I see ‘the sound of everything’ as on ongoing collaborative project – something I imagine exploring for the rest of my life. *Traditional cultural practices do not require you to come up with completely new themes every few years. Improvisation, as a key creative practice in most traditional performative models, allow for ongoing innovation within a shared language and established context of meaning/performative epistemology.
*By traditional I mean cultures/communities through time and space who have maintained an integrated cultural system complete with a unifying performative tradition which reflects and creates a shared ‘sacred canopy’ or over arching meaning structure for reality. These communities were more numerous before the advent of the industrial revolution and are prevalent in societies within which specialisation in daily activity is not extreme. IE within which the majority of people share the majority of day to day activities. Food production, creative and spiritual practices, performative activites etc…These type of communities can also be found within religious/ spiritual communities and new communities based around ideas of sustainability and collectivity.
Environments were created within the Villa, upstairs were two rooms playing soundscapes Marianthe had composed during her residency, in one room was her bed, she installed speakers beneath the bed and encouraged participants to lie on the bed to feel the music as well as hear it. Accompanying these experiences a video projection of her open window with the warm afternoon breeze playing with the curtain illuminated the space, this was projected onto the same window making us question time and place. The rooms were experienced collectively and intimately as though the audience was cradled by Marianthe’s thoughts and intentions.
The happening was a moving journey, from the two upstairs rooms we all ventured outside to the installation I had created earlier in the day. I had hung large-ish, strong plastic bags filled with water and suspended them from the resident pergola, underneath lay a plastic sheet. Marianthe danced through the udders of water beating a drum. At the conclusion of her performance she pierced several bags with a pin allowing drops to be released, these dripped down the bags, departed and landed on the plastic creating sound. As she pricked more bags the melody of randomness began to take shape.
We were invited to stay outside as long as we wished whilst proceedings were organised inside. The finale was a collective of talented musicians playing some well versed songs from Marianthe’s new albumn Resolve. Again the room was illuminated by projections playing on the surrounding walls via three well placed mirrors. We enjoyed very special deep throat vibrational sounds and harmonies within purpose made glass vessels from Sash featured here in the imagery.
It was a very inspirational evening as the night was further filled with a myriad of conversing, playing and trying to achieve that deep throat vibration.
Photo credit: Nina Kourea