Showing posts with label Projects. Show all posts
Showing posts with label Projects. Show all posts
What has it got to do with coconuts and rice? [for Untraining the Ear Listening Session]//
Workshop:
Radio Program: Klangkunst 28.12.2018 Von Esther Schelander unter Mitwirkung von Jan Rohlf
Violentiam [for World Listening Day 2018]//
VIOLENTIAM. This is a collection of eight audio files recorded using
mobile phone within 2016-7 while I was undergoing cancer treatment. The
files were unaltered. They were sequenced based on when I have heard
them, usually moving from only two locations--my house to the hospital.
The bird song that were persistent in this 5mins piece were recorded
after my treatment, when I was already allowed to return to my other
city of residence, signaling a new lease in life. The piece is called
“violentiam” because these were the sounds of the most violent years of
my life having faced mortality.
https://www.worldlisteningproject.org/2018/01/world-listening-day-2018/
Agungan: Resounding South [for Tripoli Agreement]//
AGUNGAN: ReSounding South
2018
Multi-media archival installation
Dimensions variable
Commissioned by Sharjah Art Foundation
Courtesy of the UP Center for Ethnomusicology
Notes:
Through the archival facilitation of media art historian Dayang Yraola, AGUNGAN: ReSounding South (2018) examines the practice and scholarship of the late Filipino ethnomusicologist and composer José Maceda within the soundscape-landscape of Muslim Mindanao. The project reflects on the metaphorical place of the gong, a percussion instrument that is present in a variety of indigenous cultures in Southeast Asia. Maceda’s mediation extends the possibility of playing and experiencing its sound beyond the rituals and territories of Muslim Mindanao.
Informed by the attitude and field work of José Maceda, this work portrays a history of place and its people in four modules. The first module depicts the relationship of music with the universe and the power of music in Mindanao, and the second shows the making and playing of gong in the daily lives of four distinct groups (Badjao, Maguindanao, Maranao, Yakan. The third presents a production of Maceda's Agungan, a composition of new sounds based on the technology and tradition of native musical invention, while the fourth collates documented performances of gong.
Central to the installation is Maceda’s 1966 composition Agungan, through which he first introduced his experiments in ethnomusicology, Western composition, theory and practice. Yraola presents Agungan through the lens of Maceda’s field work in southern Philippines with images of gong production and daily performances of gongs.
Part of "Tripoli
Agreement" an exhibit for the Air Arabia Curator-in-Residence.
Exhibit July to September 2018 at
Gallery 4 Al Mureijah Square, Sharjah, UAE
(curator: Renan Laru-An)
(curator: Renan Laru-An)
http://sharjahart.org/sharjah-art-foundation/people/yraola-dayang
https://www.esquiremag.ph/culture/arts-and-entertainment/uae-art-exhibit-features-filipino-artists-tackling-the-mindanao-problem-a1521-20180805-lfrm
https://www.thenational.ae/arts-culture/art/sharjah-art-foundation-s-new-show-is-a-rich-cacophony-of-interlocking-cultures-1.751493
https://www.artinamericamagazine.com/reviews/a-tripoli-agreement/
WSK Feedback Forum (Co-convenor with Merv Espina)//
"The main focus of the fora is to map and later publish the
various histories of sound practice in the Philippines across different
generations and locations and its immediate network in Asia."
Attitude of the Mind//
Catalogue here
Audio files here
http://nrcp.dost.gov.ph/previous-issues/302-up-ncca-nrcp-team-up-for-nat-l-music-artist-s-100th-year
https://ph.asiatatler.com/life/maceda-100
https://community.benchmarkemail.com/users/D372E/newsletter/One-week-left-to-view-MACEDA-100--Attitude-of-the-Mind-at-the-CCP
http://upethnom.com/maceda100/
Ethnic Tunog Revisited [for Tunog at Tinig DZUP]//
Ang Ethnic Tunog Revisited ay isang serye ng mga panayam sa mga electronic musicians at sound artists na gumagamit ng mga elemento ng indigenous music sa kanilang mga obra. Maaring sila ay kumukuha ng mga bahagi ng tradisyonal na awit, chant o instrumental na tunog na siya mismong ginagamit na materyales; gumagamit ng mga indigenous instruments kasabay ang electronic gadgets o digital programs; o di kaya ay ginagamit ang ethnic music bilang inspirasyon sa purong electronic o digital na obra.
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