Reykjavík Grapevine - jun. 2023, Side 25

25 Music
The National Museum of Iceland
Suðurgata 41, 102 Reykjavík
Opening Hours
Daily 10-17
www. nationalmuseum.is
+354 530 2200
@thjodminjasafn
Feature The Most Unusual
Band In Iceland
Finding the music and healing with Korda Samfónía
people. You never know what’s go-
ing on in people’s lives.”
The overall aim of the project is to
help people step back into society
after suffering debilitating trauma or
illness. Korda Samfónía and Meta-
morPhonics do so by increasing ac-
cessibility to music, inviting people
to participate, and providing them
with musical instruments and a safe
space to write music. Members are
encouraged to throw ideas around.
Some catch on quickly, but for those
who are more hesitant, the atmos-
phere is characterised by a “no idea
is bad” philosophy.
CREATIVE CHAOS
Music therapy is a widely accepted
form of rehabilitation throughout
the world. It has been shown to have
pain-relieving properties, boosting
physiological wellness. As Sævar
and Jón recall, they’ve noticed a
major shift in members’ outlooks
since starting work on the project.
“Music is a sociological phenome-
non,” says Sævar, “It’s encouraging
to play music together and playing
in Harpa gives you a feeling of ac-
com plishment. I notice [participants]
feeling rejuvenated after taking part.
Learning to support each other and
listen is also a nice exercise. The
most important thing about music is
knowing how to listen.”
As Jón and Sævar explain, some
members come to the band with-
out any musical experience. For
members of Korda, even the act of
playing something as minimal as
a shaker can be ground-breaking
in their journey towards recovery.
“That’s also an interesting aspect
of this programme,” Sævar notes.
“People who’ve never studied music
compose differently than those of
us who have spent years thriving in
a musical environment.”
On the topic of composing – in a
group of people with contrasting
backgrounds and varying levels
of knowledge, composing music
sounds like it would be a chaotic
act. How does Korda work around
the experience gap? “We use var-
ious methods,” Sævar says. “For
example, by using something as
universal as a dot and a line to
indi cate rhythm. Even though it’s
abstract, everyone can infer their
meaning from it.”
“From an outsider’s perspective,
it can look like massive chaos. But
within this chaos, several exciting
things are happening. Some may
be chatting; others may be prac-
tising a piece or doing something
completely different. It’s all mean-
ingful,” Sævar clarifies.
In this massive group of contrasting
characters, approximately half the
members are music students. With
that being the case, it can be tempt-
ing to assume certain power dynam-
ics take shape. Sævar begs to differ:
“Everyone is involved and welcomed,
and we try our best to not say ‘no’ to
any idea. Instead, we try to lead the
ideas into a different avenue. Let’s
try it! And if it doesn’t work, it doesn’t
work. Although some times I think to
myself, ‘What have I gotten myself
into?’” he jokes.
For people outside of liberal arts
circles, the notion of openness and
inclusivity of ideas may appear to
be alien. In Sævar and Jón’s expe-
rience, they’ve met many people
with a deep-seated notion of per-
sonal faults that prevent them from
making music. People have been
raised with the belief of being tone-
deaf or thinking they can’t keep a
steady beat. Korda wants to dis-
pel those myths by getting people
to try something new, promoting
the opinion that everyone can play
music. “You learn how to hold a beat
the first time you start walking,” Jón
says confidently. “We provide this
environment of all ideas being valid,”
Sævar continues. “We should just
try them out. Nothing needs to be
perfect.”
Even though the band’s inner work-
ings seem complex, Sævar and the
leadership team are firm believers
in the process. “It’s like that phrase,
‘leap and the net will appear.’”
SUSTAINABLE
LEADERSHIP
Korda Samfónía is now in its third
year of operation. Sævar and Jón
recount how it has developed since
its inception. “Everyone has become
so active in listening when an idea
is presented and shows support.
I think that’s beautiful,” says Sævar.
Since patients get better and stu-
dents graduate, the band's line-up
changes occasionally. However,
those who want Korda Samfónía
in their lives can volunteer or come
on as an apprentice.
“This is part of Sigrún’s vision for
her to ultimately be unnecessary.
To train people to put in the work
and create with the group,” Sævar
explains. “It’s also a good thing
when people quit the band. Be-
cause that means they’ve moved
on to something else. Maybe they’ve
opened a business or started a new
job. Suddenly, they don’t have time
for the band anymore,” Sævar
continues.
Based on the inclusiveness at play
and the amount of compassion the
people behind Korda Samfónía have
for the project and participants, it’s
easy to have hope that this model
of sustainability will work out for the
group. In the meantime, the organ-
isers will just have to keep trusting
the process.
Korda Samfónía invites you to their
annual concert in Harpa Silfurberg
on May 22 at 19:30. You can get
your tickets at tix.is and come see
Iceland’s most unusual band for
yourself.
It’s also a good thing when
people quit the band.
You learn how to hold a beat
the first time you start walking.