While Jody Cassell moved the energies across the room, Shana Adams, Morgan Fleming and I sounded around her. The sound reflected and supported Jody’s movement. In this excerpt, Jody was reaching for lost conversations, while Shana sang the words from Megan Bostic’s piece I Lost The Conversation, and Morgan and I stretched tones. I wish I had a video of the movement Jody responded with during this piece. It was a most beautiful fusion of visions.
Jan Ru Wan and Megan Bostic collaborated on the current DAG show entitled Reconstructing Existence: I Create Therefore I am which will run through August 12th at the Durham Arts Council. This coming Friday, July 21st, Jody Cassell will present a movement piece in response to their work. Jody will be accompanied by dejacusse’ new soundscape The Drone of Aggrievement along with improvisations by vocalist Shana Adams and Morgan Fleming on violin. The performance will run from 7:15 to 8ish.
The art that you will experience that evening arises from a deep grief that enveloped the artists following the loss of a parent. Jan Ru, Megan and Jody have discovered mediums, forms, textures, patterns and relationships through found and intermingled objects and movement to allow their grief a public expression. Each person’s journey with grief is a singularity that we can witness and resonate with. The graceful power of these expressions of grief invite the audience members to reflect on their own grieving.
This is the third collaboration for Jan Ru, Jody and I; and our second with Megan. The first was in 2013 in the Seimans Gallery at Durham Arts Council. Resolving the Disquiet was the raw stage of grief where the memories of the parent’s presence and the shock of their loss was felt. Then last October at VAE in Raleigh, Jan Ru Wan created Separation and in-between an installation that was about reflection and connections across time and space. Jody and I improvised movement and sound offerings for both of these exhibits. Here is a link to more about the VAE show: http://wp.me/p5yJTY-fd
The DAC show focuses on a renewed existence through creativity. The grief remains but brings energy and muse in relation to “what is.” The show is beautifully curated and very sculptural.
For this exhibit, I was inspired to create a drone in a carnatic scale that begins on Bb. Bb is the tonal center of much of the natural world. Cricket and frog calls, cicada songs and other more drone-like nature sounds tend to resonate in B or Bb. The drone is made up of long tones from this scale in large interval relationships. The 11th Harmonic is worked in to help disrupt any stuck energy. I chose voices that pull at the heart (woodwinds and strings) and created audio effect racks to destabilize and texturize the sound. Wind is a featured sound texture along with snipping scissors, keystrokes, and Jody’s voice reading bits of her performance piece Walking to Nairobi. Shana and Morgan will improvise along with and independently of the soundscape – all as accompaniment to Jody Cassell’s dance piece.
Please join us this Friday, July 21, at the Durham Arts Council DAG Gallery at 7:15 pm.
Last year, during a Human Origami movement workshop, the son of one of the participants added vocals to the soundscape. This was a spontaneous offering on his part and I was delighted. I tend to favor the bright and shiny high end of the spectrum with bells, chimes, vibes, etc. Matthew’s voice is deep, gravily and provided a beautiful balance to the scape. His voice became an integral part of the larger Nested Soundscape.
On a recent trip to NYC, Trudie and I went to the Rubin Museum in Chelsea to listen to their exhibit The World is Sound. It was an interesting and moving exhibition pointing to sound as the alpha and omega of existence! Yes, WoW! The Rubin is a museum devoted to artifacts and teachings of Tibetan Buddhism, so the installations included The Collective Om, which was a long loop of voices sounding Om. (Later we were delighted to find out that our hosts, Winnie and Phil Richmond, old friends of Trudie’s, had been among the Oming voices.) Le Corps Sonore presented ambient waves of sound that enveloped the spiral staircase at the Rubin. Here is a short sample going down the staircase:
I particularly loved the soundlings that are part of this section of the exhibit:
The human voice and spoken language played a large part in many of the sound offerings, so I listened intently to each one. One piece distorted the sound of spoken words, rendering them meaningless, but not before imprinting a verbal message that remained in my brain as the words failed. I am particularly interested in exploring the second question in my own sound work.
But the most amazing sound I heard that day was in a room on the fourth floor that held a reconstructed altar from a Tibetan monastery. A recording of chanting Tibetan monks plays in the room. As soon as I entered the room, I heard Matthew’s voice. The same gutteral resonance and shades of overtones that Matthew brought to the soundscape were permeating the room. I made a short recording, and have coupled it with an excerpt from Matthew’s accompaniment to illustrate:
It is amazing how we do not know who lives and loves among us!