A Singing Orna/Mentor's Performance or Ir/rational Practice (last edited: 2019)

Elisabeth Belgrano
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Entering a(n original) line, making it part of an everyday breath; taking a good look at a specific detail: spiraling into its very centre, starting to cut and chop it into parts, searching for every possible aspect of the thing-in-itself, touching its surface and finding it all tremendously curious; in the midst of the sensuous experience silence rises like a bridge ahead – opening up for unknown points on the other side: points being other narratives, other imaginations, other associations. Resting at the foot of the bridge, reflecting on the situated context of being in silence desire Starting to move upward and forward, keeping the gaze onto the wondrous encounter on the other side; leaving worries, fears and shame on the shore behind; looking around for points of interest; following these points away from the expected path; walking for days in a completely different direction; still caught by a certain-something that is about to be found and explored somewhere else (only the singing orna/mentor knows what and where); in the midst of it all, a light is shining strong from far away, telling something, demanding attention, telling the orna/mentor to re/turn to the original. It’s like a beaming light of a lighthouse informing the traveler about the route; the orna/mentor knows from the shining light that the original line is coming up very soon, confirming that the orna/menting has come to an end, even if it’s only for a short while. Soon it will start all over again. The singing orna/mentor’s path is irrational, allowing curiosity to guide. What’s left in the orna/mentor’s footsteps is a trace being crystallized and clearly visible. The dots that were ahead, they have become a firm line behind. The orna (read as: urn, pot or thing-in-itself) has been cared for by a mentor’s mind and doings. The orna/mentoring hand. The vocal caring has created endless variations of sounds-in-themselves: ornamented versions of the original. The doings of the orna/mentor are original and can never be made the same. The effect can be read as a translation of one doing of another doing of another doing. Creating multiple understandings/narratives/fabulations/doings based on a simple original (doing). Conclusion: A singing orna/mentor’s acts are: to follow and to divert, to oppose and to compose, to complement and to confuse, to clarify and to reassure. The performances by an orna/mentor are things/sounds/materialisations in multiple versions. The effects of an orna/mentor’s doings can be observed as isolated mad scenes, or landscapes governed by wilderness; or they can create a desire to pick up an ornamented sound-in-itself and continue an irrational performance of ornamented translations of the original (doing) again and again.
typeresearch exposition
keywordsOrnamentation, mentoring, Voice, voice studies, 17th century, french baroque, performance, Performance studies, Doing, Effects, production process, methodology, diffraction, Agential realism, intra-action, Acting Intuition, Nishida Kitaro
last modified26/03/2019
affiliationInter Arts Center, Malmö / Lund University

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