A Chorus of Complaints

How did the idea for a complaints choir come about?
When Oliver [Kochta Kalleinen, Tellervo Kalleinen's collaborator and husband] said: "Let's deal with complaints," I instinctively knew it was a good topic. I was interested in gaining a better understanding of complaining, and I thought the topic would resonate with others too. Our work is always an invitation to other people to explore some topic together with us.

The Complaints Choir project has developed a certain independence and autonomy - you’re no longer involved in every choir. What is your role in the Complaints Choir of Edinburgh?
In Edinburgh the local musicians have the biggest role in leading the process. But there is a clear written manual on the website [www.complaintschoir.org]. We created this after many requests from around the world from people who wanted to start their own Complaints Choir. It would have been silly to say: "No, don't start a choir," just because we can't get there. However, it's very important that there are certain principles of the project; guidelines that help transform the complaints into an empowering collective experience.

What are these principles?
First of all, anyone can take part. Singing skills are not required, so music must be easy enough for anyone to learn, but sound good anyway. Second, whoever is organising the choir must organise food. It might sound silly and minor, but the choirs only meet five times so the practice sessions are a lot of work, people are coming after work. Also, common meals help to form a community. Thirdly, the process has to be democratic. We have created a system so that groups collectively choose which complaints the choir will sing.

The choir format itself gives the performances a directness and impact. How did you choose that specific form to deal with the concept of complaining?
There is a Finnish word, valituskuoro, literally translated as "complaints choir." It describes a group of people complaining about the same thing. The choir is such an amazing metaphor for the collective. A choir sounds better when everybody listens to each other than if everybody tries to stand out alone. We thought that creating a choir out of individual complaints would emphasise the positive aspect of complaining; the attempt to connect with another person.

All the choirs around the world generate really different musical results. What informs the choice of musicians?
The musicians can't be super-egos and must understand that it's everyone's song. They must be very flexible and work very fast. They also have to be good with people in order to create an enthusiastic atmosphere. The music should be uplifting, the melody should contrast with the lyrics.

The Complaints Choir is accessible, straightforward and simple. How important are these values to your work?
Because we always work with participants, ethical questions are unavoidable. We never want to trick people in an artwork so everyone must understand what is happening. But we do not underestimate others' ability to understand. A concept can be both simple and intelligent. These are not opposites.

One of the strongest aspects of the Complaints Choir is its sincerity. What do you think makes it so genuinely relatable?
One thing I think which makes it so beautiful is that it is so non-judgmental. It addresses with warmth the tendency to complain, yet it also gives a concrete example of how powerful it can be to do something with the energy we put into complaining. There is also a level of solidarity in the project, as people are singing others’ personal complaints.