[RE] as in again, as in repeatedly, as in revisited, regained,
[RED] as in coral, roses, lips, cheeks, blood thyme, life force, signal, string,
[VERB] as in words, text, language, speech, structure,
[TE] as in you, yours, making you reverberate, resonate, resound
[VERTEBRAE] as in backbone, skeleton, structure, organic, flexible, small parts making a whole,
[REVERBERATE] as in echo, resonance, vibration, transmission, communication, feedback
[RE] [TE] Metal boxes sound – resound – feedback, when sung to. As we all resound and sing in our own turn as human beings in our surroundings. These simple old cookie tins, picked up on flee markets, given by friends, found on e-bay. they have lived and are given a second life as instruments. Objects that only become instruments when manipulated, their feedback note or resonance changing with the notes physically sung into them – their sound in turn influencing the actual vibration of the vocal cords of the singer.
Here an example of how they can sound, recorded during a residency at Abattoirs de la Bomel in Namur, with Vincent Tholomé on electronic Calimba. We spend two weeks exploring and playing, combining the instruments and Vincent’s typoscript Le Grand Frimas and my notebook fragments. A little documentation from the residency you can find on the webpage of the Centre Culturel de Namur.
more on: https://soundcloud.com/stringingtheredline/sets/residence-abattoirs-namur-vincent-tholome-maja-jantar
[RE] [VERB] [VERTEBRAE] Traces from notebook excerpts infuse the sound performance – giving life back to words that had been stored away in pages lined with ink, [RED], organics, memorabilia, quotes, book references, thoughts, poems, literary crumbs. Written on thin strips of paper they enter, fall, crumble into the sound and voice.
[RE] [VERTEBRAE] [TE]
Is also an installation / performance piece consisting of vertebrae recreated in ceramic and smoke fired, after a collection of pebble stones found at a beach in the south of France.
Theses have been strung together with white cord to create a spine that can be hung up as an installation, or worn as a performance piece. For the exhibition ‘That other stoïc comedian’ on Flann O’Brian at Été 78 in Brussels, the spine was pierced with metal ribs that could contain text fragment, to be used in performance.
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