DONNIMAAR

(DOMA)

                                                                                      

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Daughter Donnimaar dances with the Knight of the Rose Garden in the song Æ Fåwanleng ('The Transformation'), which Johanne Tygesdatter sang to the Danish folklore collector Evald Tang Kristensen in 1873, when during his fieldwork he visited her in Sammelsted By on Ørre Heath in Western Jutland.

Donnimaar is a music and visual arts project by Marie Kølbæk Iversen. The title of her first album, Donnimaar. Vredens Børn, combines the main character Daughter Donnimaar from Æ Fåwanleng with the title of the novel Vredens Børn ('Children of Wrath') written in 1904 by Jutlandic writer Jeppe Aakjær
The album's five songs relate to a different cultural tradition than the Protestant Christian and national romantic context of their collection:
They are largely (and in places explicitly) proto-feminist, apocalyptic,
anti-Christian, anti-materialist, and anti-Danish. 

The project is anchored in the ethnographic material that Tang Kristensen collected on the West Jutlandic heathlands—among others from Tygesdatter, who was Marie Kølbæk Iversen's great-great-great-great-grandmother.

Donnimaar is a shapeshiftress, and Kølbæk Iversen's project consists of both live and recorded elements, which are produced and unfolded through a network of collaborations.

Marie Kølbæk Iversen’s second album, Donnimaar. O TILLI was published on January 24, 2025, on the occasion of Kølbæk Iversen’s solo exhibition “New Atlantics” at Kunsthal Aarhus. The show approximates the point of view of the sea when observing human life and culture in a deep-time perspective. The album is produced in close collaboration with Katinka Fogh Vindelev, Torleik Mortensen, Andreas Tykjær Restorff, Michael Ejstrup and Laurent Schmid, and it is issued as a vinyl LP by Speckled Toshe.

“O tilli” means “on the floor” and the title quotes one of the album’s four songs that tells of a mermaid who has been abducted by the Danish queen to tell the queen’s fortune. Negotiating the terms of their exchange, the mermaid finds herself “dancing on the floor,” that is: Flapping and flailing on the floor like a fish.

Donnimaar traces deep family ties, and Marie Kølbæk Iversen would like to thank her parents, siblings and extended family—aunts, uncles, and cousins—for making music and history a living part of our life together. 
Donnimaar stands on your shoulders.

 

 
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