Sofia - on her performance of 'Gränserna går inte där vi tror, inte nu, inte förr' in the performance score:
Here it is the fluttering curtain that I am working with through my voice. Partially through how the fluttering comes and goes, the movement, but also parallel to that how a forgotten melody, comes through the window, as a memory from a long time ago, but sort of a traditional melody, some Swedish folk tune, although not a certain one, but a fragmented one. It is not a tune that exists, but a memory. You can imagine that the radio was on while the curtain was fluttering. I think that was the picture that entered my mind.
Liv - on a repetition of a text found on page 7 in the performance score:
There you can hear that miniscule situations are imposed. I can hear loss. That one of them is loss. I can hear that I interpret ‘here’. Like ‘right here’. I want everyone that is listening into that now, right now. And that is how ‘not there’ becomes an explanation for elsewhere. But I hear also an interpretation of ‘not here’ as ‘be with me’. I hear that I put small interpretations into the repetitions to search for what is right. Since you ask me to repeat it. We are searching for something that is right.
Felicia - on performance of 'skal', found on 2nd page in the performance score:
This….yes...I reckon I could go on for two hours with ‘skal’ (meaning: shell). This word is so musical in a way that I cannot explain. It evokes musical feelings and at the same time its meaning is so concrete yet diffuse. But maybe it is also because ‘skal’ is like a sculpture to me. So I don’t know if it is therefore that I respond stronger to it. But I also think it has such a nice sequence to the word itself. In Swedish it can be like ‘skal’.... It is somehow an elastic word. And that is exciting.
Halla: So you are with the word...but do you bring forth imaginary. You talk a lot about sculpture. Could you share what is going on between these different...
Felicia: For me it is both the movement and the sculpture. And like...my own ‘skal’ (meaning: shell). This whole fossilised ocean, all those shells that create these amazing sounds together with the water and the air and the earth. And that lives...or do they perhaps not live? There are so many dimensions to this. But vocally, to improvise on ‘skal’, I could do that whenever and for hours on end. I cannot explain it...for it is something about the word that I do not understand. What form it has. I am maybe wondering about that. Certain things, like you take ‘blomma’ (meaning: flower). Like: ‘blomma’, it is like…. Like a...it is fun...but ‘skal’.... It becomes...I have never expressed it in this way but just had the sensation. So it is also the first time that I experience this within myself. I think it is exciting to follow what happens when you meet something. Here I am doing it in a specific context, and I have not done that earlier. Then I just went for it. But here, I remain with the sensorial feelings of the word itself. I do not leave the word. It is between the sound, and the word, and the meaning. It is hard…. It is just such a favourite. ‘skal’. And it is also a discovery, that I made when I received the score. I felt: ‘skal’...I just love it and I had no idea that I did. (stimulated recall annotations, April 15-16, 2021)