"KecaKlang" at Soundsinema Düsseldorf drew inspiration from mass tourism in Bali, using AI-driven granular synthesis to sonify environmental data
KecaKlang
Kecaklang is a new sonic piece crafted by Ariel Orah, in collaboration with Diaz Phahlevi, both are Berlin based Indonesian sound artist.This composition draws its inspiration from the mesmerizing Kecak dance of Bali, which was originally created in 1930 by Wayan Limbak and Walter Spies. It aims to delve into the historical context of this dance, which has been intertwined with themes of colonial exoticism, scandalous sexual drama, and the disastrous effects of contemporary mass tourism in Bali.
Conceptual Framework - Spectralities: The piece embraces this year's thematic focus on Spectralities, exploring ghostly appearances and acoustic revenants on a conceptual level. The piece endeavors to reveal the inaudible and the absent, unveiling them through a hauntingly sonic landscape.
Sound Structure: The piece is rooted on four simple yet powerful kecak sound structures, which act as the fundamental pillars of the composition. Each sound emerges solely from Ariel's vocal prowess, later undergoing transformation through various granular synthesis processors. The evocative vocalizations carry the essence of the Kecak, acting as ethereal echoes of its ancient roots.
Evolving Ghostly Presence: As Kecaklang unfolds, it conjures an atmosphere that blurs the boundaries between the past and present. The spectralities of the dance's history materialize through haunting layers of vocal manipulations, hinting at the long-forgotten voices of its originators. These echoes take on an eerie mystery, reflecting the struggle of the Balinese culture against the shadows of colonial exoticism and the overwhelming influence of modern tourism.
Psychoacoustic Phenomena: The piece embraces psychoacoustic phenomena to captivate its audience. The composition plays with the perception of space and time, immersing listeners in a spectral realm where echoes stretch beyond their physical confines. Through interplay of polyrhythmic vocal and granular synthesis, the piece shapes intangible sonic entities that seem to traverse both the tangible and metaphysical realms.
Beyond the Boundaries of Fictional and Supernatural: Kecaklang reaches beyond the boundaries of the fictional and the supernatural, unearthing the hidden narratives of a cultural dance once rooted in tradition. The piece stands as a testament to the power of sound in conveying complex histories and evoking spectralities. By exploring the echoes of Kecak's past and its contemporary struggles, the composition beckons audiences to connect with the unseen, drawing the inaudible and absent into the realm of audible mystery.
Concept,composition,voice,synthesis and processing, : Ariel William Orah
Co-composition, mixing, mastering : Diaz Phahlevi
Kecaklang is a new sonic piece crafted by Ariel Orah, in collaboration with Diaz Phahlevi, both are Berlin based Indonesian sound artist.This composition draws its inspiration from the mesmerizing Kecak dance of Bali, which was originally created in 1930 by Wayan Limbak and Walter Spies. It aims to delve into the historical context of this dance, which has been intertwined with themes of colonial exoticism, scandalous sexual drama, and the disastrous effects of contemporary mass tourism in Bali.
Conceptual Framework - Spectralities: The piece embraces this year's thematic focus on Spectralities, exploring ghostly appearances and acoustic revenants on a conceptual level. The piece endeavors to reveal the inaudible and the absent, unveiling them through a hauntingly sonic landscape.
Sound Structure: The piece is rooted on four simple yet powerful kecak sound structures, which act as the fundamental pillars of the composition. Each sound emerges solely from Ariel's vocal prowess, later undergoing transformation through various granular synthesis processors. The evocative vocalizations carry the essence of the Kecak, acting as ethereal echoes of its ancient roots.
Evolving Ghostly Presence: As Kecaklang unfolds, it conjures an atmosphere that blurs the boundaries between the past and present. The spectralities of the dance's history materialize through haunting layers of vocal manipulations, hinting at the long-forgotten voices of its originators. These echoes take on an eerie mystery, reflecting the struggle of the Balinese culture against the shadows of colonial exoticism and the overwhelming influence of modern tourism.
Psychoacoustic Phenomena: The piece embraces psychoacoustic phenomena to captivate its audience. The composition plays with the perception of space and time, immersing listeners in a spectral realm where echoes stretch beyond their physical confines. Through interplay of polyrhythmic vocal and granular synthesis, the piece shapes intangible sonic entities that seem to traverse both the tangible and metaphysical realms.
Beyond the Boundaries of Fictional and Supernatural: Kecaklang reaches beyond the boundaries of the fictional and the supernatural, unearthing the hidden narratives of a cultural dance once rooted in tradition. The piece stands as a testament to the power of sound in conveying complex histories and evoking spectralities. By exploring the echoes of Kecak's past and its contemporary struggles, the composition beckons audiences to connect with the unseen, drawing the inaudible and absent into the realm of audible mystery.
Concept,composition,voice,synthesis and processing, : Ariel William Orah
Co-composition, mixing, mastering : Diaz Phahlevi