Toxic Psalms is an open-ended collection of scenes – a juxtaposition of music and texts from medieval to the present time with fascinating sounds of extended vocal techniques. Scenes move between different spiritual worlds of the past and the present. The setting is an imaginary world moving among the shadows of our ancestors, and a reflection of modernity at the same time. The essence of Toxic Psalms is the idea of the collective that is embodied in the ensemble. Toxic Psalms reflect the
unspoken violence. Man’s existence is transformed into a worldly drama: men killing for the glory of their psalms.
Eia mater, fons amoris! – Hail, mother, source of love!
Placebo is a point of departure: Virgin Mary – the most significant religious image of the western world who officially never gains the status of a Catholic goddess. Mother Mary – as a social construct, not as objective, historical reality, as an instrument of supervision and control. Christianity – a symbolic construct in which femininity is confined within the limits of the Maternal. The Lady and the Virgin as an absolute authority. Mother Mary – an object of imaginary love, as a substitute
for suppressed male libido. Paradox: Virgin, yet mother. Question: to fall or not to fall. Mary who defies death.
When the Mountain Changed its Clothing draws its inspiration from the Resian folk song Da Pa Ćanynu, reflecting the seasonal changes on the mountain of Kanin, Slovenia. According to Goebbels, the intense activity on the stage derives from the exceptional energy of the young protagonists, and reflects social transformations of political, social and cultural changes of the performer's domestic region.
"What have you got against peasants, lady?" he had asked, before he obeyed her request.
Memories are the main protagonists, and voices from the past are the ones that lead us to unexpected effects where Time takes initiative for action.Characters – the peasant and women − speak from within their historical contexts into the present in an effect which creates a museum-like theatre of the dead.
Restless souls of Rusalki, miraculous female characters as symbols of potent, not yet realised female creativity; weavers of natural cycles and erotic primordial bonds between man and nature are the main protagonists of this non-narrative music theatre. "Songs of dark laughter" in archetypal adventure, in a ritual beyond the limits of reason are metaphysics of the good and the evil. Scenery inspiration comes from the ancient Greek treasury, songs "from soil and water", "screams, cries,
laughter and songs" are based on traditional Slavic melodies and modern compositions.
The musical world of the project follows the archaic seclusion beyond space and time. It is an open-ended work, set in an imaginary musical setting. It is not an ode to the past nor directed toward the idyllic. It moves among the shadows of our ancestors who are related to us in every aspect – in joy and sadness, in self-confidence and despair.
Tones are condensed, coloured and given a chance to float. We listen to where the sound will turn, how much time it will need to fall and where the turning point before the new ascent will be. It cannot be done without an empathy strained will. This will holds attention and anticipates the consequences that the sound itself does not have. A tone looks for soulmates, builds a community that needs to be heard and felt.
Elegance and magic, reaching with their repetitiveness for the threshold of the etheric.
Myths, legends, spells and incantations in mysterious images
Lives of myths are rich, mysterious, never fully developed. Mythological world that comes to life in this project is exuberant and mysterious, never fully explored. It lures with its intertwinement of imagination and reality, nature and man, beliefs and experience, hopes and fears, power and powerlessness … A nation recognizes itself in its own mythology which distinguishes it from other nations, and yet through it they seem so similar. This world is so distant, and yet so near.
Chants from different religions and traditions from Orient
Perspective East combines a very wide range of musical expression. Asia features different kinds of culture, which consequently leads to a diverse understanding of the role of music. Perspective East can be sounds of cosmic spheres, the natural expression of consciousness, ritual songs and music, which cure the body, calm the spirit and carry the sacred to ordinary people's lives.
Performative installation with voices is based on theme "Like a Virgin" and sets out the implications of the word "like" and the identity issue with the regard to two of the title’s reference points - Madonna and Morton Feldman. What does identity mean today and how is it established and manipulated through contemporary means and cultural tendencies? Drawing on the idea that many identities within one personality exist simultaneously, work shows that they are connected, yet one cannot
always see the connections between those multiple identities of any given individual.
Spixody explores music and sound poetry of the 20th and the 21st century. With the selection and performance of music and sound poetry Spixody is a project that reflects re-integration of word, music and partially movement, as it is understood in the concept of Greek mousiké. The structure of the performance is influenced by popular entertainment genres, especially by theatre of sequences, episodes and varieté.
1. Intake of air
2. Sound is created in the larynx
3. Sound resonators receive the tone and influence it
4. Articulators shape the sound into recognisable units
That is actually everything that happens when singing, but the results of various subtle variants in the number three and four offer a universe full of different sounds: whistling, laughter, screaming, slurping, cackling, howling, roaring, weeping, barking, chirping, grunting, wailing, hooting, hissing, speaking, whispering and screaming.
For thousands of years humans have recognized the remarkable power and ability of sound, voice, and music to bring joy into our lives, to give meaning to life's rituals and passages, and to connect us with a divine presence greater than ourselves. The ancient art of chanting has long been embraced by the world's great religious traditions as a path to healing and enlightenment.
Basic element of project Slovenian Sounds is full comprehension of Slovenian music and, in a broader sense, Slovenian spiritual heritage; the choir applies this awareness to modern creative forms of expression. With interpreting synthesis of folk songs, dance and music, the choir manages to avoid the usual trap of pursuing nostalgia, or transforming into a 'living museum'. Folk heritage for Carmina Slovenica forms a model for today's creativity and creations, which comprise characteristics,
features, particularities and differences – ingredients that are essential for creating modern life enriched with the dimensions of Slovene national heritage.
In The Ursonate the word passes over into the sphere of pure sonority. The word reveals its inner alchemy and has its place, space, weight and colour. With the non-semantic sound poetry, escaping from the field of words and passing into the field of music, the words are transferred to another performative level. Sound poetry in its creative vocal execution comes to life as a piece of music.
Restless spirits, women with long hair, miraculous, peculiar and eccentric female characters without comparison. And singing which awakens passionate longing that cannot be resisted. Neither can one resist the component that attaches the culture of the eye to the radiation of the music. Nor the feeling that a costume landscape inspired by music incites. A costumed body is exposed by giving messages, and it can at the same time be a message itself. Within the project Women’s Delights the real
dialogue begins – a dialogue between Karmina’s sound and Belinda’s costume space.
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