Amusia: three performances that examine voice as an instrument and vibration source

Dada Wu

1. I can’t sing because I can’t sing in tune. I am officially tone-deaf. Amusia. I am a person who has lost the ability to sing. If you define singing as producing melodies, I think of it as a collision of words and phrases.
2. I listen to music, all kinds of music and sounds. I need to throw up. I learn languages – all kinds of phonetics/all kinds of frictions between lips and teeth/all kinds of articulations. I need to puke.
3. I needed an exit from my present life or to just chisel a hole through it. It’s like when you get hit by shit out without any reason and you gotta ask “why?”.
4. The audience is the flesh. I need flesh.
5. Sound poetry, sound poetry, sound poetry.
6. Emotional reasonless; Meaningless sentimental. 

Xuan Ye

Voice is pre-language. Voice existed before all semiotic systems. Voice inherits the history of human civilization. Voice is representative of power. “Voice or not” and the materialities of voices signify cultural and political meanings. As Roland Barthes concludes in the Grain of Voice (1981), “voice is in a dual posture, a dual production of language and of music”. From a relatively micro point of view, voice is the most original instrument that functions as a direct source of vibration and meanwhile reacts to the Body (oral/nasal/head/thoracic/abdominal cavity) namely the Subject to form into resonance within, furthermore, as oneself. In accordance with this knowledge, I try to free the natural voice from habitual patterns that are generated from our restrained mechanism of vocal production – from traditional vocal music, extended techniques, phonetic texts to any sonic output; in the form of mimicry to the nature and the modern soundscapes, and the medium to channel consciousness to presence. Let sound waves laden with the breathe circulate within the Body, to induce physical commotion and be in harmony inside and out with the environment.

樂歌不能: 三個以人聲作為樂器與振源的表演

吴鞑靼:
1. 我不会唱歌,因为我唱歌跑调,严重而正式的五音不全。 Amusia 失歌症。
我可以认为自己是一个失去唱歌能力的人。如果你把歌唱定义为旋律的配合,那我就想试试语词的碰撞。
2. 我听音乐,各种类型的音乐和声音,我需要吐出点什么。
我学语言,各种发音,各种唇齿切磋,各种摩擦咬合,我需要吐出点什么。
所以我就这么吐了。
3. 我需要在当下的生活里寻找到一个缺口/出口,或者生生地凿一个洞。
就像你在被莫名其妙的打了一顿,肯定要问一句,为什么。
4. 观众是肉体,我需要肉体。
5. 声音诗,声音诗,声音诗。
6. 有情,无理;无义,多情。

叶轩:
人声是语言前的。人声存在于所有符号系统之前。人声承载了久远的人类文明进程。作为权力的表征,发声与否、声音的材料性指向着文化政治的意义。罗兰巴特在《话语的肌理》(1981)中结语:“人声是语言与音乐的双重姿态和产物”。从微观的角度看,人声是可以作为直接的振动源同时反作用于人体(口鼻头胸腹) 即主体形成自身共振的最原初的乐器。我在这样的认知下,从解放身体所受限的发声机制出发,从传统声乐,延展技巧,语音文本,到任何随机的声响输出,对自然与现代音景本能地模仿,畅通知觉到当下的存在。任声波寄于吐纳在体腔内运转,诱发身体形而下的混沌,内外部环境调谐统一。

  1. Dada Wu, Sound Poetry, Untitled
    吴鞑靼,声音诗,无题
  2. Xuan Ye & Dada Wu, Voice Improvisation
    叶轩 & 吴鞑靼,人声即兴
  3. Xuan Ye & Dada Wu, Sound Performance, Embed Great Sound of Poetry
    叶轩 & 吴鞑靼,声音行为,嵌入巨大声响的诗歌
    *plastic bags, newspaper (Southern Metropolis Daily issued on April 3, 2015)
    *塑料袋,二零一五年四月三日出版的南方都市报