Current

The Voice of Inconstant Savage
[Commissioned Work] This multifaceted, polyphonic and immersive sound installation by Yasuhiro Morinaga establishes a historical encounter between Portuguese culture and Japan, memories and myths that remain and coexist with other cultures of the Amazon. Commissioned for the Engawa – Japanese Contemporary Art Season programme , The Voice of Inconstant (2023) is an immersive installation that superimposes a prayer inspired by the story of a 16th-century Portuguese missionary, a chant from a Kakure-Kirishitan (hidden Christians) prayer – a religion rooted in Nagasaki Prefecture –, a chant from the Karawara spirits of the Awá indigenous people – who live in the Amazon rainforest – and a chorus of Western Gregorian chant. Morinaga questions the position of the aesthetics of inconstancy in relation to the discourse of the “savage” that modern society confronts.

Field recordings

Sombat Simla: Master Of Bamboo Mouth Organ
Simla is known in Thailand as one of the greatest living players of the khene, the ancient bamboo mouth organ particularly associated with Laos but found throughout East and Southeast Asia. His virtuosic and endlessly inventive renditions of traditional and popular songs have earned him the title ‘the god of khene’, and he is known for his innovative techniques and ability to mimic other instruments and non-musical sound, including, as a writer for the Bangkok Post describes, ‘the sound of a train journey, complete with traffic crossings and the call of barbecue chicken vendors’.

Performing arts

GONG ex MACHINA
A sonic theatre "Gong ex Machina" is created based on the sound composition. The event will also highlight and develop the presence of sounds as its anchor. “Gong ex Machina”, is a word play from a technical term in ancient Greece in the 5th century: Deus ex Machina, which more or less means God in or out of the machine. The term refers to the technique to present actors playing as gods on the stage of a Greek tragedy using equipment like cranes, moving up and down, or a trap door, to allow the actor coming from below the stage. Hence, Gong ex Machina, a gong in or out of the machine. The concept of the performance evolves from a reflection following an extensive research by Morinaga on the gong culture throughout South East Asian countries. Gong ex Machina also stems from the history of an encounter between music or sound cultures and the modern technology of sound recorder and player: phonograph or gramophone. Similar to other encounters between tradition and modernity—happened against the background of the industrial revolution and European colonialism in the 17th to 20th century—the encounter of gong culture with gramophone is a story of a complicated acquaintance. Apart from stories of adaptation and appropriation are also stories of distortion and manipulation. It was an encounter that changed the way we experience and understand music, in particular, or sounds in general.

Event/Workshop

RECIPROCAL RESIDENCIES
Reciprocal Residencies: Lijiang/Hokkaido consists of two reciprocating residencies between two Japanese and three Chinese artists in two rural settings. Curated by Jay Brown and Yasuhiro Morinaga, the residency is developing working methods to make the most of our disciplinary differences and time together. The participants are: Yao Chunyang, Wei Wei (aka VAVABOND), Li Jianhong, Marina Tanaka, Chiharu MK, Yasuhiro Morinaga, Jay Brown, Lijiang Studio, Tobiu Art Camp. This project enjoys the support of the Beijing Contemporary Art Foundation and the Asian Cultural Council. What does it take to make art while being responsible for small children? To that end, we titled our September 14th performance at Tobiu Art Festival “Art With/Out Small Children”, and it seems this will become the title for the Hokkaido segment of the project. Another, similar, working title for the project that may become the title for the Lijiang segment is “We Are All Great Parents.” We are foregrounding this issue because of the social, systemic, logistical obstacles for artists, nearly always mothers, to continue developing and presenting their art while raising small children (not to mention working a day job). Nearly all the artists in the project are in the middle of such challenges. Furthermore, we all have long-term interest in exploring ways of working “in the field”. Each of us has 10, 15, or more years of developing their own experiences with this question, an engagement which has formed our understanding of artistic research. What could each of us do in a totally unfamiliar place? How do we deal with certain inescapable dynamics, such as countenancing a history of cultural erasure, tourist development, the cosmologies of others, or the ontologies of places? There will be more to come on this project, but for now some snapshots of our time in Hokkaido:

Event/Workshop

For a Friend, To a friend, …
This piece is dedicated to two Indonesian art masters, Gunawan Maryanto, who died in 2021, one of Indonesia's most prominent poets, with whom Morinaga worked on several projects, and Bambang Mbesur, a vocal artist who died in 2020. The texts were created for the sonic theater project “Gong ex Machina”, by Yasuhiro Morinaga and Yudi Ahmad Tajudin. It is recommended to use headphones while listening to the piece. --TEXT 1 Be my back I am a turtle traveling in time The pounding gong composes the body we inhabit Composing the islands we live in Composing I Composing you. The vibration of the sound harbors the memories of a far and lengthy travel That pounding gong Reverberating time TEXT 2 in the beginning was sound. A bang: be! And then, vibration, a long hum that creates a wave Creating space, and also: time And then nebula, partly clumping up, hardening, becoming planet. Add infinite numbers of planets, add trillions of galaxies. And among them all a little dot, so little it is insignificant: Earth: Us In the beginning was sound A bang and a long hum that create everything within seven days TEXT 3 “Do you hear me? Do you really hear me? Do you understand me? Do you really understand me?” Track List: Javanese instrument, Gender for Ruwatan rituals [recorded in Yogyakarta, Indonesia] Voice by Gunawan Maryanto & Rizman Putra [recorded in Tokyo, Japan] Threshing by Ede-Bih Group [recorded in Dak Lak, Vietnam] Meras Gandrung by Haidi, the Osing Group [recorded in Banyuwangi, Indonesia] Saggeypo by Kalinga Group [recorded in Luzon, Philippines] Pinwheel by Ede group [recorded in Buon Ma Thuot, t, Vietnam]