workshops

Inter mural body plasticity and sound in public space

Paulina Almeida

Public space visionary and social sculpture creator.

Hugo Branco

sound artist and designer.

Future Cities

Cities exist in space and time and never stop. If cities are a growing reflect of flux, how are we building that future?

Composition in fractal layers

The work in progress structure in 3 axes

This workshop aims to explore performance techniques such as dance, composition, dialogue and improvisation, in the public space. Reflecting social, political and site-specific contexts. One of the objectives of the workshop is to guide and support the participants in their creations by including their ideas in a final presentation.

1

SOUNDSCAPES

Departing from concepts such as soundscape, acoustic ecology, sound cartography and soundwalk

2

PHYSICAL IMPROVISATION Body form in physical

research

 

3

AUDIENCE AND SPACE

Relation between composition, audience and public space

WORKSHOP PERFORMANCE

This Site-specific piece will be created at a given place taking into account the location at planning and creating the artwork.
The artwork will include landscaping combined with the permanent architectural elements of the site. The art work results from the collaboration with the existing shapes and sounds of the place, the participants personal and the group physical cores that were generated during the workshop.

Physical and sound compositions

Ascending, descending, dancing harmoniously and looking for the universal human connections as a symbol for courage.

Difficulties, fatigue, stress, mutual help, fight, cunning, loneliness, fragility and strength are the goal of the new beginning. The principle is simple: “inside” and “outside” are both in a common space:

the participant is invited to enter, or simply to observe from a distance, to play in the interstices between public and private, between personal logics and shared ones.

Where is the essence?

By incorporating self or other, we learn our nature – hidden instincts, emotions, fears and desires, as a way of building knowledge. The individual movements driven by the internal and external impulse are set in scenes without words. We create by using elements of physical theater and dance, in a delicate game of construction and de-construction of images. Composing unique varieties of solos, duets or group scenes.

“Practices to create ephemeral spaces, collectively orchestrated in specific spaces allowing individuals and groups to participate in social shaping their city”

PRINCIPLES FOR CREATIVE GENERATORS

Interaction and participation are results from the reaction and resonance to the others. Engaging, facing the fear of the unknown and the transition to the ritual practice of “Courage” to face each other. The fear and consequences of the action. The collective achieving are the sound and physical compositions of the body of the brave, who bring the epic to reality. The physical scores used at the performance are related to body- based practices inspired by ritual techniques based on body activation. Holotropic breathing, games, absurd movements, stillness, savage listening of the environement, sudden object installations, shaking scores, body monsters, fake healing and many other proposals displayed on public space, depending on the context and the time frame.

2

Part I – The Soundwalk

Living in an essentially visual culture, the dominance of sight has severely dulled all of our other senses. While vision is typically treated as the defining sense of our era, hearing has traditionally been regarded as a secondary sense. Through digital media we daily relate to the landscapes and images of places all over the world, but what do these places sound like? And how do we relate to the sounds of our own environment throughout our everyday life?

Departing from concepts such as soundscape, acoustic ecology, sound cartography and soundwalk, the first part of the Inter Mural workshop focuses on the way that sounds reflect the identity of each place, revealing emotional and responsive ways in which people interact with their environment. Everyday sounds have a lot to teach us about the identity of places and of the people who inhabit them, while also stimulating our senses in a musical way.

If the mere act of walking can be seen as an aesthetic tool capable of modifying metropolitan spaces, which become filled with meanings rather than things, practices such as soundwalks can modify individual perception, granting new meaning to both the experienced sounds, the actions and circumstances by which these sounds are generated, and the spaces where they occur. Together with long- standing artistic, philosophical and political concepts that theorize through the practice of walking, soundwalks can be understood as a way of consciously relating to our environment.

The first part of the Inter Mural workshop thus consists on a soundwalk, where participants are requested to share the everyday sounds that are more meaningful to them, while being simultaneously challenged to open up their ears to the sounding details of their own surroundings. Participants will hopefully become more aware and inspired by these sounds, opening their inner space for noticing, in a living connection with their surrounding spaces. The sounds recorded during this soundwalk will then be edited, processed and used in loco to generate an improvisational composition, becoming the live soundtrack for the second part of this workshop.

3

Paulina Almeida creates in the public space since 1997, in Europe, America, Asia and Africa. She is a director, programmer, curator researcher, instructor, producer and performer. Paulina’s artistic work focuses on the specific social political site and is based on the concepts of “useful or participative art”, so as the educational character of art in public space.

Attended ESMAE Superior School of Music and Performance Arts and ACE Contemporary Academy of Performance specialization for Street Arts. Has a Master degree in Educational Sciences from the Faculty of Psychology and Sciences Education of the University of Porto, were she researched street arts in Portugal since the 1960s and its educational dimensions.

Collaborated with several international companies, such as Fura dels Baus (S), Natural Theater Company (E), Grotest Maru (G), Kumulus (F), Plasticiens Volants (F), in projects and festivals around the world.She currently works as artistic director, consultant, and programmer for Porto, Águeda and Aveiro municipal councils, and directs national and international performances, creating a unique and authentic experience for the audience. Generates collective stories, a meeting point for the horizontal dialogue between people and the way they live a common identity. Each presentation involves a complex and deep research that takes on different formats. From the local social and political context to today. In a time specific social and political place, a single constellation is created to be showed only once.

From the site, with its complex social structure and the place architecture, building a fabric floor is build. The past stories or what is happening now. The fusion between tradition, present, and future printed at the public place, were space and time are writing their physical construction.

Hugo Branco ia a sound artist and sound designer, Hugo Branco has engaged in many of the multiple realms of sonic activity: from field recording to sound installation, audio mixing and editing, DJing, soundwalks, musical programming, live improvisation and all sorts of resonant experimentation.

With a degree in Philosophy and an MA in Digital Arts, he has taught the Sound Design course at the ESAD Arts University and has published and presented papers about sound, art and technology at international conferences such as Invisible Places (University of Azores); ICDHS – International Committee for Design History and Design Studies (University of Aveiro); II Forum of Latin Design (University of Aveiro); Endless End: 9th International Conference of the European Academy of Design (Porto’s Fine Arts School).

Mesmerized by the plastic character of sound itself, he became progressively absorbed by the semantics and proxemics of the auditory phenomenon, leading him to the exploration of the inter-relations between sound, territory and perception. In 2015 he initiated the Sound Escapes nomadic project, combining field recording and travel writing with concepts such as acoustic ecology and flânerie, in a search for unlikely answers to the question “What do places sound like?”

Hugo Branco is also one of the evil masterminds behind creative projects such as VIC // Aveiro Arts House (artist residency, guesthouse, creative zone), Antippode (hardware-based live techno performance), Viral Agenda (widely used online events guide, currently implemented in Portugal and Costa Rica), CLUB447 (Porto’s famous and cherished clubbing event) and FREIMA Labs (digital record label focused on exploratory Portuguese electronic music).

 

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INTERMURAL_physical theater  public space

This workshop is ment to explore performance techniques as danse composition, dialogue with an audience and improvisation in public space and social, political and site specific context. One of the workshop aims, is to guide and suport the participants in their creations by including their ideas within a final presentation.

THE FRACTAL BODY/ butoh dance and voice

The workshop revolves around three axes: the first is the great movements. The musical and physical composition of the participants, use of breathing and fractal rhythm. Finding here the work of the movement, going up, down and dancing, harmoniously the universe as a symbol of courage. Difficulties, fatigue, stress, self-help, combat, cunning, loneliness, fragility and strength … The aim of the new beginning. The second are the small movements driven by the inner and outer impulse. Small short scenes without words. Fear and consequences of action. The musical composition and the body of the brave, which brings the epic to reality. The third is the relationship with others. Interaction and participation. Constitution of the reaction to the proposals that are presented to us. To commit oneself, to confront the fear of the inner research and the transition to the ritual practice of “Courage” to face oneself. For this, we make use of elements of physical theater and dance, in a delicate game of construction and de-construction of images. We will present varieties of solos, duos, or small phrases. The principle is simple: Both the “inside” and the “outside” are in a common space: the participant is invited to enter, or simply observe from afar, playing in the interstices between public and private, between personal and shared logics . Where is the essence? By incorporating the self or the other, we learn about our nature – the hidden instincts, emotions, fears and desires, as a way of building knowledge.

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