Interview with Mother Musicians

Woro

By Dea Karina

For this issue, I interviewed Indonesian experimental musicians who are also mothers to explore how motherhood influences art practice. I interviewed Itta (Mixxit) and members of Graea, a new womxn experimental noise trio based in Yogyakarta. Graea consists of Woro, Asa, and Nadya. They recently performed at Jogja Noise Bombing 2020 providing a mix of melodic keys, harsh noise, and haunting vocals. Itta currently has a few unreleased projects in the works. She is a DJ and previously worked as a music director, vocal coach, and conceptor for Amuba, Indonesia’s first all-trans girlband. Visit these musicians on their Instagram accounts for further updates: @mixxitmixxit and @_graea.

As we can all imagine, being a mother is not a stroll in the park—especially during the current COVID-19 pandemic keeping everyone in shelter at home.  Exploring musicians who are also mothers provides insight into how maternal duties coexist with artistic responsibilities, as well as how to get creative in fusing those two worlds together.

Asa

Since becoming a mother, are there any differences in the type of art that you explore? 

ITTA: As a mother who has a son and daughter, I never limit their growth process. They are still in the process of learning and exploring. I am teaching them not to be afraid of making mistakes, because mistakes are common. They are taught to focus more on how they can learn from their mistakes and take responsibility. I also instill a system of "gender equality" in our daily lives—that women can do what men do and vice versa. This practice has indirectly influenced me in the process of creating art.

WORO: It’s mostly the same. The difference now is that when I explore sounds to make noise music, I try to use a headset as much as possible - considering that sometimes the frequency can get too high. If I am forced to use amps, I will put earplugs in my child's ears to muffle the sound.

NADYA: Still the same.

Do you also want your children to explore the same type of music as you?

ITTA: This is actually a practice that I am doing now. They sometimes sleep with "lullaby" songs such as “EARTH,” a U.S. psychedelic drone group, Motown songs, sometimes Dark Electronic, Experimental, etc. too.

WORO: No. I will support whatever interests and hobbies my children will have. They’re free to choose and don’t have to necessarily be in the music field.

NADYA: Nope, my child’s free to choose later.

Nadya

How do you divide time between children and art? 

ITTA: This is quite difficult, yes. It was very different compared to when I was still practicing art freely with unlimited time restraints, but now I have to use the time and maintain the momentum to work as effectively as possible. This is interesting as well as challenging because we have to be very wise in balancing career and family. And so far without any helpers, Agan [my husband] and I are able to manage.

WORO: Free time for mothers like me is very rare. I mostly brainstorm or channel my ideas when my child has gone to bed. I arrange my schedule so that performance and rehearsal appointments do not interfere with taking care of children and the house.

NADYA: It can be arranged depending on what you are doing. If you make music alone through a computer, you can still accompany your children in the same room. If you have to go to practice or a gig, ask your family to help look after your child temporarily. Sometimes, if the place allows children, I will also take them to gigs or to the practice site.

Itta

What do you think about inviting children to gigs?

ITTA: Inviting children to gigs in my opinion is either important or not important at all. For now, I'm trying to get them used to discussing and deliberating—do they want to come or not? Also, I have to consider whether the gigs are kid-friendly, because based on my own experience, I don't want them to become accustomed to gigs because it's not their time yet. I think of many things like cigarette smoke and alcohol. Unless the event is during daytime and there’s an open space, then that’s still possible.

WORO: In my opinion, it's okay, but still depends on the gig and venue. I have my own safety standards in deciding whether to invite children. For example: ear plugs for the kids, a non-smoking performance space or a large open space to avoid smokers, the audience shouldn’t be too crowded, a clean toilet, etc. I don’t agree [with the idea of taking a child to a gig] that is too crowded and full of cigarette smoke—it is too imposing and it risks the health of the child.

NADYA: Same as Woro.

How do you make gigs more kid-friendly?

ITTA: By making a special smoking area, placing alcohol in areas far from their reach, or providing a playground area. It should be in an open space and could be during the day or afternoon. The music genres should be considered as well.

WORO: Giving smokers a designated smoking room. It should be smoke-free in the performance room and, if possible, a nursing room, should be provided. The show also shouldn’t be too late.

ASA: Child-friendly gigs will depend on the venue, the type of gigs, and organizer readiness. Not all venues are ready and not all committees are aware or concerned. If they are not ready, it is better to include the information in the publication from the beginning. I, myself, have made works that are only allowed to be watched ages 13 years and over, meaning that minors are absolutely not allowed to enter. But if the child in question is the child of the artist who is performing, then the committee must take responsibility. At least, safe and comfortable non-smoking rooms should be provided specifically intended for children (and nursing mothers) during gigs. In addition, the schedule for performances and soundcheck should not be determined unilaterally and should be discussed with artists who bring children.

Itta

Photograph by @yudhabrit

To what extent does your child affect your work?

ITTA: I once had a music project named AndungIndung that I don’t intend on publishing. In the project, I sing when they are about to sleep, like lulling, and sometimes they respond with words. The effect is very good for us; communication through voice with language that is sometimes absurd, together with flowing vocals. And not only that, even now, for me, they have a great role and influence in the process of creating. It's too long to describe.

WORO: The presence of children makes me think deeper when I am dealing with anything in life, including the concept of my artistic work.

NADYA: For now, I'm more intrigued in observing their behavior and mindset. Maybe later I can take that as inspiration for music.

Dea Karina is a journalist, musician, and activist who recently graduated from the London School of Economics. Originally from Yogyakarta, Indonesia, she has lived in Jakarta, Melbourne, Poitiers, and London. Her London band, Tujuh Kuda, recently released an album from The Dark Outside and was featured in The Wire.