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| ====== Fanfara Gdansk ====== | ====== Fanfara Gdansk ====== |
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| {{:fanfaragdansk:gdanskHarbour1.jpg?300|}} | |
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| {{:fanfaragdansk:gdansklaznia3.jpg?300|}} | |
| {{:fanfaragdansk:gdansklaznia1.jpg?300|}} | |
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| {{fanfaragdansk:choirrehearsalgdansk.mp3?300|}} | |
| {{fanfaragdansk:oliwa-organ-gdansk.mp3?300|}}\\ | |
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| | ===== The story of... ===== |
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| ===== A story of... ===== | During 2020-22 Gívan Belá was working on a performance work, in collaboration with [[http://www.laznia.pl/|Laznia]] Gdansk, to function as an opening event of the exhibition 'Sense Perception / Sensoria' by Hungarian-Canadian artist-curator-traveller-critic-organizer-writer-... [[http://www.ninaczegledy.net/|Nina Czegledy]] in September 2022. The piece is a community based and participative work, performed in open air, and based on the same principles as [[http://kra.land/?p=842|Fanfara Hranice]] (2011, 2018). |
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| | In February 2020 we visited Laznia, and worked on the necessary prospection, for developing the piece. Both venues where the performances will take place belong to quite different neighbourhoods. Apart from an extensive series of field recordings around [[http://www.laznia.pl/instytucja/historia-6/|Laznia 2]] (the harbour) and [[http://www.laznia.pl/instytucja/historia-3/|Laznia 1]] (the city), we worked out a further plan of action, meeting the experimental choir 441 Hz and Anna Wilczewska. Meantime the renowned luthier [[http://www.targowiskoinstrumentow.pl/hubert-poloniewicz/|Hubert Połoniewicz]], proposed making a replica of the mysterious medieval instrument, the geśle gdanskie. We accomplished 26 hours of field recordings as an initial sound material collection, for further analysis and re-generation electronically. We came back home and started to work preparing the initial the score for the choir. [[BirdSongs]] was the working title. The piece would be throughout the years mentioned as Marching Choir, Fanfara, etc. and was several times postponed. Meantime we played some online concerts together with Krzysztof Topolski, and we continued to work together to perform the piece in Gdansk where Krzysztof is living. As a percussionist, he introduced a more rhythmical approach, including playing on handheld small instruments, which enriched the piece tremendously. Also it kept the performers and audience moving, which was one of the essential aspects of the performance, being originally based on a dynamic [[DvaMetri | dva[2]metri]] choreography. We dropped the [[LOVMi&Sensors]] idea, which would have required a too complicated setup, but still we are thinking of adding it to a future version (if ever...) |
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| During 2020-22 Gívan Belá was working on a performance work, in collaboration with [[http://www.laznia.pl/|Laznia]] Gdansk, to function as an opening event of the exhibition 'Sense Perception / Sensoria' by Hungarian-Canadian artist-curator-traveller-critic-organizer-writer-... [[http://www.ninaczegledy.net/|Nina Czegledy]] in September 2022. The piece is a community based and participative work, performed in open air, and based on the same principles as [[http://kra.land/?p=842|Fanfara Hranice]] (2011, 2018). | The final performance was set for September 16th, 2022. The 441 Hz choir could not perform it but then the Gdansk University Choir proposed to step in and rescue the performance, together with a bunch of visiting international Erasmus students. Then, in a magical mix of humans and others while the rain was pouring down a unique performance, among a puzzled and amused audience was realized... |
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| In February 2020 we visited Laznia, and worked on the necessary prospection, for developing the piece. Both venues where the performances will take place belong to quite different neighbourhoods. Apart from an extensive series of field recordings around [[http://www.laznia.pl/instytucja/historia-6/|Laznia 2]] (the harbour) and [[http://www.laznia.pl/instytucja/historia-3/|Laznia 1]] (the city), we worked out a further plan of action, meeting the experimental choir 441 Hz and Anna Wilczewska. Meantime the renowned luthier [[http://www.targowiskoinstrumentow.pl/hubert-poloniewicz/|Hubert Połoniewicz]], proposed making a replica of the mysterious medieval instrument, the geśle gdanskie. We accomplished 26 hours of field recordings as an initial sound material collection, for further analysis and re-generation electronically. We came back home and started to work preparing the initial the score for the choir. [[BirdSongs]] was the working title. The piece would be throughout the years mentioned as Marching Choir, Fanfara, etc. and was several times postponed but finally performed on September 16th, 2022. The 441 Hz choir could not perform it but the Gdansk University Choir proposed to step in and rescue the performance, together with a bunch of visiting international Erasmus students. | ===== Text 1 (For Laznia Gdansk) ===== |
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| Over the years, the pandemic lockdown of borders and cities came in the way, maybe the political tendencies in Europe as well. But art, culture and the social are in flux, and from a ruined mansion in the highlands, surrounded by natural sounds, we continued to work sporadically at it. | Guy Van Belle in collaboration with Krzysztof Topolski and the Gdansk University Choir present Fanfara Gdansk performance using a simple and open setup for the participatory visitors/performers. For centuries the arts were rather interested in the non-human expressions around or communication and phenomena that we faintly or hardly understand. To quote Paul Demarinis "Music is sound to my ears”. The sound score gives an indication of discrete and continuous time, pitches and amplitudes, complexities and silences, some combinatory ideas, etc. in the form of sounds you can listen to, sing/play along with it or counter, imitate and enrich it... The expressivity and performativity aims at providing a real time interpretation of the sound score. |
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| Fanfara Gdansk consists of 3 parallell groups: | The Fanfara Gdansk performance consists of a backtrack with recorded and computer generated birdsongs, which is transmitted over local FM, and received by the musicians on headsets from their phones, tables, portable radio receivers. All musicians are 'singing' along with the birdsongs, but they can also bring additional small handheld objects that produce sound: battery operated electronics; resonating objects, … some megaphones and small amplifiers will be available, but all wearable. |
| - The [[ http://441hz.pl|441 Hz]] Choir (20-30 moving singers), with director Anna Wilczewska; | The singers from the choir move slowly in formation together with the additional musicians and participatory audience, towards the entrance of the exhibition. Any single movement from the musicians and the audience influences the position of the others. |
| - Youngsters making their own [[lovmi_sensors|LOVMI]]'s (10 Low Voltage Music Instruments with IOT sensors)- notice that this can be wired into the live generated version of the score for the choir, and the electronic parts of the DIY-Gęśle instruments; | |
| - Additional musicians and sound artists (10 DIY instruments based on the mythological [[http://zywiolak.pl/wp-content/uploads/2018/08/G%C4%99%C5%9Bla-gda%C5%84ska.pdf|Gęśle Gdańska]]). | |
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| What we are working on now: | ===== Text 2 (100 words for Toronto) ===== |
| * the making of an initial [[BirdSongs | score]] for the choir, and its dynamical changes later on while adding the other groups, including the [[DvaMetri | dva[2]metri]] choreography which is the blueprint also for the interactions with the score; | |
| * the preparation of [[lovmi_sensors|LOVMI | prototype]] raspberry pi's with footstep and environment sensors, and code examples for later workshops with youngsters (8-11, 12-17 years old); | |
| * the 3D models for building modified DIY geśle gdanskie instruments (no one knows how this archeological recent find was played), to be integrated in the [[lovmi_sensors|LOVMI]] instruments | |
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| | The Gdansk Fanfara (2022) consists of a listening score, with recorded and computer generated birdsongs, transmitted over local FM and streamed on internet, and received by a choir on individual headsets from their phones. All musicians primordarly 'sing along' with the birdsongs, and play sound on additional small handheld objects of their own choice, while moving along among the audience. As such the music is created only by listening to a non-human expressivity, interpreting what is perceived and acting towards a group presence – because it is including the visitors - within an always unexpectedly changing context, like the weather circumstances. |
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| | ===== A making of... ===== |
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| | 2020. |
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| | {{:fanfaragdansk:gdanskHarbour1.jpg?300|}} |
| | {{:fanfaragdansk:gdanskHarbour2.jpg?300|}} |
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| | {{:fanfaragdansk:gdansklaznia3.jpg?300|}} |
| | {{:fanfaragdansk:gdansklaznia1.jpg?300|}} |
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| | {{fanfaragdansk:choirrehearsalgdansk.mp3?300|}} |
| | {{fanfaragdansk:oliwa-organ-gdansk.mp3?300|}} |
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| {{:fanfaragdansk:gdansk441hz.jpg?300|}} | {{:fanfaragdansk:gdansk441hz.jpg?300|}} |
| {{:fanfaragdansk:antyinstrumenty.jpg?300|}} | {{:fanfaragdansk:antyinstrumenty.jpg?300|}} |
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| ===== A making of... ===== | 2022. |
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| The following sections are being updated as we are continuing to work out the ideas... | |
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| * [[BirdSongs]], the Fanfara Gdansk score | |
| * [[DvaMetri | dva[2]metri]], the Fanfara Gdansk choreography and overall movements on all levels | |
| * [[LOVMi&Sensors]] the electronic portable gear, with wireless sensors, and DIY instruments | |
| * [[Correspondence | The Communication]] an overview of the communication between Laznia and us | |
| * The Letter of support: {{:fanfaragdansk:LazniaLetter_Guy van Belle_20200512.pdf?}} | |
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