It has been many years since I last visited Jazz Cafe in Camden. In recent years, I tend to go to ‘proper’ concerts at the Barbican and South Bank where I would sit quite still for hours. I think I have almost forgotten the joy of standing (and dancing) at a concert. Yet in November, I went to Jazz Cafe twice to see the Japanese folk band Minyo Crusaders, and Algerian Berber singer and guitarist Souad Massi.
I have not heard of Minyo Crusaders before, but I was intrigued when I found out that they rework traditional Japanese folk songs (minyo) with Latin, African and Caribbean rhythms to create inventive music. The band launched their debut album “Echoes of Japan” in 2017 (and reissued in 2019) and has since gain fans from around the world.
The 10-piece group was co-founded by Katsumi Tanaka and Freddie Tsukamoto, with the goal of reviving minyō as a ‘music for the people’. There is a retro feel to the band, but at the same time, it also feels refreshing and unique.
The history of minyō can be traced back centuries and it has been passed down for generations in villages and rural communities. Often accompanied by dancing, minyō usually portrays a local story or scenery, and it is played during neighborhood festivals and other communal gatherings. By experimenting and fusing with Latin, jazz and other forms of contemporary music, Minyo Crusaders has successfully revived ‘old-fashioned’ minyō into something cool and distinctive.
Honestly, I have not had so much fun at a concert for ages. The atmosphere was lively and vivacious, and the audience clearly loved the catchy tunes. Everyone was dancing away, and none of us wanted the night to end. I highly recommend seeing them live, because they are fantastic on stage, and you are likely to love them more after the concert.
Less than 2 weeks later, I returned to Jazz cafe to see Algerian Berber singer, songwriter and guitarist Souad Massi. Souad has been active since the late 80s, and regularly performs in the UK (since she resides in Paris). I have been to her concert at the Barbican a few years ago, but compare to the music hall at Barbican, the smaller and more intimate setting at Jazz Cafe enables the audience to get closer to the stage and performers. Thus, the experience was more memorable and compelling. Distance, in this case, matters.
Like Minyo Crusaders, Souad Massi likes to incorporate different genres into her music, including rock, country, fado, oriental, and Algerian folk… meanwhile, she also sings in Arabic, French, English and Berber – she truly is a world music artist. Often, the lyrics of Souad’s songs contain political messages, which resulted in her fleeing Algeria to Paris when the political messages of her band Atakor attracted death threats.
At Jazz cafe, Souad performed songs from her 6th and newest album Oumniya, featuring themes on Algeria, politics, love, freedom and emancipation – topics that matter to her and many others. As much as I like listening to Souad on CD or Spotify, it still lacks the impact of her live performances, accompanied by her brilliant band.
After the two fantastic concerts, I can’t wait to return to Jazz Cafe again for more music from different parts of the world.
Here is a short clip of the concert recorded by Julian Evenden.
Anoushka Shankar performing live for the 1928 Indian silent film – Shiraz: A romance of Indian at the Barbican
I saw 8 engrossing films and documentaries in total at the Raindance and BFI film festivals this year, and I feel that the overall standard of the films I saw this year is exceptionally high. Although I chose mostly documentaries, the few feature films I saw also deal with social and political issues that are important today. These are not big budget films, but they reflect more of what is happening in the world today than the big budget and rather unrealistic Hollywood films. Some of these films are grim and disturbing like “Venerable W”, but they are pertinent and they reveal in-depth stories that are often omitted from the news.
“The receptionist” is a low-budget drama based on a true event and it is directed by London-based Taiwanese director Jenny Lu. The film was shot mostly indoor – an illegal massage parlour where young Asian women work as prostitutes to support themselves and their families. It is depressing and realistic, but slightly too long. The acting from the almost-all-female cast is strong, except for the lead, whose face is not very expressive, and her inconsistent performance is a let down compare to the rest of the cast.
The film addresses issues of sex trafficking, exploitation, immigration, loss of innocence, and loneliness. Even though we might be aware of these issues, yet few of us are powerless to stop it, which makes it more saddening and bleak.
“The Receptionist” directed by Jenny Lu
Renown celebrity photographer Michael O’Neill started practising yoga after being told by doctors that he could never use his arm again. Not only did he managed to use yoga to fix his arm, he also became fascinated by this ancient practice. He spent 10 years photographing yoga masters and gurus for his book “On Yoga: The Architecture of Peace”. This documentary is based on the book, with Michael interviewing yogis, yoga practitioners, and spiritual teachers on life and death. I found some of the contents of these interviews very profound and inspiring. Perhaps it is time for people in the West to understand that there is no separation between the mind and the body – both are the same thing. And the practice of yoga is one of the many methods that can help us to reach our full potential and develop higher consciousness. This is a beautiful and poignant film.
“ON YOGA The Architecture of Peace” directed by Heitor Dhalia
What would you do if you discovered that your favourite aunt used to work as a secret agent for a dictator? Worse still, an agent who tortured innocent people and ultimately caused their deaths. “Adriana’s Pact” is a Chilean documentary made by Lissette Orozco, who initially embarked on this project hoping to prove her aunt’s innocence. After years of investigating, interviewing and filming, Lissette had to confront her worst fears – that her aunt might not be innocent after all. This first documentary by the young film maker is courageous and powerful. Sometimes life can be incredibly cruel, but it is also through the tough times that we find our true selves, even though we have to pay a high price for it.
“Adriana´s Pact” a documentary by Lissette Orozco
I have been practicing mediation and studying Buddhism (Soto zen for the last few years) for almost a decade now, yet sometimes I still feel reluctant to call myself a ‘Buddhist’. I felt quite disillusioned after spending 6 months going to a ‘cult-like’ Buddhist group, but meeting my current teacher changed everything. Buddhism is not a dogma, yet it hasn’t stopped different groups or leaders from turning it into a dogmatic practice. As in all religions, problems arise when people misinterpret the teachings and twist the meanings to suit their hidden agendas. And now, Buddhism’s non-violent reputation has been tainted by what is happening in Myanmar thanks to the Buddhist monk Ashin Wirathu.
This timely and disturbing documentary by Barbet Schroeder is the last of his “Trilogy of Evil” series. It is shocking to see how one monk could incite some much racial hatred towards the Muslims in his country. It also shows that Buddhism is not exempt from violence, brainwashing, and the craving and abuse of power.
Unfortunately, the West had projected too much of their hopes onto Aung San Suu Kyi (who has little real political power) and now they are bitterly disappointed and are lining up to condemn her. I think the political situation is more complex than we could comprehend, and I don’t think she has the power to end this horrific atrocity.
Myanmar is a beautiful country and yet it has endured so much political unrest throughout its history. Is this its fate? Suddenly, I remember our friendly vegetarian young Buddhist driver from Mandalay telling us in broken English that he dislikes Muslims because they are not like Buddhists. Watching the film gave me the chills, while the words of the driver echoed quietly in my mind.
“Venerable W” – a documentary directed by Barbet Schroeder
I have always been fascinated by Iranian films, especially films by the late Abbas Kiarostami, Jafar Panahi, Mohsen Makhmalbaaf, andAsghar Farhadi. And I would love to watch some oldies from the pre-revolutionary period.
“Israfil” is the third feature by the female writer and director Ida Panahandeh. It focuses on the lives of two women and how they are intertwined through a man they are/were involved with. The film revolves around grief, loneliness, family responsibilities, loss, and love. It is particularly interesting to see an Iranian film directed by a female director as it is not very common in Iran. Without consciously aware of it, 50% of the films I picked were written and directed by female directors. I didn’t choose them for this reason, but it appears that women are quietly making their footprints in the global film-making world, which I think is very encouraging.
“Israfil” – a film directed by Ida Panahandeh
Chinese cinema has evolved a lot over the last few decades, and this subdued, understated and eloquent film is quite distinct from other contemporary Chinese films. It is the second feature by female writer/director/producer Vivian Qu, and it focuses on two teenage protagonists, who both delivered convincing performances.
I saw the powerful Chinese documentary last year – “Hooligan Sparrow” (I then wrote a blog entry here) – and this film address the same issue: government officials sexually assaulting children and using bribery to cover their crimes. The timing of the film is apt, as it was shown during the week when Harvey Weinstein’s sex scandal broke out. It turns out that Hollywood is not so different from the Chinese officials depicted in this film.
I think the laidback and dreamy seaside setting works well in this film, as it acts as a sharp contrast to the dark subject matter. Yet the most devastating aspect is that the film is based on true events, and there are countless of child victims and voiceless families in China that would never see justice being served. Whether you live in a capitalist or communist society, it is money and power that talk. End of story.
“Angels wear white” – a film directed by Vivian Qu
“Becoming who I was” is my favourite film at the two festivals. It is a simple story/ documentary of a young Buddhist boy (who claims to be a reincarnated rinpoche from Tibet in his previous life) and his relationship with his godfather/teacher/guardian. It took South Korean directors/producer/cinematographer, Chang-Yong Moon and Jin Jeon, 8 years to shoot the film. The result is a stunning, touching and authentic film. The love between the boy and his teacher is palpable and moving, and I could see both men and women next to and in front of me wiping off their tears at the end. The ending is heart-breaking and yet very positive. Since there is no ‘acting’ involved, it makes the film more endearing. The young rinpoche is cute, smart, playful, and a delight to watch. While I watched the children playing in the snow, I realised that these children are more innocent and happier than the ones living in the wealthy first world countries who are surrounded by materialistic things. If you don’t believe the saying: “money can’t buy you happiness”, then I urge you to watch this film.
“Becoming Who I Was” – a documentary directed by Chang-Yong Moon and Jin Jeon
Last but not least was the special archive gala screening of the Indian silent film “Shiraz: A romance of India” (1928) at the Barbican, with live film score by Anoushka Shankar and her team of musicians. The film was painstakingly restored to its full glory by the BFI restoration team, and I think the set designs and cinematography are exquisite. The Anglo/German/Indian production is unlike the Bollywood films we see today, and it was further elevated by the mesmerising East-meets-West music.
Do Londoners ever get tired of ‘immersive’ shows? There are immersive theatres, exhibitions, cinemas and installations… the list goes on. If you are bored of the traditional forms of entertainment, then these multi-sensory performances are likely to stimulate your senses in every possible way.
Last week, I attended an immersive concert performed by the London Contemporary Orchestra at the Roundhouse as part of a series of Curtain Call Live performances. The 360° installation, Curtain Call designed by renowned designer/architect/artist, Ron Arad was first unveiled in 2011, and it was reinstalled this August to celebrate the 50th anniversary of the venue.
The floor-to-ceiling artwork/design made of 5,600 silicon rods suspended from an 18 metre diameter ring provided a canvas for films, live performance and audience interaction. Audiences could walk around, in and out of the curtain during the performances while enjoying the projected visuals from different angles.
I have never been to a LCO concert before, so I was quite curious about this experimental orchestra which started in 2008. The five songs performed on the night were: John Tavener’s ‘Svyati’, CHAINES’s ‘Down’, Morton Feldman’s ‘Rothko Chapel’, Mica Levi’s ‘You belong to me’, and Yoko Ono‘s ‘Sky Piece to Jesus Christ’ They were accompanied by bespoke visuals from Nicol Vizioli, UniversalAssemblyUnit, Ioana Sisea, Pavel Samokhvalov and Hannah Perry.
The mesmerising visuals and unconventional music performance worked very well, but it was the casual and laid back attitude of the concert that broke the mould. Although not every song was my cup of tea, I enjoyed the overall experience, and the highlight for us was at the end when the musicians on stage were bandaged together by other orchestra members until they could no longer play their instruments anymore. I have never seen anything like it before at any concert, and it was certainly a fun and bizarre way to end the show!
Ron Arad’s other installation Spyre was also on display at the Royal Academy of Arts’ courtyard, as part of the Summer exhibition. The 18 metre tall corten steel moving cone, containing motors, cogs, and slew-rings. Each segment moves at a different speed, ensuring that the sculpture’s unpredictable acrobatic postures are never repeated. Spyre has an eye at its tip containing a camera which will film its surroundings constantly.
Amidst the Brexit storm, a Japanese company of 25 performers brought chaos and frenzy to the Pit at the Barbican; nonetheless it was still more predictable and endurable than the political turmoil that was unfolding during the week.
Part of LIFT Festival 2016, the sold out 45-minute show Miss Revolutionary Idol Berserker pays tribute to the Japanese subculture – “otagei” (オタ芸) or “wotagei” (ヲタ芸) – the geeky dance routines performed by superfans to their Japanese pop idols.
Founded by Tokyo-based artist Toco Nikaido, the show is neither theatre nor pop concert; though it is certainly a stimulating form of entertainment that enhances the senses.
Before the show, we were warned about the noise level and water guns, and so we were given rain ponchos and ear plugs as our ‘protections’. Once inside the theatre, it was interesting to see how the entire space – walls and seats – were all covered in plastic sheets!
Aside from the introduction at the beginning, I can’t explain what really went on in the following 40 minutes. I saw the energetic performers danced, sang (in Japanese), jumped, clapped, sprayed water and threw objects at the audience, and ran around urging the audience to join in. It is mad, anarchistic, bewildering, and overwhelming. There is no narrative to the piece, and you are supposed to immerse yourself in the commotion and go with the ride.
As much as I enjoyed the show, I felt that it could have been crazier! Something was lacking for me, and I can’t even pinpoint what it is. However, I appreciated the effort of the performers, especially when they lined up in the corridor to greet us individually as we left the theatre.
As I mentioned, the show is not intellectual, it is a show where you can unwind and act silly, so what more can you ask for when the world outside is even more chaotic than inside the theatre?
Although I have heard a lot about the biannual Hyper Japan festival, a celebration of the Japanese culture, music, food and entertainment, I have never visited this event before. This year, after spending one year learning Japanese, I made friends with a group of people who are interested in the Japanese culture. One of them plays the shamisen (a traditional Japanese three-stringed lute) and performs with the SOAS Min’yo (Japanese folk songs) group, and we were invited to see their performance at the festival. At £17, I thought the ticket was fairly pricey, but I was also curious to see what all the fuss was about.
The venue moved from Earls Court to the bigger O2 showcasing a line-up of musical performers from Japan, in addition to several zones dedicated to the popular gaming and anime titles, Japanese goods (including books, ‘kawaii’ stationery, traditional homeware and fashion accessories etc), as well as Japanese food and drinks.
Upon arrival, I was surprised to find a long queue outside of the venue, it was lucky that we had bought the tickets online beforehand. As expected, the venue was packed esp. in the food court, so we simply picked the shortest queue as I was quite hungry by then (since it took us at least 20 minutes to get from the entrance to the food court).
Walking around, my friends and I were astounded by the prices of the goods at the festival, i.e. a bar of matcha Kit Kat was £5 and 10 onigiri (rice balls with seaweed) was £29! But at the same time, it dawned on me that the popularity of the festival is not so much to do with the food or shopping, it’s all about COSPLAY!
I never realised that the subculture of cosplay is so popular in the UK, and I was utterly dazzled by the idiosyncratic and creative costumes and props seen at the event. I only wished that I had taken more photographs of them. The festival was more like a showcase of cosplayers, it was such an eye-opening experience.
Top & 2nd left: SOAS MinYo group
After seeing our friend’s folk music and dancing performance, a few of us went to see the finale of the festival, which was the stage performance of Dempagumi.inc, a cult Japanese female idol group from Akihabara, Tokyo. I have never heard of this group before, but my friend who is into Japanese anime informed me that they are a popular Japanese subculture group that is gaining fan base globally.
I fail to find apt words to describe how I felt during the 20 minutes of their performance. What astonished me most was the behaviour of those grown up men there. There were Japanese and Caucasian men (aged between 25-55) shoving, jumping, yelling and perhaps even crying around us. The sight was so surreal that I was left rather speechless, and I was more distracted by them than the performers on stage. The power of these six squeaky-voiced young women is not to be underestimated. If you want to understand the popularity of this J-Pop group, I have included their music video here, but I can assure you that it is not as entertaining and as wacky as seeing them live. Enjoy!
Apart from a string of art fairs taking place in London last month, there was also the 2-week long Dance Umbrella festival, showcasing exceptional talents in the world of choreography from around the world.
At the festival, I saw some brilliant and ground-breaking dance performances produced by two contemporary dance companies. The first one was Spain’s Rocío Molina‘s ‘Bosque Ardora’ at the Barbican, and the second was China’s TAO Dance Theatre‘s ‘6&7’ at Sadlers Wells.
I have watched both traditional and contemporary flamenco dance shows before, but ‘Bosque Ardora’ is more like theatre and its star Rocío Molina is much than a flamenco dancer. She is unconventional, raw, precise and utterly mesmerising to watch; she is a natural performer.
The show is inspired by Greek mythology, and it revolves around hunting games set in a fantastical forest. Aside from Rocío, she is joined onstage by two excellent male dancers, and a group of musicians including a soulful flamenco vocalist José Ángel Carmona. Although the dancing and music is inspired by traditional flamenco, Rocío has broken many traditional boundaries and has created a show that is abstract, mysterious and surreal. It is never easy to reinterpret a traditional form of arts/dance and develope it into something new, but Rocío‘s ambitious piece proves that anything is possible as long as we use our imagination.
Rocio Molina – Bosque Ardora Teaser
It is hard to describe what I saw and experienced at ‘6 & 7‘ (click on the link to watch a clip) performed by the Chinese Tao dance theatre. I was completely captivated by the performance. The concept is simple, the execution is minimalist and repetitive, yet the impact is powerful in a meditative and hypnotic way.
The piece has no narrative, it is an exploration of body movements through repetition in a collective way. The Taoism concept of ‘yin and yang’ is presented in the two-part show. In the first part, 6 dancers are dressed in black moving on a dark and smoky stage accompanied by somber and intense music. At the beginning, audience can barely see them, except for the shadows and certain movements. Even when the smoke clears, it is still hard for the audience to distinguish the dancers’ gender! Yet in the second half, 7 dancers are dressed in white and the stage is illuminated brightly with no music but a humming sound from the dancers. What a sharp contrast! This conceptual piece is unlike anything that I have seen before and it is very exciting to see a new voice emerging from China.
The 6-year old company was founded by Chinese Choreographer Tao Ye when he was only 22. Some people might compare his work and style with the internationally acclaimed and more established Taiwanese Cloud Gate Dance Theatre founded by Lin Hwai-Min, but I feel that Tao has created his own unique language that is not only inventive but also very contemporary and universal.
Left: Rocío Molina’s ‘Bosque Ardora’ at the Barbican; Right: TAO Dance Theatre’s ‘6&7’ at Sadlers Wells
The spirit of the creativity continues after the festival ended. This week, British Indian dancer/ choreographer Akram Khan and Spanish flamenco dancer/ choreographer Israel Galván are performing their new collaboration ‘Torobaka‘ at Sadlers Wells.
The dance performance is a fusion of kathak and flamenco styles, and it takes place mostly within a red bullring ( inspired by the title – The bull/’toro’ and the cow/’vaca’) with Spanish and Indian musicians standing or sitting just outside of it. The two accomplished dancers’ styles are quite different but they are both compelling to watch. I especially enjoyed watching the two performers dancing/’competing’ with one another, the energy is intense but playful at the same time. I also applaud them for giving the stage to the musicians in one part of the show, though the show does feel somewhat disjointed and underdeveloped.
Overall, this experimental piece is an exploration of dance, movements and sounds, and the language that the two dancers has created is innovative and fascinating. Don’t miss the show if you want to see two world-class dancers bouncing ideas off each other on stage!
I have always had a fascination with the Sahara. I think what appeals to me is its mystery, beauty, danger, scale, harshness, unpredictability and ‘nothingness’. In my early 20s, I read Paul Bowles‘ novels, listened to his music and embarked on an adventure with a companion to the Sahara via Morocco. It was the first time I had ever seen a desert, but the two-hour camel ride into the desert and oasis was far from comfortable. We suffered from heat exhaustion (it was over 42 degrees), so our ‘romantic’ view of the desert was dashed instantly. Yet it was hard to forget the hospitality we received from the Tuareg/ ‘Blue People’ and the breath-taking view of the desert. Many years later, I returned to the Sahara again from the Tunisian side, it was a more pleasant journey, but the desert remained as mysterious as ever.
Sunset at Saraha
Last month I went to the second Sahara Soul concert at the Barbican centre. My memories of the desert returned, and I felt like I was back in time. The evening was a celebration of the desert, its people and music. Although I felt that the programme was slightly too long, the energy and passion of the musicians was felt by the audience and we didn’t need to understand the lyrics to appreciate the beautiful music. Unlike the traditional African or tribal music, the music being performed is influenced by other genres and styles, so it is contemporary and distinctive. Meanwhile, it also acts as a powerful weapon to draw people’s attention to the ongoing conflicts in Western Africa. The performers are not well-known in the UK, but they are talented and compelling, so I want to share their music here:
Nabil Baly Othmani is is the son of iconic Algerian Tuareg singer Othman Bali. Nabil is following in his footsteps, while at the same time carving out his own musical path. His music is a mix of flamenco, fuzzy rock, melancholy folk and even electronica, so it is unique and refreshing.
Nabil Baly Othmani – Menna (2014)
Steve Shehan & Nabil Othmani – Awalin (2009)
Tartit is a Tuareg band from the Timbuktu region of of Mali consists of five women and four men, all of whom are Tamasheq-speaking Tuareg. Tartit formed in 1992 in a refugee camp in Mauritania, where their music was a means of survival in the face of the economic, social and political difficulties in the region. Tartit’s compositions include traditional Tuareg ballads, dances and call-and-response songs. These instruments are accompanied by chants and percussive handclaps.
Tartit – Ichichilla
Born in the Sahrawi refugee camps in Algeria and now based in Barcelona, Aziza Brahim is the granddaughter of Al Khadra, the legendary ‘Sahrawi war poetess’. Playing hand drums and backed by a Spanish acoustic band which infuses flamenco and jazz to her Sahrawi rhythms, Aziza is using her music to make people aware of the conflict in her homeland.
Aziza Brahim – Julud (2014)
Young Mauritanian singer Noura Mint Seymali is the daughter of Dimi Mint Abba, the ‘Diva of the Desert’. Noura fuses ancient and modern Moorish influences, blending psychedelic guitars and transcendental grooves with impassioned, commanding vocals.
Recently I have been contemplating sounds and silence a lot.
My relationship with the sounds and silence changed when I started practising meditation; and as a consequence, my senses have been heightened significantly. Yet I had to go through a transitional period initially because I was overwhelmed by my increased sensory sensitivity. I couldn’t cope with being in a crowded and noisy room full of people because I felt like the noise had been amplified more than usual. At the same time, I was learning to ‘listen’ again and appreciating the sound of silence. But I soon realised that it is almost impossible to be in a completely silent environment because there is always background noise, even in nature. There are sounds of animals, insects, rain, wind and leaves rattling, but to be able to detect and differentiate these sounds require some kind of awareness. City dwellers would block out certain sounds in order to cope with the noise level in the city, and over time we become more immune to sounds in the city (and this applies especially to those who constantly have their headphones on).
Mobile phone conversations across London are highlighted in this map
When we listen to music, it has an ability to trigger our emotions, and we can be transported to a different state of mind, be it sentimental, joyful, irritable or calm etc. Yet sounds of nature or random noise contain no narrative, and so we rarely pay attention to the background noise that surrounds us all the time. In a recent interview, Sir John Hegarty, ( founding creative partner at Bartle Bogle Hegarty advertising agency and author of the book ‘Hegarty on Creativity‘) made this valid statement on how people nowadays choose to block out their surroundings rather than interact with it:
“I get really, really pissed off when I see my creative people coming in with headphones in… and they put a little wall round themselves. They listen to their music – and yes music is wonderful, I made a career out of using great music. But if you walk around cutting yourself off you are eliminating influence, you are eliminating the possibility that you are going to pick up stories, ideas, thoughts that are happening all around you and as a creative person that is completely wrong.”
His statement reminds me of American avant-garde composer, writer, artist and sound lover John Cage‘s 1952 conceptual piece 4′33″. This Zen Buddhism-inspired piece is ‘performed’ by the musicians on stage without sound, which not only challenges the audience’s expectations but it also makes them listen and become aware of the surroundings. The clip below reveals his insightful views on sounds and silence, and I found it fascinating that he regarded sounds as ‘just sounds’ but nothing else…
John Cage on sounds and silence
Over the last few years, I noticed the term ‘sound artist’ popping up more frequently. Sound or sonic art, which is regarded as a form of conceptual art has been receiving more attention than ever. Last year, both the Metropolitan Museum of Art and the Museum of Modern Art in New York presented a sound installation and an sound exhibition respectively. Yet this form of art has been around for about a century, and its roots can be traced back to Italian Futurist artist Luigi Russolo‘s L’Arte dei rumori (Art of noise) published in 1916. This manifesto revolutionalised the way people perceive noise and sound, and it has influenced many musicians (including John Cage), acousticians, artists and so forth.
Another pioneer who greatly influenced Cage and many others including contemporary sound artist Bill Fontana was the Dada artist Marcel Duchamp (Cage and Duchamp even collaborated on several occasions including a short sequence in the film by Hans Richter “Dream that Money can buy” made in 1947). Although not a musician, Duchamp composed two musical works and a conceptual piece around 1913. And his profound and thought-provoking view on sound as a sculptural medium was noted in The Green box (1934), “Musical Sculpture: sounds lasting and leaving from different places and forming a sound sculpture that lasts.”
American experimental composer and sound artist (also a friend of Cage), Alvin Lucier has been exploring the physical properties of sound since the 1960s. His career’s turning point arrived when created “Music for solo performer” in 1965; in this piece, electrodes are attached to his head so that his alpha brainwaves are amplified in front of an audience (it sounds very bizarre even by today’s standard). Then in 1969, he created “I am sitting in a room”, in which Lucier records himself narrating a text, and then plays the recording back into the room, re-recording it over and over again. Both of his pieces are ground-breaking and like Cage‘s work, they challenge the listeners/audience to view sound as wavelengths rather than musical notes.
Yet for decades, sound art has not been fully recognised by the public, probably because most people are not quite sure what category it falls into. Is it installation art with sound? Can sound be an art form? I think these are the most common questions that puzzle the general public. And when the prestigious Turner Prize was awarded to Scottish artist Susan Philipsz for her sound installation ‘Lowlands‘ in 2010 (the first time a sound installation had been nominated and won), it helped to change the public’s perception on sound art and made them more aware of this art form.
Susan Philipsz‘s Lowlands
This year, Thinking Digital Arts paired artist/designer Dominic Wilcox and creative technologist James Rutherford together to collaborate on a new commission in Newcastle. Taking tourist binoculars as inspiration, they created Binaudios, a device that enables the user to ‘listen’ to the sounds of the city. The Binaudios can be pointed at over 40 different locations, seen out of the Sage Gateshead window and different sounds can be heard associated to each specific location. Here is a video of the device and the sounds that can be heard:
Last month, I attended a Late London event called Sonic City at The Museum of London Docklands, which explored sound and hidden noise in our city. Sound artist Scanner (aka Robin Rimbaud) created a multi-channel sound work, an installation that featured an expansive collage of voices from all over the world. I was particularly intrigued by contemporary sonic explorer and collector, Ian Rawes of the London Sound Survey‘s sound talk, where he played a recording of the mechanical engine sounds inside Tower bridge. The website also contains a sound map of London, where you would find recordings of background atmospheres and incidental noises from all over London. Utterly fascinating.
I also took part in another event called The art of listening, created by sound artist Helen Frosi, of the SoundFjord lab. Participants were invited to respond to sound through the medium of drawing, creating something visual using your sonic perceptions. It was fun to draw by following the sound waves because it was spontaneous and quite liberating to go the flow of the sound rather than planning on what to draw.
The final event I took part in was a sound walk led by sound artist Maria Papadomanolaki from Points of Listening based at the University of Arts London. The walk took place on the quayside outside of the museum, we were divided into groups and each group was given a designated point and a card to write down our thoughts, feelings and ideas at each point. I have never been on a sound walk in the city before, and so the experience was quite an ‘ear-opener’ for me. It is quite astonishing how much extraneous noise our human auditory system can filter out without us even realising it!
Next time if you are out on a busy street, instead of putting your headphones on, try to detect and differentiate all the noise around you and ask yourself if you can hear a pattern? What is the frequency? Are you feeling irritated by the the noise? But why? Does the noise cause any vibration? Does your body feel the vibration internally? Like Hegarty said, don’t cut yourself off from the world around you, embrace and observe it, it is only by doing so that we can fully experience life as it is and appreciate the wonders the city has to offer us.
I have attended the Royal Opera House‘s annual contemporary arts festival Deloitte Ignite for a few years now, and I think it’s a highly successful event that reflects the company’s ability to constantly evolve itself.
This year, the co-curator is Minn Moore Ede from the National Gallery and the theme focuses on two Greek Myths: Prometheus and his theft of fire, and Leda and her encounter with Zeus in the form of a swan. The festival enables artists, musicians, singers, dancers, choreographers, designers and film makers etc to collaborate and produce interdisciplinary events that take place throughout the month. Unlike other opera houses that seem inaccessible to everyone, the festival’s opening weekend at the ROH is free and accessible for all and it is packed full of events that are also children-friendly.
Left: Crush Room; Middle: Street artists Phlegm’s art work at the ROH; Mat Collishaw‘s ‘The poisoned page’
It is interesting to see ROH collaborating with Sheffield-based street artist Phlegm, who is well know for his fine technique and detailed etchings. You can see his large painted work on the wall inside the venue (see above), and smaller prints at the entrance.
By chance, I stumbled upon the open rehearsal of Royal Ballet Soloist and choreographer Kristen McNally‘s new piece for Balletboyz the TALENT. I had already bought the ticket for the performance two weeks later, so I was quite thrilled to see the rehearsal and learned more about what went on backstage. It was also a joy to watch the charismatic Andrea Carrucciu at work.
In the evening, I saw ‘Sampling the Myth’, a mixed programme of live performances and short films exploring the modern retelling of myths through art collaboration. In the last piece ‘Unearthed’, Turner Prize-winning artist Chris Ofili painted directly onto the dancers’ bodies, transforming them into moving canvases. Unfortunately, I found the programme inconsistent and generic with some pieces better than others, and at one point there was even a technical issue when the audience had sit through a short film with only sound but no image. The much-anticipated Unearthed based on the Prometheus myth is colourful and energetic, but somehow does not live up to the hype. Disappointing show.
Main & bottom left: open rehearsal of a new collaboration between Kristen McNally and BalletBoyz the TALENT; Bottom right: a view of Covent Garden from the terrace
Luckily, the new mixed programme performed by BalletBoyz the TALENT made up for my disappointment two weeks earlier. I have seen a show by BalletBoyz before, so I was really looking forward to this.
The company was launched in 2000 by Michael Nunn and William Trevitt of the Royal Ballet, their second-generation ensemble, The Talent, is made up of 10 male dancers. The first act ‘The Murmuring‘ is choreographed by Alex Whitley and it is masculine, highly-energetic and even gripping at times. The second act is Kristen McNally‘s ‘Metheus’, with music by Jonny Greenwood of Radiohead. The piece is very different from the other two acts because it has a softer/more feminine element, and it seems more low-key and subdued.
The last act is Christopher Wheeldon’s re-choreography of Mesmerics, originally created in 2003 for Nunn, Trevitt and Oxana Panchenko. This is my favourite act of the evening, partly because it allows the dancers to shine individually and as a team. With a score by Philip Glass, the dancers are able to demonstrate their amazing flexibility or skilled classical-trained techniques like chaîné turns. It is dynamic, creative and superbly choreographed.
I have seen a few contemporary dance performances recently by well-known ballet dancers like Sylvie Guillem, and Russian ballet superstars Natalia Osipova and Ivan Vasiliev ( at the disappointing ‘Solo for Two’ at the London Coliseum in August), but I enjoyed this show the most. Although it is not perfect, it is entertaining, energetic and very promising.
BalletBoyz: the TALENT is showing at Linbury Studio Theatre, Royal Opera House until 27th September.
Flamenco is originated from the Romani people ( also known as Gitanos) living in Andalusia centuries ago, with influences from the Moors, the Jews, and the Mozarabic. Many foreigners do not realise that the essence of flamenco is not the dance itself, but rather the cante (song), one of the four components of flamenco, along with toque (playing the guitar), baile (dance) and Jaleo (handclapping, foot stomping and shouts etc). And out of the different cante styles, cante jondo (deep song) is considered to be the oldest and the most distinctive.
Not surprisingly, flamenco has become a ‘key attraction’ in the region. Flamenco performances take place daily from the streets to cafes, bars, museums and various music venues. Some are tourists traps and the standards may not be up to scratch, so it is important to get some recommendations beforehand.
As a fan of different dance forms and music styles, I frequently watch performances at Sadlers Wells and its Flamenco festival is one of my favourites because it always feature world-renowned flamenco dancers and musicians. Hence, I was keen to see an authentic show in the birthplace of flamenco.
Casa de la Guitarra in Seville
Luckily, I was not disappointed… while I was in Seville, I saw a passionate and mesmerising performance at Casa de la Guitarra, featuring an award-winning Cuban dancer, Yasaray Rodríguez, Manuel Romero (singer) andJavier Gómez (Guitarist). And I could tell by the audience’s reaction afterwards that every person in the room was touched by the heartfelt performance. The three performers all played equal parts, and non over-shadowed the other throughout the show.
The center was founded by the well-known flamenco guitarist José Luis Postigo from Seville whose career spans over 45 years and has made over 60 albums with famous flamenco artists. Although the venue is quite small, it houses an amazing flamenco guitar collections dating back to the 19th century, and it features an original 12th century archway (see above) which was part of a traditional Arab bath. This venue is truly one of the best in the city.
For other authentic performances, it is also worth checking out Seville’s working class district of Triana, the supposed birthplace of flamenco. Whether this is the truth or not is hard to tell but it is certainly the birthplace for many famous flamenco singers and musicians and they are commemorated by the ceramic tile plaques in the area.
Middle: Flamenco festival posters; Right: Lina’s exhibition at Seville Musuem of Arts and Traditions
Besides music venues, traditional flamenco fashion and accessories can be seen at Seville Musuem of Arts and Traditions. During my visit, I saw an exhibition of the well-known flamenco fashion designer, Marcelina Fernandez, also known as Lina. Since 1960, Lina has been creating flamboyant and exquisite flamenco ‘couture’ dresses and wedding gowns, and it was eye-opening as I did not realise that there was a couture market for flamenco fashion!
Top left & right: Plaques made of ceramic tiles in Triana commemorating flamenco dancers and musicians; Bottom: flamenco bars in Seville
Most cities in Andalusia also have a flamenco museum, but I think the best way to try and understand the music and dance style is to watch the performances or listen to the music and ‘feel’ the emotions and passion esp. for those of us who do not understand the lyrics. After all, these two elements are the common language shared between humans regardless of the race, age, gender and culture. Perhaps the music or dance style may evolve in the future, but hopefully, the flamenco spirit will live on.
