Lamb Performances

FRASQ Performance Festival! Come join me!


Danse -Installation Performance by – Lamb Imaginarium – May 27th, Galerie Nivet Carson.

I’m super-excited to be apart of this year’s FRASQ Festival Paris!

Be sure to check out all the other artists as well, they are off the hook!

New Work : May 27, 2014

Title : When you enter with it,
Don’t say: “May.”
Say: “Can. Can I?”
And I’ll answer with a gesture.
The sea fell on my house / We are thirsty and at ease /And falling asleep to the mineral scent / And the chalk and film of the sea is dry on our thighs and fingers and in the juvenille curve under our lips / We are thirsty and at ease
We are thirsty and at ease
We are thirsty and at ease
And mindful of our salt
And resting

Concept : Weléla Mar Kindred (Lamb Imaginarium)
Creation : 2014 Paris (France)
Presentation : Lé Générateur / FRASQ / Galerie Nivet Carson / Y Liver (2014)
Nature : Mixed – media performance
Duration : 25 minutes in three parts
Title Text : Ladan Osman
Vidéo : Lucas Hauchard
Sound : Abdullah Khan
Text Translation : Soshana Fearn
Creative Assistant : Nawo Crawford
Thank you : To 7 women x David Liver
Website : (FRASQ)

The motto of the new work is tension and resolution. Each of it’s three movements are a hypothetical dramaturgy of Richard Wagner’s opera – Tristan and Isolde. This work is also inspired to give one hope, and based on the philosophy of Arthur Schopenhauer’s writings – « The World as Will and Idea, » (1909). The world that we perceive is a presentation of objects in the theater of our own mind. The world, the will, or thing in itself which is not perceivable as a presentation exists outside time, space, and causality.

The point of departure for this work consists of three-parts:
I. Hypothetical Dramaturgy of Tristan and Isolde
There are (7) performers and the music determines the structure of the work. The performers move through (3) parts of music scored by Robert Wagner’s Tristan and Isolde 1857-1859.

Each epilogue has a movement of tension and resolution. Each movement has it’s own sound or noises composed by different performers, setting up a family of resolution.

II. The World as Will and Presentation
This work explores the delicate balances between tension x resolution. Sometimes this results in confrontation between the performer and sound. Sometimes this results in tension between the performer and the public, setting up a social language between the observer and performer. This relationship results in the representation of the theater of our own minds.

As said by Schopenhauer : « Understanding has only one function – immediate knowledge of the relation of cause and effect. Concepts form a distinct class of ideas existing only in the mind of man, and entirely different from the ideas of perception. We can therefore never attain to a sensuous evident knowledge of their nature, but only to a knowledge which is abstract. »
The observers and performers each craft their own idea of dance and non-dance. The world, the will or thing in itself which is not perceivable as a presentation exists outside time, space and causality.


III. Public Installation x Discourse
This final epilogue is an evocative conjunction where language, text, space, time, mixed-media and sound remain in delicate discourse. The relationship between objects (animate x inanimate) interprets the structure of tension and resolution which in then results in the philosophical and physical relationship between performer, time, space, idea, and representation. This process explores language, sound and the relationship between imagination and the social construct of abstract perception.

*Robert Wagner’s Tristan and Isolde is a 5-hour length work. Tristan and Isolde (1857-1859) premiered in Munich 1865 with Hans von Bulow conducting.



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