I´d started with a project on collective composition and community identity at the beginning of this course (https://novoed.com/pbr). As the lectures and exercises ran through subtle aspects of my practice and research errands, the shape of that original project changed under a focus of my personal questioning and observations on practice and creation. In a parallel way the rest of the musicians involved in the original project didn´t follow the PBRA process and new happenings in music and the city emerged taking me away into old questions (my personal composition project called alagrijma) and conclusions:
The phenomena of collective creation itself not necessarily interests to the others involved
Specifically I analyze interdisciplinary creation rather than music alone
Furthermore, music, body performance, dance and physical theater take a primary attention
Thus, embodiment and interdisciplinary translation is the environment I live across
After these assumptions, and curiously enough, new invitations started to knock on my door. One particularly presented as the perfect set of conditions to observe music, interdisciplinary translation and embodiment. The invitation came from a photographer to intervene his expo on the “Methaphysical Subject”. This work was based on the philosophical work of Wittgenstein Tractatus Logico-Philosophicus and his developments on the subject:
“The subject doesn´t belong to the world, it is a limit of the world, (5.632)”.
http://www.pinterest.com/benjaminortega/sujeto-metafisico/
Following this idea I began to apply different methodologies to first define the elements of my experience (phenomenology) and images which could serve as common platforms for interdisciplinary interaction. Witnessing these contents in reaction to the photographs summarized the next association, affects and elements: (excerpt from my daily journal)
Cuerpo, Adam, oscuridad, luz, movimiento, espacialidad, Jean Paul, inicio, atmosfera, ritual, trance, percusión, intimidad, bosque, pantano, saliva, desnudez, semidesnudez, auto-observación, inquietud, vacío existencial, sombras, muerte, vida, ir y venir, devenir, caos, orden, descomposición-composición, ser-dejar de ser, el ser y la nada, ética y autoconciencia, el hombre como género, lo masculino, principio metafísico entre religiones y cultos, semilla, lo creativo
Angustia, irritación ocular, inquietud en brazos, sorpresa y naturalidad coexisten en mi escribir, mi conexión con lo masculino, y con lo sensible, como principio primordial es posible? Es mítico sin duda, la interrogante del género que no se puede responder, nacemos como nacemos, y en el transcurso del envejecer determinamos y fluimos conciente e inconcientemente lo que somos, en reactividad, en abstracción, en simbolización, aprendiendo de lo que nos reafirma, de lo que nos da identidad, nos da tranquilidad o movimiento. Sin embargo caminamos hacia la nada, a la certeza de la finitud, a la pregunta sin respuesta, en respuesta autómata ante las pérdidas, por eso es primordial-primitivo lo que se busca, pero a temporal a la vez. Que este imaginario del pasado ancestral emerja por alguna razón ahora, rodeados de este contexto que nos cuestiona tantos porqués, de los que me cuestionan mas el para que crear? que me lleva a necesitar crear???,
After I´d extracted a main idea that could facilitate interdisciplinary work (according to Pablo Sandoval extended creation in order to create in a collective way we need space, time, image, sound, body and memory):
a. The myth of gender, masculinity and the image of the seed
From these concepts I defined a script and some elements serving as a conducting line for collective composition
b. Two man sitting, singing and playing percussion, standing up and then disappearing
The form of this conducting idea demanded at least another person in dialogue to elaborate the content, the dynamics, the forms and discourse of the creation. I invited a theater performance and director (Jean Paul Carstensen) specifically to deal with physical theater and body actions coherent with the photographic work. An important determination was taken: we move as me play, we play as we move.
After different dialogues and studies on the metaphysical subject we structured an intervention formed of three groups of dynamics:
Cefalo-Caudal Primal Voice: involving breathing as an introduction and body preparation, trying to represent the metaphysical contradiction of breathing in and out (life-death duality) in order to live and how transforms into voice as matures, as we follow sensation, as we age. We determined body processes on fluidity, working as we were surrounded by water and air while our attention flow from our head until it reached our toes.
Earth-Masculinity-Percussion: following physical theater work on the body sensations to produce movements, we wonder around in a staccato way, with sharp, sudden movements that hit into the floor producing sound and then looping percussion hits to construct the piece.
Fisura de Sal (Salt crack): from butoh techniques (and having a caos-order sensation) we loop the previous sounds into a deep and slow atmosphere to move accordingly until we reach a tiny line of salt to finish.
The complete session reveled to us the representation of the famous GIFs circulating in the internet but with a twist on the organic exploration of it https://soundcloud.com/alagrijma/gif-org-nico
