PT

PORCELAIN AND CRYSTAL
GAMELAN

The Porcelain and Crystal Gamelan sounds unique, because it combines various kinds of timbres, and also because it is used in a strict relation with notions of spate and trajectory.

Some have very marked base frequencies and sound like the notes of some conventional musical instruments. Others resonate complex sets of frequencies and sound like bells or electronic instruments. The Porcelain and Crystal Gamelan has a unique sound due to its

combination of various types of tones and its strict use in relation to the notion of space and structure. Musical works using this piece employ exploratory strategies and create mechanisms for structuring musical ideas that are not dependent on notation, based instead on the idea of collaboration and interpersonal communication. This allows people without musical training to be able to express themselves musically and those with more advanced training find that this instrument presents unique challenges.

A first version of the Porcelain and Crystal Gamelan was born in 2011 in the performance Um Plácido Domingo, as part of the Opus Tutti project. Since then, the Porcelain and Crystal Gamelan has been presented in various forms, ranging from a set piece to a workshop/training session. It has provided experiences to a wide and diverse audience, including young children, families, schools from different levels of education, people with special needs and professionals (musicians, educators, artists).

It has also been the central element of concerts or multidisciplinary shows, sharing space with other arts and musical or electronic instruments. The Porcelain and Crystal Gamelan is an artistic research project, jointly produced by Companhia de Música Teatral, the University of Aveiro and Vista Alegre Atlantis. It seeks to stimulate new performance practices and explore an interdisciplinary area that allows ideas to be generated and tested in musical composition, sculpture, creation of new instruments and pedagogics, as well as interpersonal communication, materials, acoustics and design.

Companhia de Música Teatral seeks to follow up on this work in two ways: a) selecting partners interested in hosting the Crystal and Porcelain Gamelan for future shows/exhibitions; b) developing creative projects inspired by the ideas of the Crystal and Porcelain Gamelan, but which use resources which currently exist in locale.

RESIDENCIES

Activities:

1. Exhibition of the piece as a sculpture/sound space, with the possibility of being freely used by the public;

2. Short workshops with groups of interested people that can extend from children up to musicians, professionals or communities;

3. Concerts or performances with a group of professional musicians with unspecified backgrounds and/or in conjunction with other artistic languages;

4. Carrying out a creative project/workshop culminating with the presentation of a final show;

5. DeCA-UA, with the project being discussed as part of Arte e Sons (Art and Sounds);

6. Publishing a catalogue with visual and audible pieces.

Duration:

Between 2 and 6 months.

CREATIVE PROJECTS

Activities:

1. Building an instrument inspired by the Porcelain and Crystal Gamelan, using pieces collected by the participants or by the host institution;

2. Exploring the musical potential of the instrument constructed and creating a set of compositions;

3. Producing a concert for the general public.

Duration:

At most one week.

CONCEPTION AND PRODUCTION Companhia de Música Teatral + Opus Tutti Project / ARTISTIC DIRECTION Paulo Maria Rodrigues / MANUAL ARTWORK Ana Guedes / PERFORMERS AND TRAINERS HENRIQUE FERNANDES, JOAQUIM BRANCO, SARA COSTA, BRUNO ESTIMA, OUTHERS

The Gamelan is a discovery that resounds in our memory. It was the table around which we met to feed the body, the spirit... where our hands awoke sounds of clear, crystal bowls; a "body" that filled the space with sounds and melodies that melted like birds singing, the silence of stones, the rush of the wind.

António Rodrigues, Musician, Music Teacher

It is very interesting for Vista Alegre Atlantis to take part in this type of project. Not only does it contribute to the creation of new musical and cultural experiences, but it also provides an opportunity to learn about new uses of the materials that we traditionally work with, exploring unusual facets of the porcelain and crystal pieces.

Nuno Barra, Marketing and New Product Development Director, Vista Alegre Atlantis

The Porcelain and Crystal Gamelan is very close to being the ideal instrument: The sound is unique, inescapably seductive; at the same time, it is such an unassuming instrument. It is big, almost imposing; unexpected from something with such delicate sounds. It is almost tentacular, like being wrapped in an embrace; at the same time, to be played it has to be embraced. And that is its way: it is not too much, or too little; it is as big as it is small; the perfect embrace.

Joaquim Branco, Musician, Music Teacher

Jardins da Fundação Calouste Gulbenkian / Lisboa

Museu de Santa Joana / Aveiro

Jardins Fundação Calouste Gulbenkian / Lisboa

Museu de Santa Joana / Aveiro

Jardim da Fundação Calouste Gulbenkian / Lisboa

Museu de Santa Joana / Aveiro

Museu de Santa Joana / Aveiro

Museu de Santa Joana / Aveiro

Museu da Imagem em Movimento / Leiria

Museu de Santa Joana / Aveiro

Museu de Santa Joana / Aveiro

Museu de Santa Joana / Aveiro

CCB / Lisboa

PHOTOGRAPHY BY ANA GUEDES, NUNO ARRAIS, AVITO REBELO,
PAULO MARIA RODRIGUES

TRAVELLING WITH THE PROCELAIN AND CRYSTAL GAMELAN

  • OPUS TUTTI, JARDINS DA FUNDAÇÃO CALOUSTE GULBENKIAN,
    LISBOA
    MUSEU DE SANTA JOANA,
    AVEIRO
    FESTIVAL BIG BANG, CCB,
    LISBOA
    FÁBRICA DAS ARTES, CCB,
    LISBOA
    MUSEU DA IMAGEM E DO MOVIMENTO,
    LEIRIA
    IGREJA DE SÂO PEDRO,
    LEIRIA
  • PINHAL DAS ARTES,
    LEIRIA
    CASA DA MÚSICA,
    PORTO
    PARQUE DA DEVESA,
    V. N. FAMALICÃO
    CONVENTO DE SÃO FRANCISCO,
    COIMBRA
    CENTRO DE ARTES DE ÁGUEDA,
    ÁGUEDA
    CLAUSTROS DA IGREJA DA MIERICÓRDIA,
    AVEIRO
    CONVENTO DO CARMO,
    TORRES NOVAS

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technical rider

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