CantoCorpo
Creative improvisation vocal group in Nièvre, Bourgogne
Five voices in dialogue with each other, moving in space, creating compositions in connection with the acoustics of the place.
Traditional music, classical polyphony and different cultures, voice search, movement and presence of the body, experimentation and improvisation are all ingredients that nourish their work.
Elisa Ulian
Karen Chevallier
Nicola Simeha
James Bishop
Boe Przemyslak / Lola Ajima
Flowing Forms is a quadraphonic + hexaphonic work consisting of several pieces, composed by Lola Ajima and Ingrid Blasco for live looping of cello, vielle à roue and the software Logelloop, developed at Logelloù by Philippe Ollivier.
The pieces are inspired by movements in nature, like water, air, stones and earth and was sparked by the book “Sensitive Chaos” by Theodor Schwenk.
The beautiful coastline close to Logelloù in Bretagne, with long tides up to several hundreds meters, revealing the stony landscapes under the water was a starting point of the piece as well as the floating, chaotic and yet very graceful movements in water and air that makes up the misty air around the coast.
Titles of pieces:
Apres Têmpete
Brume
Absence
Intervalles Lunaires
Glittering surfaces
Currents
Vielle à roue: Ingrid Blasco
Cello: Lola Ajima
Live graphics: Yukao Nagemi
Initally ordered and supported by Logelloù, Penvenan, during four residency periods in 2023-24.
@Den 4. Væg skriver blandt andet:
“Afslutningsvis bliver vi bedt om at lægge os godt tilrette på en madras under Chemnitzs virvar af snore. Jeg kigger op i en lyspære, der er omkranset af nøgne grene, der med strips er tvunget ind i en form for rund natur-lysekrone.Imens spiller Lola Ajimas lydinstallation. Først er de dybe rungende lyde, der ind imellem suppleres af skingre høje toner, uhyggelige – som noget fra en gyserfilm. Men de fortsætter heldigvis længe nok til at trænge igennem mit umiddelbare forsvar, og det bliver næsten meditativt.”
Hvor er det fantastisk at være inviteret med af Vivian Nielsen og fungi ¤ systems som komponist til forestillingen Det Porøse Menneske // CPH STAGE , hvor hovedpersonen Alex, som også er lyd-entusiast, blandt andet siger således (lettere redigeret af mig):
“Hvor går grænsen mellem vibration og lyd? Lyd er bare de vibrationer vores ører kan sanse. … Blomster lytter efter vibrationerne fra vingerne af en bestemt bi-art… træerne lytter med rødderne, med væsken i deres væv… planterne sanser vandets bevægelser i jorden og vokser i vandets retning … Alting lytter efter vibrationer. Naturen lytter til os gennem myceliet. Måske skal vi lytte!”
Man kan lytte lidt med på lydsiden, her i traileren til forestillingen.
Vi har leget med interaktiv lyd til skuespillerne, Siff Vintersol og Maria Rich for at vise hvordan kroppens elektromagnetiske felt, rent faktisk kan gå i forbindelse med planters elektromagnetiske felt.
Og jeg har sørme fået lov til at spatialisere mit lydværk til forestillingen ud på 8 højtalere, der giver publikum et immersivt lydbad, hvor jeg har været inspireret af forestillingen om, at jeg lader fine, bløde svampesporersværme kærtegne publikums kinder, nedsænker dem i underjordiske vandstrømme og tager dem højt med op i luftens brus af Sort Sol fugleflokke og torden
smeltet sammen med lyden af min cello, midt inde i Marie Rosendahl Chemnitz vildtvoksende og stemningsfulde scenografi.
Medvirkende: Siff Vintersol, Maria Rich
Scenograf: Marie Rosendahl Chemnitz
Billedkunstner: Charlotte Petersen
Instruktør: Vivian Nielsen
Dramatiker, forfatter: Vivian Nielsen
Komponist Lola Ajima
Producent: Scene42
Sted: Sydhavn Teater
Kunstnerisk producent: Fungi Systems
Tak til Statens Kunstfond for støtte til kompositionen.
Concerts about memories of nature, together with Tine Louise Kortermand
Malkepige/Sammenstød
“Malkepige/Sammenstød – working title” is a site-specific concert in the public space that takes place in
dialogue with history in Landbohøjskole’s garden in Frederiksberg, Copenhagen, Denmark.
In his book “The Soundscape: Our sonic environment and the tuning of the World” from 1993 Murray Schafer investigates how music historically reflects the soundscapes that people have surrounded themselves with, and how changes in this have pushed the composers to seek new
sounds and resonances. Among other things, he writes: “Music forms the best permanent record of the past sounds musicians also live in the real world and in various discernible ways the sounds and rhythms of different epochs and cultures have affected their work, both consciously and
unconsciously.”
The work is an investigation of the sound-historical cross-section through time of the clash between country and city.
The work takes inspiration from the bronze statue in the garden, called Malkepige (The Milkmaid).
With a straight back she stands with the milk pails and looks out into the garden, as if for her cows. But there are no cows. The city has grown around her and she is left alone. You can almost hear the echo her cow calls that go unanswered. Or do they?
With four mobile speakers that act as the response of the cows (field recordings), live sung loops of cow calls from scandinavia, the ever-present sounds of cars and bikes whizzing by on the road just outside, rhythmic elements such as the metallic beats of industrialization played on cowbells and the bronze statues in the garden equipped with contact microphones, the works is an answer to the Milkmaid’s spectacle by creating one co-existence of sonic layers between the pre-existing soundscape and the vanished sounds.
The work lasts about 20 minutes.
Stopmotion film
