DUALITY&COMMUNION
Después de una noche de juerga, mi admirado amigo, el artista Chiaki Hirakoshi me dijo: “Algún día Japón regalará al Flamenco un nuevo cante de ida y vuelta”. Estas palabras me causaron un gran impacto y decidí profundizar en la relación entre el Flamenco y Japón.
Esta instalación interpreta aquel deseo de Chiaki Hirakoshi. Un ida y vuelta. Un exterior suave y delicado que evoca la apariencia japonesa. Un interior recio y arcaico que se encarna en un compás por Martinete.
Instalación
1,000 tiras de papel de usumino
Grulla de origami en 3D con un mini altavoz en el interior
Audio: compás por Martinete
Tokio (Japón), 2017
*
When the party night was reaching to and end, my admired friend the artist Chiaki Hirakoshi said: “Some day Japan will give flamenco a new cante, an style as an outcome of these cultures union: un cante de ida y vuelta”. This words triggered something in my mind, and I suddenly knew that I had to explore and research on the bonds between Flamenco and Japan.
This installation is a mise-en-scene of the concept expressed by Chiaki: its wrapping softness evokes the japanese culture, and it leads to a rough interior, suggested by the Martinete’s compass. This contrast is what’s shared between both cultures: duality and communion.
*cante: the particular andalusian singing, mostly used in flamenco.
*cante de ida y vuelta: is the set of flamenco renderings that emanated from its combination with popular Hispanic-American music. Ida y vuelta means literally “round-trip” as it is believed that andalusian migrants brought flamenco to America where it was transformed and enriched. When it came back to Andalusia it shaped a new flamenco typology.
Installation
1,000 usumino paper strips
3D origami’s crane
Audio: martinete’s compass. Ancient flamenco rythm born when forge professionals hit the hammer on the anvil, a process during which they used to sing.
Tokyo (Japan), 2017