Rosa Ronsdorf



swellS

Series of Echoes
Echoprints
KameYama

Spill Gold

The Electronic Tide
The Listening Project
200 tapes and a box of a thousand papers
I want to amplify my box of crackling, shaking, jello
Neem Mijn Tijd

ifyouspeakthetruthyourvoicebecomesariver
Sonic Witch
Ada Gadass


Theatre
Moeder Courage(Nationaal Theater)
Witch Hunt (HNT / Club Guy&Roni)
XX (Orkater)

Commnunity
Open Oscillator
The Vogel Orchestra
Brakkie Monster Radio



ABOUT
Listening Group

Contact
Instagram

swellS

2025, Nest, Den Haag

A gleaming cascade, a silver waterfall. Mountains quiver like a mirage on the horizon, dissolving into a tranquil lake – a mirror, or a portal to another world.

Taking two forms – a 50-minute live show and a standalone installation – swellS is an audiovisual collaboration between the band Spill Gold (Rosa Ronsdorf and Nina de Jong) and Studio Noralie (Noortje van den Eijnde). Blurring the lines between sculpture, textiles, and performance, the piece recalls the ripple effect – a metaphor for ecological entanglement, or the interconnectedness of all living beings.

At the centre hangs a monumental curtain: a vast sheet of reflective material whose surface becomes a kinetic landscape – a kind of visual instrument – animated by robotic beaters triggered by MIDI signals. Each strike sends waves across the cloth, transforming it into a luminous terrain that breathes and shimmers in unison with the music. In this immersive interplay, the curtain is not merely a backdrop, but a living entity: a restless creature that sways, jolts, and dances to the polyrhythms. Sometimes the music leads, sometimes the fabric, their exchange spiralling into a haptic feedback loop.

swellS is an installation by Noortje van den Eijnde (Studio Noralie), Rosa Ronsdorf and Nina de Jong.

Made possible with support from the Stimuleringsfonds.





Series of Echoes

Prospects & Concepts, Art Rotterdam, 2025
‘Series of echoes’ is an installation that explores the various ways in 
which we relate to hidden  aspects of the world around us. 
Echo #1 is an installation of steel and  eco-printed silk (thank you 
eucalyptus, nettle, camille, hibiscus amongst others). 
While the steel represents a solid and industriality, 
the slik has been painted with natural plant pigments, 
often invisible in the plant itself. 

Within the installation you can listen to Echo #2: deep, 
crackling earthly sounds from below & clear dripping, leaking noises from above: 
compositions made from  field recordings from the melting streams  
of the Morteratsch glacier to the place below the surface, into the earth, 
where it never seems to be quiet. These field recordings are 
combined  with tape feedback, voice, and a selection of 
synthesizers.

LINK to music.

Echoprints

Residency Het Domijn, Weesp, 2023

What melodies do we carry with us as humans? Do they become more vague as we grow older, or do they fade into soft echoes? Are melodies also memories? ECHOPRINTs are imprints of memories and are created through new compositions I make from these memories. I also make physical imprints on fabric from plants that strengthen these memories.

During my residency at the Domijn of Weesp, I created my first Echoprints. I painted canvases with 'biochromes' (colors derived from natural sources) from my own garden of a house I was about to leave. I also wrote a choir piece with the voices that were ringing in my head at the time. A call for peace and listening during a time when Gaza was being bombed, sounding on an extended tape loop in the exhibition space, combined with recorded sounds from beneath the ground of the residency.

Fragment of choir piece:

home on home, cease fire, sing alone, sing together
sing for trees, for their ashes, 
take the seeds,
growing wild, 
growing free, from oppression,
we will seed them again 
with melodies even deeper
turning time around




Kameyama: an encounter with a turtle-shaped mountain

Arts Itoya, Takeo-Onsen, Japan, 2023

Performance created at Artsitoya inspired by Yamabiko, the yokai responsible for the echo in mountains. The work follows echo’s from multiple sources. Resulting in a sound piece, made from rocks, field recording and voice. A sonic dialogue with Yamabiko.

This performance was held in a place filled with dyed fabrics (using mountain nettle  from outside the house and  avocado peels from inside the  house --> thanks to my residency roommate who ate multiple every single day)

Special thanks to Yukiko Tanaka for translating and sharing her own echo.

LINK to final piece - a sonic encounter with Yamabiko


Spill Gold - duo with Nina de Jong


The duo Spill Gold blends drums, synths and vocals into a sonic journey that invites listeners to explore realms of energy exchange. Nina de Jong on drums and Rosa Ronsdorf on vocals and synths joined forces in a collaboration that transcends genres. The music of Spill Gold serves as a woven tapestry of (unheard) voices, inviting you to lean in. The result is a fusion of psychedelic echoes, danceable rhythms and intricate percussive layers.  

Our first album Highway Hypnosis was released on Knekelhuis (Amsterdam) in 2020 and our second album ZaZa on Teenage Menopause Records (Paris) in 2024. 

Our live shows take place throughout Europe, with a focus on France (our label & booker are from Paris). We also play festivals such as Le Guess Who, Roadburn, Eurosonic/Noorderslag, Blue Dot Festival (UK).








The Electronic Tide

Thesis, Dutch Art Institute, 2021

This thesis revolves around the unheard women of electronic music. I wrote this not only as a way to acknowledge the women themselves, but also to acknowledge that there is always more to the (hi)story. An archive is an ongoing process of transformation and elaboration. Exploring the archive of female pioneers of electronic music gives insight into a larger perspective and takes a closer look at the unheard sounds of society. Therefore, this thesis investigates the space-creating qualities and political possibility of sound, and tells the story of sonic consciousness as well as the importance of the invisible, inaudible, soft and silent. How can we listen to the sounds of this sonic feminist wave and what can we hear in these feminist waves of sound?

My thesis uses feedback as a practice and performance of creating and sounding out a counter-archive of women in electronic music. This feedbacking archive, consisting of the sisterhood between the female pioneers of electronic music, is attached to an ecological way of listening. Not only do they tell us the stories of our ecosystem on planet earth, but they form an ecology themselves. An ecology that can be understood as a whole, consisting of our surroundings and relationships that grow like roots and interweave human and non-human matter, environment and atmosphere. In order to hear this entangled reality, you are asked to practise deep listening like Pauline Oliveros, to move within the different wavebands of Daphne Oram, to orchestrate the sunrise like Suzanne Ciani, to listen in detail like Alexandra T. Vazquez, and to keep digging into the ecological assemblage of the world around us.



The Listening Project


TLP is a collective conisting of artists  Rosalie Wammes, Roos PEEE and Rosa Ronsdorf. We make sound installations starting from my research The Electronic Tide. We also make performances.  

We have created performances around the archives of the female pioneers of electronic music at places such at South London Gallery (London), Likeminds (Amsterdam).











Two Hundred Tapes and a box of a Thousand Papers

Fringe Festival at Likeminds, Amsterdam, 2022
The Listening Project

Who do you listen to? How do you listen? Does your echo sound the same as mine? What can we hear on the tapes of the past that have produced the sound of the future? A music theater performance by Rosa Ronsdorf, Roos Pollmann, Rosalie Wammes in collaboration with 5 reel-to-reel players, each with their own character in speed, clarity, extra noise, etc. Our starting point was the life of composer Delia Derbyshire and the feminist voices in electronic music that remained hidden in history books. We told her story through found tapes and new compositions inspired by her work.



I want to amplify my box of crackling, shaking, jello

Extrapool, Nijmegen, 2022

ÉLIANE: Listening is the openness towards what
sounds are telling us
DAPHNE: Towards what lies between and beyond
PAULINE: Listening can be contagious
ÉLIANE: You can listen to something ten ways at
least. Including distracted listening
PAULINE: I would like to amplify my bowl of
crackling, shaking jello.

An attempt to listen to and with archival
feedbacks. Invitees are: The Theremin Witch, Daphne Oram,
Bebe Barron, Delia Derbyshire, Maryanne Amacher, Gita Sarabhai, Pauline Oliveros and other entities passing by.

An audiovisual performance in collaboration with
ROOSPEEE 

Neem Mijn Tijd

Tolhuistuin, Amsterdam, 2022
The Listening Project

Take My Time is a project created with elderly people from Amsterdam North. Through Deep Listening workshops, we engaged in conversations about time, the experience of time, and listening to time. These conversations were recorded onto analog tape music (made in the Willem 2 studio in Den Bosch) and presented in a large pink tent during Open Oscillator fesitval, accompanied with a risoleaflet we made together.

The piece is a reference to Delia Derbyshire’s work Four Inventions for Radio, which she created in the 1960s. In this piece, she asked people from all walks of life to reflect on big themes such as God, the Afterlife, Aging, and Dreams. It was the first time that working-class voices were heard on the radio. Combined with her experimental analog tape music, this caused quite a stir. However, the brilliant piece was never credited to her, but to her male employer, Berry Barmange.

This project was a collaboration with Roos Pollmann and Rosalie Wammes.