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

TEOAS
On 22 June 2017, the 16-year-old Junaid Khan was stabbed to death on a Mathura-bound train by a mob that allegedly mocked his skullcap and called him a beef-eater. Responding to the growing number of cases of mob lynching triggered by hate-driven communal politics in India, this work studies the actions that constitute prayer. In examining four movements — bowing, kneeling, lowering the forehead to the floor, and bringing one's palms together — 'the extremities of a surface are lines' poses questions of deference and resistance. How does the body perform its beliefs? What is the physicality of deference? What notions of space and time are embedded in the act of praying? Can deference, when performed outside its usual contexts, and repeated ceaselessly, transform into an act of resistance? How do shape, topography, orientation and horizontality inform our understanding as performers of belief? The soundscape features Junaid’s mother Saira’s testimony about her son’s death, looped and transformed into a haunting call against hate and oppression. In doing so, it references the politics of Steve Reich's 'Come Out' (1966), which loops four seconds of testimony from a wrongfully detained man in Harlem, as a potent reminder of the injustices the civil rights movement sought to address. This work stemmed out of engagements with the #NotInMyName campaign. It was briefly titled Bodies of Dissent and then presented as a work-in-progress with the title 'Pray' as part of 'Long Nights of Resistance'. The work was...

Cinema

孤独な惑星
孤独な惑星
都会に生きる男女の微妙な三角関係を描いた現代的ラブストーリー。 隣の部屋で暮らす男性を、ひょんなことからベランダに住まわせることになったヒロインの危うい心の移ろいを、決め細やかに映し出す。最も旬な俳優、綾野剛を主演に迎え、女性ならずとも男性にも共感出来る恋愛映画となった。時々刻々と変容していく三角関係を、スリリングな緊張感と遊び心で描き、『ゆめこの大冒険』、『オーバードライヴ』などで多彩な演出技法を見せた筒井武文監督作品。 主演は、モデルとして「婦人画報」「ミセス」などの人気女性誌で活躍し、本作で映画初出演を務めた竹厚綾と強靭さとセンシティブな表現力で、映画『クローズZERO II』、『うさぎドロップ』、『GANTZ PERFECT ANSWER』、ドラマ「Mother」でも注目を浴びる、人気・実力とも今最も勢いのある俳優、綾野剛。共演には、映画『バトル・ロワイアル』、『チルソクの夏』、『リンダリンダリンダ』で溌剌とした印象を残した三村恭代や 映画『カイジ2』などに出演する水橋研二、ミュージシャン・俳優として、どれも一流なエンタティナーとして活躍するミッキー・カーチスらが脇を固める。 (ストーリー) 会社員として淡々と仕事をこなす真里(竹厚綾)は、東京近郊のマンションで気楽な独身生活を送っている。 一方彼女の隣にはカップルが住んでおり、痴話げんかをしたり楽しそうに会話をしたりする声が毎日のように聞こえてきた。 ある晩真里が仕事から帰宅すると、鍵を忘れて玄関の前にしゃがみ込んで寒さに震えている隣の部屋の男(綾野剛)の姿があった。

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.