The following sections identify a few themes I am interested in exploring on this project
Music and place
Creating performances that incorporate the physical spaces; with its architecture, environmental sounds, and social functions. The performances derive their identity from a sense of place, as participants enact an artistic activity in an everyday location. I believe performances of this nature can expand the nature of music-making in our society, from something done by specialists to something that everyone can engage in. As much as possible an attempt is made to integrate aspects of site in the compositions: scores are derived from architectural details; props like trolleys, plastic bells, and other elements found in space (posts, bushes) are also incorporated for their sound properties. In a performance of such nature participants engage with human-made and natural sounds
Example of a 'collage-score' using aspects of place
Role of the composer
The role of myself as composer is something I am exploring, On one hand I am developing music, choosing materials, sites, concepts for people to enact performances. It seems a top-down approach no different from a usual performance inside a venue, where the artist ‘does something’ to the audience, who are ‘spectator-consumer’. The challenge in a performance of this nature is to balance a sense of agency on the participants with a degree of compositional control that will bring form and focus on the activities. Many participants will not have experience in music, less so in improvised and experimental practices. Ideally during ‘Procession’ participants are able to exercise a degree of exploration within the performance structure, developing relationships among the ensemble. Jay Koh (p.68, 2016) describes self-determined participation as ‘voluntary action, driven by curiosity to find out, gain knowledge’.
The idea of a performance ‘Procession’ derive from the processions I attended as a child growing up in Peru. Not all were Christian, some were of a patriotic or traditional nature, including costumes, dances and music, some in which I took part. In exploring this autobiographical element, cultural considerations must be taken into account, namely that it runs the risk of ‘exoticising’ or ‘othering’ my own culture. ‘Othering’ creates a hierarchical and unequal relationship between dominant culture and the minority, it tends to ‘fix’ the perceived characteristics of a group. Initially I thought of assuming a ‘shamanic’ role, in line with a ritualistic view of the performance. The Shaman is a regulator within the community (the ensemble), a link between the spiritual and the physical. In the processions I am devising there will be no element of tradition or ritual, rather it aims to give a format to participation in public spaces. Discussing copyright and issues of ownership, musician Frank London asserts that many forms of music are owned by the community, music is a sort of ‘collective possession’ and the artist is treated as a valued community member, thus a song is regarded as coming from the voice of the community, the artist is recognised by the skill that allows this knowledge to be distilled. With this project I try to use my expertise as a composer to provide structures for participants to interact in ways that encourage group engagement, curiosity and creativity. Another example is that of Brazilian artist, Lygia Linch and her practice of ‘ritual without spirituality’
 Frank London, "Copyright Is Theft," in Arcana Iii, ed. John Zorn (New York: Hips Road, 2008).
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