On 15 April 2015, Philip Reeder and Thirty Pounds of Bone (Johny Lamb) went to sea aboard the Girl Emily, a 1974 commercial line fishing boat sailing out of Custom House Quay in Falmouth, Cornwall. Faced with an unlikely and challenging studio environment on deck, Thirty Pounds of Bone performed nine new arrangements of traditional fishing/maritime songs, as the skipper and his mate went about their business of fishing. Despite the inherently risible endeavour, vocal performances accompanied by guitar, shruti-box and two Monotribe synthesizers were captured by a variety of microphones alongside guest performances by bow-waves, seagulls, coastguard helicopters and various sea creatures. The sound of the boat, her engines, her wake, the creaks of her hull and her propeller are a fundamental challenge but also material for the album Still Every Year They Went. The songs from or about the sea, and its associated practices, were taken back to the water—set amidst the environment of their origins. An unlikely collaboration emerges between Thirty Pounds of Bone’s dredger-paced lo-fi, and the phonographic studio methods employed by Reeder. The result is an album of material that speaks to older traditions, made relevant by a methodology that seeks new ways to render traditional song. The accompanying text published in Performance Research 21.2 On Sea / At Sea explores Lamb’s notion of music production as a ‘taxidermy’ of performance, and the iterative processes therein. This opens up discourse around Reeder’s use of phonographic contexts as a platform for music composition and studio production.
Views: 564 Performance Research
This brief audio work is a voice setting of poetics exploring the slippery and liminal properties of the voice and breath. The voice is an elemental, like water: flowing, carving out, not-able-to-be-touched, yet deeply embodied—a felt resonance, an imprint, impermanent–permeable, with an inherent washing–over quality and a cathartic pouring power. This work is published as a supplement to the Performance Research issue 21.2 On Sea/At Sea Issue editors: Sam Trubridge and Richard Gough Publication date: 30 April 2016 On/At Sea focuses on the sea as an unbounded, unfixed territory with no recognizable performance cartographies, asking the question – how often does performance go to sea? This is both a literal and poetic question, thus inquiring about specific nautical performances ‘on the sea’, as well as the poetic state of being ‘at sea’, that is, within a fluid, unfixed, or liquid condition. Does the need for survival in this place render artistic, performative expression as something superfluous and trivial? How can a performance culture be shaped by this liquid, ever-moving terrain? Is perhaps, the sea a place where performance is suspended momentarily? We are seldom actually ON the sea and being AT sea is a giving over to the elements, casting off from attachments and moorings.
Views: 204 Performance Research
SOUND((ING))S takes place at sea. It constitutes part of an ongoing poetic sequence, the first sections of which were text-based: Collecting Shells (2011), The Sea Quells (2013) and CONT. (2015). The latter was performed at the Institute of Contemporary Arts (ICA) in London as part of Poetry and Sound on 5 February 2016. This section will be played as a sound-based installation on board a ferry as it crosses the English Channel, sailing between Dover and Calais with provisions for refugees based near the French port. Human crisis at sea demands a poetic practice that is prepared to go to sea as a form of research and witness. This installation ‘maps’ two means of crossing one border: by sea, across the Channel and underneath the seabed, through the Channel Tunnel. It invites a process of ‘reading’ that is informed by the scientific process of echo sounding, or ‘sounding the depths’, which is used to measure depth in liquid and to recover bodies lost at sea. Layered auditory patterns and increasingly heavy rhymes simulate traditional sounding methods, whereby weights were lowered down piano wires. Listeners can ‘dredge’ for submerged—and suppressed—content relating to the killing of migrants by neglect across Europe through programmes like Frontex’s Operation Triton in the Mediterranean Sea in 2014, which replaced search and rescue procedures with a mission ‘to control borders and not to rescue at sea’. The installation’s bilingual wordplay destabilises two languages used to deny migrants movement across the English-French border. The work offers the recovery and re-appropriation of sounds from and about the human body—the female body in patriarchal language, the disabled body in an age of austerity and welfare cuts and the asylum-seeking body within the EU. Drawing on a secondary meaning of the phrase ‘to take soundings’, which is ‘to canvas opinion’, the installation includes a petition calling on the UK government to provide legal, safe passage for a greater number of refugees. The article to accompany this sound piece is published in the Performance Research Journal 21.2 On Sea/At Sea. www.performance-research.org
Views: 436 Performance Research
Created by Andy Field in collaboration with local primary school children, Lookout is a one-to-one encounter between one adult audience member and one child performer taking place somewhere high up overlooking the city. Together performer and audience member look out at the city and imagine its future. The conversation they share is a quiet journey through the past, present and future guided by the streets and landmarks laid out before them. In November 2017 we travelled to the city of Guangzhou in China to create a version of Lookout in partnership with the Times Museum and children from the Times Rose Garden school. This short film documents the project and some of the responses to it. Created by Andy Field Music and Sound Design by Tom Parkinson Produced by Beckie Darlington Dramaturgy by Sibylle Peters
Views: 23 Performance Research
Valentina Valentini (in collaboration with Walter Paradiso – sound mixing) curated an audio file of six women theatre practitioners who have extended vocal practice in contemporary Italian theatre: The Dwelling of Women’s Voices in the Theatre
Views: 10 Performance Research