Showing posts with label sound and environment. Show all posts
Showing posts with label sound and environment. Show all posts

Sunday, February 17, 2013

Water, water, water

Headman Mark Franco
Winneman Wintu, North America

"It's almost like if you want to put a tourniquet on your arm, that's what you're doing with these dams, you're putting tourniquet on your arm, and then your fingers die - and you wonder why your finger's died. It died because you cut off the flow of blood. Water is like the blood in our body...the water is the blood of Mother Earth. You cannot do these things to it." - from Water Whisperers / Tangaroa (WickCandle Film - www.wickcandle.co.nz).

Mike O'Donnell
Sculptor, Potter

"Ohinemuri was called a designated sludge canal once. It was so tragic that everything got dumped in it - all the mining stuff, cyanide waste, the community dumped its' waste. It dumped its' sewerage. That was the attitude you know - this attitude we have inherited. On Sundays they would stop the mine and they would all go to church. And then on Mondays they would open the mine back up - and the old people would see thousands of mullet and fish swimming with their heads out of the water 'cause they couldn't swim in Ohinemuri any more. It was deoxygenated from the cyanide. And I remember Uncle Tiki Rakana just saying it just made us wonder about their spirituality. They go to church on Sunday, and then they destroyed the water of Mother Earth, of Papatuanuku - they destroy it on Monday." - from Water Whisperers / Tangaroa (WickCandle Film - www.wickcandle.co.nz).


I am lucky enough to be involved in a composition project with film-maker/playwright Marian Evans (http://wellywoodwoman.blogspot.co.nz/), in which the poems of Muriel Rukeyser are  to be set to music. These will be  performed in the context of a play which explores the dynamics of three women in Aotearoa/New Zealand and examines issues of water conservation, health, and the experiences of creative women in finding/expressing their own voice.

Rukeyser (1913-1980) was a poet, feminist, bisexual, activist, Jewish woman from New York. I'm not very good at describing writing but her poems have stood out to me because of their confronting nature and honesty, particularly for the era she was writing in. I am inspired by her activism and also feel a closeness because of my visit to New York last year - it is a place that gets under the skin for sure.

 As part of the research for this project, Marian lent me the documentary Water Whisperers / Tangaroa, which looks at the stories of various river systems in New Zealand, and what has been done by various communities to improve their local ecology. It's a very uplifting doco - beautifully shot, with great interviews.


 
The documentary was powerful for me on a few levels - particularly in the use of metaphor of the body to the river. The river system is like our bodies a North American Indian explains - and damming it is like creating tourniquets which deaden the system further down. This idea is also echoed by Maori. We are now so used to thinking about the land in terms of the body as a way to give us an in-road for relating to how important care for the land / waters are.

I was struck by the reverse of this more so - hearing the story of how the Ohinemuri was basically a dumping ground for sewerage and toxic waste and needed for a system of regeneration to be established, brought home to me the change that has occured for me in regards to how I view my health and own body.

Before my body exploded with major eczema for the second time in my adult life, I remember a specific occasion driving through Mana, in a hurry, and having a vague knowing in my mind that I wasn't happy with how I was eating, with how I was living...eating on the run a lot, eating a lot (some things don't change!), eating quickly thrown together pastas or stir fries where the veges were practically unrecogniseable. I have never been a good cook but one thing in my favour is that I've never shied away from preparing food for myself - even if I was the only one to sit down to a meal. But the nature of how I was eating - on the run...drinking lots of tea and coffee, snacking whatever was at hand - it just didn't feel right but I didn't know what to do about it. I felt overweight and even though my weight has never really worried me, I knew that I could be feeling better, more energetic - but didn't know what to do about it. I was like the Ohinemuri - dumping toxins in at a rate of knots and holding a ton of stress.

So - when you want something, and you don't know how to go about it, something is bound to change...and even though my intention wasn't conscious enough that I was making a plan to do things differently - it was strong enough that eventually my body took over and said Enough already...and in came the eczema...like a flood.

It was one of the most uncomfortable years health-wise I have had (preceded by vertigo)...but the timing of it and of some random searching on the internet at the same time led very quickly to my discovery of juicing - giving digestive system a break and flushing out acidic residue and oxygenating the blood...much like the community of Ohinemuri were to do.









Watching the doco brought home to me the amount of revolution that has occured in the area I am most able to control - my body. It certainly isn't perfect (I still reach for the foods I've grown up eating and get 'the taste' for when stressed or if they are conveniently available) but the most important thing is my intention has completely changed and I can pretty much say that something within me has made a switch and I am on a new path.

 Watching the doco - hearing the stories, science and reasoning behind the logical, common-sense approach to maintenance of an ecological system through management and cleansing - really brought home to me how important it has been for me to do this for my body at this stage of my life.

And it turned out the answer was so simple - fruit and veges, fruit and veges as much as possible - in quantities i could barely comprehend when back in the mindset that the vege was the wee side thing you had to the 'main meal'...






anyways....given that I used to be quite the evangelist back in the day when I was small, I have no interest in trying to convert people to anything (though as anyone will attest, when one is in the throes of a life-changing discovery or event that is often all they want to talk about). I am a bit allergic to really putting the word out there nowadays and yet I think over time I will find a way to do this that feels right for me.

It is amazing too that change is contagious, and when people want the best for themselves, and they see changes in people they love - well - that is true gospel testimony, and people always want to go toward light when they see it and when they looking in the backs of their minds. So it astounded me when people close to me decided to try some of this on just from what they have seen me go through.

It isn't over for me - the true test will be in the long term as my eczema is currently controlled by some pretty heavy duty drugs - so when I come off them, and when I can finally clean up on eliminating toxic foods - that will be when I can declare true healing. The skin being the largest organ in the body - it is hard to heal but not impossible - just takes a while.

The other amazing thing from this doco - oh yes back to the doco - is the link with the path my music-making has been taking.

I have been experimenting with a style of performance in which a sound-making environment is created and from that songs, stories, parts of songs are interweaved.

You can read more about the background to it here.

The interesting thing about the mind map is that there is a specific reference to environment and tributaries - echoing the patterning of neural-pathways, the patterning of nerves, of rivers - the relationship of body to land to waves of sound.


 











Saturday, January 14, 2012

Magnet Bay Farm






Magnet Bay Farm is about fifteen minutes drive from Little River in Banks Peninsula, Aotearoa/New Zealand. I have stayed there three times in the last nine months and have grown to love the place.

My initial two visits were in order to rehearse for a national tour with the show Voices of our Ancestors - an exploration by three Ngai Tahu women, through story, sound and song, of histories both family and tribal. As we all lived in different parts of the country, it seemed fitting to come together for rehearsals on Ngai Tahu soil. We all shared ancestral linkages with Wairewa marae, and so it was a great privilege to be able to base at Magnet Bay Farm, which had recently been regifted back to Wairewa marae by farmer Jim Wright.

I wasn't very well on the first stay, and so wasn't up for a walk down the farm, but Mahina and Ariana went and came back very excited about the assortment of farm equipment (read here as 'sound-making objects').

The next time we visited, I was able to go for the walk - and certainly wasn't disappointed!! Fifty metres from the house it begins - yards and yards of farm equipment in various stages of repair - wire cages, sheds galore, a sheep transport trailer, 44 gallon drums, pots, old tractor, hap makers, a saw mill...it really iwas like heaven! That afternoon we walked from pile to pile and hit, scraped, and jumped on things. The next day I went back with an H2 zoom and over the course of a few hours recorded as many of the items as I could.


Mahina kicking a wee drum

Ariana with a metal sheet

Over a period of time I want to archive the sounds and explore them in combinations. I can't help feeling there is a piece of music to be made on-site. Robin and Ngaire, who now manage the farm on behalf of the marae, have certainly indicated there are stories to be told, and they are keen that Jim not be forgotten.


Here is the first sketch-combination of some of the sounds on Magnet Bay Farm.


Thursday, September 9, 2010

Ross Bolleter

whilst out one day catching up with myself and wandering through the tributaries of the internet, i happened upon Ross Bolleter and his ruined pianos. Marvellous!

I discovered Ross and the ruined pianos from the video post below (thanks to Everyday Listening):



the excerpt about Ross occurs at 3'30". once again it caught my eye because of the interplay between sound, music-making and site - the 'landscape' of the music-making object and its subjectiveness to time and environment. how this music-making is truly linked to the physical context it appears in - the extent and possibilities provided by nature's tunings and the responsiveness of the improviser to this. unique music-making from unique materials.

image

Each Ruined Piano is utterly unique with respect to action and tuning (if we can talk of tuning at all). An F# one and a half octaves above middle C on a West Australian Ruined Piano in a semi-desert environment differs radically from the same note on a flooded piano in a studio four floors below pavement level in Prague.

A Ruined Piano has its frame and cabinet more or less intact, (even though the soundboard is cracked wide open, with the blue sky shining through) so that it can be played in the ordinary way. By contrast, a Devastated Piano is usually played in a crouched or lying position.

A piano judiciously left in the open and exposed to all weathers will ruin. All that fine nineteenth-century European craftmanship, all the damp and unrequited loves of Schumann, Brahms and Chopin dry out, degrading to a heap of rotten wood and rusting wire. The piano returns to aboriginality, goes back to the earth where the chirrup of its loose wires blown about by the desert Easterly is almost indistinguishable from the cicadas’ long electric blurt.

However, it’s not necessary (or desirable) to burn, drown or bury a piano in order to ruin it. A Ruined Piano should ideally be an object trouvĂ© – and be played as found.

ROSS BOLLETER from The Well Weathered Piano (WARPS Publications, 2005) as cited on Modisti

an excerpt from the album is found on the above link - i am getting this album! beautiful sounds.