require at this moment. We would like to engage in a conversation that starts off with invited guests and then opens up into a collective conversation and exercise of sharing and mapping of experiences\, questions\, examples\, and initiatives. \n  \nTo start with\, the percentage of the population in Germany that supports fascist ideas has grown\, including in youth and music cultures. Where do we as music scenes interface with these developments? Are there more examples of right-wing attacks\, and what do support\, solidarity\, and alliances across scenes and communities look like in these cases? Can music also be a way to work with youth so they don’t join fascist groups in the first place\, and what are examples? \n  \nThen\, there is the shifting of political agendas and overall discourse\, which materializes e.g. in shifts of public funding away from culture and social causes in general\, and in cases of defunding and cancellations specifically. At the same time\, prices are rising\, and AI is writing the next 10K songs. Leftist scenes are fractured\, and wars and violence leave many people grieving and exhausted. How do we as scenes respond to cultural infrastructures under pressure and sustain and build music cultures at the current moment? Where do we see our roles (“we” being very different perspectives also in the different scenes)? Who is particularly at risk? And crucially: how can alliances be built or rebuilt across differences\, disciplines\, and communities? What can we learn from existing practices of organizing\, solidarity\, and long-term coalition building? \n  \nAnd then\, there is also the music itself in this moment – What about protest songs and ways of artistic interventions? What about music as a space to bring different people together — not only symbolically\, but as a site of real alliance-building? How does music contribute to activist and social organizing? What are ways of dealing with the moment in an antifascist way\, with our practices\, and within and across our scenes? \nPanelists: \nAriel William Orah is an Indonesian artist and community catalyst based in Berlin. Orah’s interdisciplinary practice critically engages with systemic structures while addressing the emotional and cultural dimensions of displacement and identity. Working across performance\, sound art\, and socially engaged projects—with a keen focus on social and climate injustice—Orah co-founded the collaborative platform and art group sōydivsion\, the think-tank initiative Mutating Kinship Lab\, and the empathy-driven sound collective L-KW. (arielorah.com) \nMALONDA is a very versatile and outspoken artist on the current music scene. The Berlin-based singer and ‘electronic diva’\, who writes her own songs and also shines on the theatre stage\, consistently tackles anti-racist and queer-feminist themes. With her highly acclaimed debut album *Mein Herz ist ein dunkler Kontinent* and appearances at festivals such as c/o pop\, Pop-Kultur Berlin and the Reeperbahn Festival\, she has made a name for herself in the music world. As a Black queer-feminist\, MALONDA also shares her perspectives through panel discussions\, texts and workshops\, and is working to embed intersectional approaches more firmly within the German discourse. (https://www.youtube.com/@FrauMalonda) \nSimon Knop Jacobsen is a cultural manager based in Potsdam\, Germany. He works at ImPuls Brandenburg\, the state association representing socioculture\, popular music\, and festivals\, where he is responsible for the festival sector. In his role\, he supports and advocates for the development and sustainability of festival culture across the region. He is also the organiser of Forum KulturSichern\, an initiative dedicated to improving the conditions in which cultural events are organised and strengthening their protection and resilience. \nwww.impuls-brandenburg.de \nhttps://www.impuls-brandenburg.de/forum-kultursichern/  \nAdam Cooke\, originally from Dublin\, Ireland is a Berlin based DJ\, radio host and activist who has been involved with Refuge Worldwide since 2022 and joined the team in 2024. Music is central to his activism and believes strongly that culture can be a key catalyst for change. \nDJ: \nPisitakun Kuantalueng is originally from Bangkok\, Thailand\, and started making visual arts and music in 2014. Blending historical events and political speculation with synthetic textures and traditional instruments\, his sound confronts both external control and the inner unrest faced by artists. He questions fundamental and increasingly universal values without simply decrying corruption or offering neat solutions. Pisitakun initiated the project “Three Sound of Revolution”\, concerned with music and political protest\, while a DAAD music and sound fellow\, 2023.  https://threesound.org/ \nThis evening is organized by Music Pool Berlin in collaboration with Moving Poets Berlin and sōydivision.
URL:https://www.musicpoolberlin.net/en/event/shifts-to-the-right-questions-of-alliances-and-what-to-do-in-music-scenes/
LOCATION:Hasselwerder Villa (Novilla)\, Hasselwerder Str. 22\, Berlin\, 12439
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