“The Lynching Song” has become central to M. Lamar’s practice. Inspired by the work of black theologist James H. Cone’s bringing together the Christian cross with the lynching tree as a modern form of crucifixion, Lamar endeavors to engage a practice of remembrance, praise and sacrifice. Like the ritual singing of hymns, the artist’s hope through the continued performance of these songs is for the deepest spiritual and moral transformation.
“I have always seen these lynching songs I write as a continuation of the African American Spiritual. These songs are surely how we have maintained the profound connection to our own humanity, as well as to those who have enslaved and oppressed us,” Lamar calls this Berlin Session iteration of the pieces. “There is never, in these songs, a thirst for vengeance or even anger. There is only love and a longing to be free, even if freedom means death.”
The event took place on October 10 at the Kleiner Wasserspeicher. M. Lamar developed an online version of his concert for 3hd TV and HAU4.
M. Lamar is a composer who works across opera, metal, performance, video, sculpture and installation to craft sprawling narratives of radical becomings. Lamar holds a BFA from The San Francisco Art Institute and attended the Yale School of Art, sculpture programme, before dropping out to pursue music. Lamar’s work has been presented internationally, most recently at Wellcome Collection London, The Cloisters at The Metropolitan Museum Of Art, Funkhaus Berlin Germany, The Kitchen, MoMa PS1, New Museum in New York, San Francisco’s African American Art & Culture Complex and The Walter and McBean Galleries, and Human Resources in Los Angeles, as well as Södra Teatern and WWDIS Fest in Stockholm, and Copenhagen Warehouse9, among others. Lamar continues to study classical and bel canto technique with Ira Siff, and is a recipient of a Jerome Fund Grant for New Music (JFund), a NYFA Fellowship in Music and Sound and grants from, the Rema Hort Mann Foundation, Harpo Foundation, and Franklin Furnace Fund.