We have now finished filming and audio recording for the installation in the Audain -- actually, Kyle is doing working with Nancy on recording text as I type this; the installation-team is working super hard to put this piece up in a very short amount of time.
The performer-team is now building the Haikai piece that we will be presenting alongside the Gamelan orchestra; we have video footage of their general structure and sound. I'm interested in the negative spaces of the instruments and the possibilities that can be found in the architecture; of particular mention is the gong situated upstage. It holds opportunities for reveals or incomplete gestures, even the shape itself (along with many of the other instruments) suggests a cyclical/round nature. Henry has already made an offer of taking gestures from one of the Gamelan players (we think he's the one giving all the cues) and it has since become part of my movement score. We're on the lookout for whatever else we can source from this chance encounter with Gamelan. On a personal note: my lineage comes from Southeast Asia (Singapore), tracing back to Malaysia and China. Out of everyone, I think my ancestry is most close to Indonesia and thus, the origins of Gamelan -- I've been researching and discovering more Malay dance forms to sneak into my own movement vocabulary. Perhaps digging more into my roots with reveal more about my relation to this music.
In our voice warmups, we've been working presence and challenging each other with singing. Beyond the technical growth, I'm seeing a very clear ensemble building here; for a piece based on such a journey, it seems almost inevitable that we need to come together...and it feels good. Voices are becoming more released, text more clear, and bodies more connected. Next, I think we'll continue on to intentions and perhaps more bookwork with text.
We're at the halfway point and things will be moving faster from here on in.
The performer-team is now building the Haikai piece that we will be presenting alongside the Gamelan orchestra; we have video footage of their general structure and sound. I'm interested in the negative spaces of the instruments and the possibilities that can be found in the architecture; of particular mention is the gong situated upstage. It holds opportunities for reveals or incomplete gestures, even the shape itself (along with many of the other instruments) suggests a cyclical/round nature. Henry has already made an offer of taking gestures from one of the Gamelan players (we think he's the one giving all the cues) and it has since become part of my movement score. We're on the lookout for whatever else we can source from this chance encounter with Gamelan. On a personal note: my lineage comes from Southeast Asia (Singapore), tracing back to Malaysia and China. Out of everyone, I think my ancestry is most close to Indonesia and thus, the origins of Gamelan -- I've been researching and discovering more Malay dance forms to sneak into my own movement vocabulary. Perhaps digging more into my roots with reveal more about my relation to this music.
In our voice warmups, we've been working presence and challenging each other with singing. Beyond the technical growth, I'm seeing a very clear ensemble building here; for a piece based on such a journey, it seems almost inevitable that we need to come together...and it feels good. Voices are becoming more released, text more clear, and bodies more connected. Next, I think we'll continue on to intentions and perhaps more bookwork with text.
We're at the halfway point and things will be moving faster from here on in.