Lara Dâmaso “ECHOES” at KRONE COURONNE, Biel/Bienne



Producing in The Conjectural Physique (2010), the American philosopher and music theorist Robin James extends Rousseau’s assertion that the character of new music is “unique [in its] skill to convey and elicit human passions” to incorporate all seem.1 He also speculates that, “untouchedby language … a sound has no absolute character by which it might be recognised.” 2 Immediately, issues of the mother nature as audio as an complete notion arise, unable to be properly answered. What is this sonic ur-content – sound – which gets to be that which we have an understanding of as language and song? If, as James argues, we recognise seem as tunes and language because of sure social—now inherent—signifiers, what then, is motion to dance? If, as evolutionary linguistics postulates, individuals tailored about time to harness their skill to produce seem and as a result converse, is dance then a products of the mutative want to converse through the body? “I consider they appear from the similar location. They’re unique kinds of a little something comparable. They the two basically come from listening,” artist and performer Lara Dâmaso clarifies to me, “they” getting music and dance. Her thesis is that motion is generally a reaction or reaction to a little something, that there is no movement that will come from nowhere, that it have to often be enthusiastic by one thing, and that it’s the same with audio. “It’s connected with the passage of air and is formed by the existing instant, but also by history, and identity,” she continues. For the artist, the nature of audio is contingent on the environment in which it is manufactured. “What room is it generated in? How does it resonate?” she asks, the idea of resonance foremost her to conclude that “there is audible movement and visible movement.” This dilemma of causality begs far more queries with each individual one it solutions (“why do we need to have new music to dance, when songs does not need dance to be tunes?”). “ECHOES” stems from the artist’s desire to open new pathways for sound through collective motion. The ensuing inquiry yields a performative exploration of the self-as-medium in which sonic and physical gestures are conflated—we return to a pre-hierarchical appreciation of expression.


“ECHOES” is the most current of Dâmaso’s durational overall performance works, the 1st in which she invites a few other performers—Nikima Jagudajev, Tarren Johnson and Mario Petrucci Espinoza—to choose the stage with her, hence sharing her resourceful onus. Though the architecture and framework of this exhibition may perhaps counsel a cumulative sum of parts—(The presentation is inaugurated by a vocal and movement effectiveness by Dâmaso which is then broadcast about speakers. Later on, above the system of the exhibition, Jagudajev, Johnson, and Espinoza will also execute and make recordings, participating with the modular, specially-created curtains which demarcate the place.)— this do the job is, in reality, a place for investigating the likely of polyvocality, that is, the use of a number of, overlapping voices to create a sonic occurring unfathomable as a solitary performer.

It is wide understatement—false, even—to describe this party as a “collaboration” between artists. In Johnson’s words, “It’s a wish to share consciousness, enable go of your particular person intellect, and lucid dream alongside one another. To working experience and appear in each other’s works and fantasies.” There is a remarkably transgressive high-quality to these tips, of “exiting the imprisonment of the singular system, or singular identity” as Johnson ongoing. This sort of collective exploration is the only indicates by which Dâmaso can get nearer to an comprehending of the complete possible of human vocal expression, a unit she laments as radically underexplored.

In bringing alongside one another performers with extensively varying backgrounds—Johnson a short while ago completed collaborating in a intensely rehearsed opera, is a classically qualified dancer, and or else performs with folk singing and poetry Espinoza’s experience is as a avenue performance and Jagudajev’s background is as a choreographer—Dâmaso creates an opportunity for the fluid movement of expression throughout bodies and in between modes. The ensuing tension is brought about as the boundaries involving the personal and the collective performer are dissolved and made permeable: The invitation to examine the self yields the discovery of a new, increased, ephemeral full.


Newton’s third regulation states that for just about every actionable power in character, there is an equivalent and reverse reaction. In purchase to get to new frontiers, there will have to be a little something still left powering. In essence, the place a thing is dropped, there is also a thing attained.

The contradictory mother nature of this theory is demonstrated clearly in “ECHOES,” where the reduction of the performers’ sovereignty provides way to the solace of the greater complete. “Lara has this idea of amplification,” Espinoza tells me, “Usually, its assumed of as an act of unison, where by quite a few men and women are communicating ‘one’ message, but what is amplified listed here is the dissolution of the performer. I find it quite thrilling, because I get to take off the duty of identity.”

Jagudajev, also, provided an strategy of this contradiction in phrases: “I anticipate that I’ll be leaving some thing driving, but I don’t anticipate that I’ll be leaving with significantly less.” These mutual forces tug at the performer, producing catharsis as they acquire existence. The fleeting communion of bodies and voices is as significantly a drive of creation as it is of dissipation.

Olamiju Fajemisin

at KRONE COURONNE, Biel/Biennne
right up until July 16, 2022

1    See Attali, Jacques. Noise: The Political Economic system of Tunes, trans. Brian Massumi (Minneapolis: College of Minnesota Press, 1987) in James, Robin, “Conjectural Histories, Conjectural Harmonies: On Political and Musical ‘Nature’ in Rousseau’s Early Writings,” The Conjectural Body: Gender, Race and the Philosophy of Songs (Lexington Books, 2010) p.37
2    See Rousseau, Jean-Jacques, “Essay on the Origin of Languages,” The Discourses and Other Early Political Writings, ed. Victor Gourevitch (Cambridge: Cambridge College Push, 1997) p.247-99 in James, Robin, “Conjectural Histories, Conjectural Harmonies: On Political and Musical ‘Nature’ in Rousseau’s Early Writings,” The Conjectural Overall body: Gender, Race and the Philosophy of Music (Lexington Textbooks, 2010) p.36


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