ESCOLA DOS LABIRINTOS #1
Escola dos Labirintos #1 was an itinerary of workshops distributed by the interior and exterior spaces of OSSO, where small groups of children had the opportunity to experience a set of activities where music, drawing, sculpture, theatre, sound, video, radio or architecture were articulated in games and devices of collective creation and fruition. Contacting creatively with the specificities of the surrounding landscape, appealing to the imagination of the children, always mediated by the subjectivity and sensibility of each artist-trainer, this was a school made of Labyrinths where all were invited, more than looking for an exit, to experience the pleasure of drifting, fed by curiosity and amazement.
On this journey, all the children carried with them a map with a set of questions associated with the different activities and to which, in the end, many more were added!
How do you scratch what you hear? What is the sound of the floor? Where does the music happen? I have a question: is the hole a thing that exists or that doesn’t exist? Is time the same for everyone? What is this sound? How is the far so close? When do we feel time? What memories do these sounds bring to you? What words pop into your imagination?
Aimed at children aged 6 to 10, the Escola dos Labirintos #1 was energised by members of the OSSO collective (Diogo Alvim, Nuno Morão, Nuno Torres, Pedro Tropa, Ricardo Jacinto and Rita Thomaz) with the participation of Oficinas do Convento, Madalena Matoso, Sonoscopia, Red Cloud Teatro de Marionetas and Ana Luísa Veloso.
ARTISTIC AND TECHNICAL INFORMATION
Artistic direction: Ricardo Jacinto
Project management: Nuno Torres
Production Direction: Francisca Venâncio
Executive production: Margarida Patrocínio (trainee) | Sebastião Casanova
Technical direction: Nuno Morão
Technical assistance: Abel Gutierrez and Juju Bento
Communication: Rita Thomaz
Documentation: Sara Morais | Letícia Miguel (trainee) | Helena Firme (trainee)
Participant-Monitors: Membros da Sociedade Filarmónica de Alvorninha, Abel Gutierrez, Carla Firme, Ema Jacinto, Júlia Jacinto, Juju Bento and Margarida Patrocínio.
Research: Ana Luisa Veloso | Laura Santos
Production: OSSO
Partners: Sociedade Filarmónica de Alvorninha
Supports: Toca dos Láparos and Junta de Freguesia da Nossa Sr.ª do Pópulo, Coto e São Gregório
MAP
1. Wine cellar 2. castle 3. Warehouse 4. meadow 5. orchard 6. threshing floor
WINE CELLAR | with Rita Thomaz and Pedro Tropa (OSSO colectivo)
How do you scratch what you hear?
The scratched sound
“Drawing results from the relationship and dialogue between support, drawing tools and our body“. What about the sounds around us? These sounds characterise our environment, the wind in the leaves on the trees, birds singing, the sound of cars, voices and musical instruments. Can sounds influence our reactions? How do you scratch what you hear? On a single giant sheet of paper, as a group, we will draw the recorded sounds we hear around us and we will observe how the sound and the creation of these drawings are related.
CASTLE | with Diogo Alvim (24.06) (OSSO colectivo)
Qual é o som do chão?
Trabalho de mesa
A table that integrates a map of the OSSO and its surroundings, reflecting a concentrated view of the overall experience of the spaces through which the children will pass. With a set of microphones connected to the table, children are invited to explore the micro-sounds of collected objects from the surrounding terrain, and to create a collective composition, a labyrinthine music of small noises.
WAREHOUSE
14.07 // with João Bastos and Tiago Fróis (OFICINAS DO CONVENTO)
Onde acontece a música?
Glissando-Andante-Funâmbulo
A path between two points traversed by a Mechanical Funambulo that will, as it moves, vary the size of these two segments making 2 distinct frequencies sound, one rising and the other falling simultaneously.
With lines, paths in different directions, we will explore sound, musical dynamics, through the interaction of the sounds produced by these four lines, with different qualities in the type of actuation on the string (percussion and friction) and in the dispersion of the sound by the amplification systems.
The operation of the Funambulos will be directed by each participant by means of a remote control, allowing the search and meeting of frequencies and textures that are decided to be made to sound, in the construction of a collective composition.
Glissando: smooth passage from one pitch to another. It is an expression originated from the Italian language used in music terminology.
Andante: the rhythm of the human gait, pleasant and compassionate (75-107 bpm)
Funâmbulo: he who walks or dances on a tightrope.
Funambulus: genus of rodents of the Sciuridae family, the squirrels.
17.07 // with Madalena Matoso
Tenho uma dúvida: o furo é uma coisa que existe ou que não existe?
A existência dos furos
If we drill a hole in a wall, we can say that it is what exists in the middle of the empty wall: – “There was nothing and we drilled a hole”.
But we can also say that it is the empty space in the middle of the full wall (the bit of wall that is missing).
Conclusion: Perhaps we can say that the hole exists when it does not exist. It exists when something is missing.
One thing is certain: a plate full of holes is a plate full of empty spaces. Each hole is an unfilled space. Every empty space is an invitation and an opportunity. Let’s use a pierced plate and weave like spiders. We can interweave yarn and rubber bands, attach straws and sticks, experiment with how to hold leaves and stones. The proposal is to start from a common base and transform it into a unique piece, a memory of this space, of us, on this day.
www.planetatangerina.com/en/sobre/madalena-matoso
21.07 // with Gustavo Costa and Henrique Fernandes (SONOSCOPIA)
Que som é este?
Sononautas
3, 2, 1. We close our eyes and set off on this cosmic journey through sound, led by the hertzian waves to the ends of our imagination. Outside planet Earth, all sounds are possible, and there are many more to discover. Equipped with the appropriate equipment, we set off on this adventure so that on our return we can tell many stories with the sounds we discovered and collected along the way.
On arrival, the participants are taken with a blindfold to a more isolated space. Three sounds are played, and the participants have to try to identify the sound they are hearing. There are no wrong answers!
24.07 // with Sara Henriques and Rui Rodrigues (RED CLOUD TEATRO DE MARIONETAS)
O tempo é igual para todos?
Between
Reducing the visible colour spectrum affects the speed of time, because we see it in slices. Seeing time in slices is good for us. Outside we see “Between” we can only see it because it lives most of the time slow motion, between slices and layers of infinite time.
In this workshop there is music and, on the tables, for each participant, there is a glasses box (for private use) made of cardboard with two windows “filter holders”, also available are wooden strips. Various small “lenses” (light filter sheets of various colours) which fit into the glasses’ windows. By putting them on we enter in slow motion time. Each participant will choose colours to observe the space around them, and wooden strips (one or two) to add to their body (arms) so that they can alter their physicality by stretching and changing the perception of themselves and the surrounding space. “Between People V1.0” presents a human puppet, a character that comes from an undefined and infinite space. It is double, anachronistic, imaginary and is drifting through different spaces. It relates to time, to people and seeks the permanence of a slow time as a form of resistance to the speed of human daily life.
Production: Red Cloud Teatro de Marionetas
Artistic direction: Sara Henriques e Rui Rodrigues
Design and Puppets: Rui Rodrigues
Music: Pedro Cardoso
Performer: Sara Henriques
Costume design: Pedro Ribeiro
Production assistant: Rita Almeida
MEADOW | with Nuno Torres (OSSO colectivo)
Como fica o longe tão perto?
Uma espiga no prado
We close our eyes and hear what we cannot see. We shout and imagine that someone hears us in the distance. The horizon, that open space that sight reaches and ears listen to, is full of big and small dreams. An experience that will lead us to communicate with the other, to occupy the horizon with our voices and to listen to the return of sounds that emerge from improbable places.
ORCHARD | with Ricardo Jacinto (OSSO colectivo)
Quando é que sentimos o tempo?
Coisas daqui, de acolá e de outrora
The landscapes, the places, the people, the animals, the plants, the fungi, the buildings and everything that we can name and that we find around us, will be with us, transforming, suffering alterations, moving from place to place, changing colour, becoming more and more grown up, older or more mature. Time seems impossible to stop, but it will always be possible to contemplate.
Starting by listening and looking attentively at what surrounds us in the Orchard, let’s try “talking” with time!
THRESHING FLOOR | with Ana Luísa Veloso
Que palavras te vieram à cabeça?
Momento final
Once the various routes through the School of Labyrinths have been completed, the threshing floor invites us to reflect on the different moments experienced during this journey. Starting from a double immersion/ sound installation which reveals, on the one hand, the sound landscape outside where the children are at that moment, and on the other, echoes coming from the spaces travelled throughout these Labyrinths, the children are challenged to become aware of the sensations and thoughts evoked by what is heard. This awareness is materialized through the written word, the final moment of each individual and collective journey, a symbolic inscription of what was felt, thought, experienced by each one
http://www.inetmd.pt/index.php/pessoas/integrados/136-ana-luisa-veloso
