No Island but Other Connections is a site-specific research project by Enrico Malatesta.
The sound is presented as a multi-dimensional event to take part in, becoming the instrument through which advanced listening devices, spatial practice and social interaction can be achieved.
No Island but Other Connections contains a program of distinct activities that are developed out of a negotiation between the state of research of the author and the acoustic and relational possibilities of the space. It is a participatory workshop during which the fundamentals to be studied are the act of striking, the process of waiting, and the creation of distance between the body and the sound impulse. These open up the possibility of studying in depth the sound-related behaviour of what is around us, that which moves between architectural, instrumental and evocative spaces. The listening experience is developed, therefore, through workshops, informal performances and an event devoted exclusively to performance. Each part of the project aims to promote listening that is both active and open to the relationship between space, sound and the vitality of matter. In this scheme of things, the human body, as the primary perceptive instrument, is penetrated by a whole series of sound impulses that expand and contract space in every direction, producing rhythm; listening can enhance the ability to perceive that which acts outside the subject, and may create possibilities for an open future.
No Island But Other Connections #2
April 24-30, 2017 at Fabbrica del Vapore di Milano IT
No Island But Other Connections #1
July 8,9,10 and 16, 2016 at MET – Museo degli usi e costumi della gente di Romagna IT
Santarcangelo dei Teatri – Festival Internazionale del Teatro in Piazza.
An agricultural work tool and a poly-functional instrument for sound ceremonies (with superstitious and symbolic value), common in Romagna. It consists of a steel body composed of a stalk, a decorative top piece (pagella), and two to six circular rings.
pin, the caveja, proving more practical for braking and towing.
Initially, cavejas were rudimentary pieces of forged iron with a simple ring, devised to help pull the tiller. When the oxen were in motion, the ring emitted a rhythmic tinkling: people connected this sound with all the superstitious and religious energy attached to rural necessities. In given circumstances and through particular gestures and rites, the tool was transformed into the “Caveja Cantante”, a multifunctional instrument whose sound is magical, conciliatory, and protective.
The caveja was used in sound rituals (even in complex representations) as a way of identifying the sex of an unborn child, to calm storms, to bless wine; it served as a sign of restriction during Holy Week, was used to predict the arrival of messengers, to protect a marriage, as a pledge, to quell nightmares, to uncover adultery, incest, and rape; to bless wagons, to heal curses, to summon bees…
branch, surrounding it like a golden grape. The farmer now intervenes, playing the caveja forcefully, shaking it as he walks around the trunk of the tree. He then spits white wine onto the bees and the rings of the caveja repeatedly, until night falls. After this, he imprisons the new swarm inside a sack, cuts off the branch to which it was attached, carries that over to the hollow of a tree close to his house, and hangs the singing rings of the caveja on it.