Telling a story through sound – a workshop concept for 0 – 3 grade

It’s a dilemma when working with sound as a means of expression, how to use the visual . It will almost always be a rather risky marriage – the visual being a very dominant partner, that tend to take control of the agenda. AT THE SAME TIME , we can use the visual as a lever to get the aural , – which is very hard to hold on to ! , – into the game.

I was invited by the Vallensbæk Children’s Culture Week, in sept 2013 to give workshops with and about sound. To the occasion, I developed a concept,  “Tell the story through sound” where I use digital and analogue tools and methods to give children who are not familiar with musical instruments the opportunity to express themselves through sound.

I used my own software, Fonokolab. With this tool, you can record a sound and it will be stored as a loop that you can manipulate with your voice. The computer analyses the tone and volume of your voice and translates it into a ‘riff’, that will control the sample rate  – similar to when you change the speed of an old record player – and the volume of the previously recorded loop. You can control the riff’s panning and overall volume using a smartphone connected via wifi. Up to 6 riffs/players can be active at a time (more would be technically possible, but methodologically confusing).

On top of that, I have added live animation, using a software called Animata. The theme for the Culture Week was “The forest and the city”, so the imagery I used was a forest and its animals.

I drew 4 animals. Here you can see the bits and pieces of fox, that I …

Fox in tatters

… put back together in Animata , with vertices, joints , bones , and whatever it’s called :

… and the resulting live animated fox:

Fox animated via smartphone, with mouth movements controlled by sound

Foxy !

These are the stages of the workshop:

  1. “We are going to tell a story through sound!”, I told the kids.
  2. Soundpainting. The kids conducted each other making forest sounds with their bodies/mouths. We recorded the “forest created through sound”
  3. We listened to the recording, and while it was playing, the forest gradually “came to live” on the screen.

    The forest conjured by the kid’s sound scenography

  4. “What about the animals?”, I asked. “If we sit still, they will come”, I promised, and using a smartphone, I remote controlled the appearance of  an animal on the screen.
  5. “The fox wants to play with us, but he doesn’t have a voice!” So we recorded some sound using things available in the room. A dustpan dragged over the floor made a perfect voice for the fox.
  6. “Now the fox has a voice, but he needs something to say!” The fox is a very sly ‘person’, so he will probably say: “So many kids, I can play with! I wonder how they taaaste!” And I performed this phrase in the microphone, and the dustpan sound immediately imitated the melody/volume of my voice (causing a little anxiety in some of the kids!)
  7. After repeating the same procedure for the other 3 animals, we were now ready to make a collective composition. This includes “the magical square”, where your movements back/forth and sideways are translated into movements in sound – panning and volume – as well as image – the animal moves the way you move. This is being controlled via smartphone, either by the participant herself or by a helper on the side.

My prior experience with Fonokolab has been with adults, setting up workshops in the street, improvised, inviting passers by. At the stage where they are supposed to do a collective composition I have usually asked the participants to decide a form, or you might say choreography, themselves. This includes decisions about who moves how and when and for how long.

In preparing the concept for the Children’s Culture Week, I thought that this way would not work with young kids, so I came up with the concept of the “Timeline”.

The Timeline is a line on the floor, where one kid, “Time”, walks as slowly as possible until the other end of the line. Along the line, a number of kids are standing at different distances, waiting for “Time” to pass by.

“Time” moves along the timeline, here meeting the first “event”

Is everyone ready? And do you know your tasks? Then we start the forest sound scenography, and “Time” starts walking slowly.

When “Time” comes to the first kid on the line she walks to the magical square and moves around, being the fox. Now the fox’ sound will be heard, adding to the forest sounds. “Time” comes to the second kid, who enters the square, playing he is the crow. Etc. When “Time” reaches the square, he spreads his arms, gently directing the “animals” to the base line, and “Time” stops, as does the recording.

Now it is time to say goodnight to the animals, disappearing one at a time from the screen, and the forest. And the kids will lay down and listen to the “story told in sound”. The visual kinesthetic and  narrative elements which have sofar served as scaffold for telling the story in sound has been removed, and now it is time to focus only on sound.

See examples from the workshop in this video (whatch in Youtube with English subtitles):

A PROPOS :

Compositional processes and mutated chairs, – experiences from a workshop with young musicians

Watch my short ‘videoscribe’ about a workshop with 4 piano players, a guitar, a bass and a saxophone player.

sQRikebeam bor fow

Ich bin auch ein Fahrrad, -or- Bikescream for QRow

-or- traffic jam session

Recommendation: Watch the video clip while listening to the sound:

The participants made sounds with the bikestruments and formed them with their voices through the Anthropomorfer. When working with the sounds via smartphones, how could we do with only very little space? I hadn’t prepared a silver concept for that part. Somehow someone came up with the idea to follow the passing cars, bikes and people with the sounds. So each participant chose one feature, for instance “everything yellow”, and each time a yellow car, bike og hat passed by, he/she would ‘follow’ the moving object with the sound, panning from left to right or vice versa. In this way, a new aspect was introduced in the the-street-as-an-instrument-concept: SILENCE!! Since there were not yellow things passing by all the time the participant following yellow things had to keep silent in the pauses. But since each participant followed his/her specific feature, – bike helmets, taxis, blondes, etc., a great variety of movements and velocities naturally came to the improvisations, thus creating variation and new mixes/collisions. QRaaaaa QRaaaa!

Related articles:

Bikestruharp, former bike now instrument (www.akutsk.wordpress.com)

Bikestruments, bridgestruments, anti padlock guerilla (www.akutsk.wordpress.com)

Ceci n’est pas une pub. This is not a commercial.

ImageThis qr code links to a recording of a street improvisation by ordinary passers by, facilitated by Akutsk, using the Anthropomorfer. Sound graffiti you may call it, I use the name fonografiti. When using a qr code, we embark on the colonisation of the still rather virginal web based virtual track of the street.

Although the medium is sonorous, the access to the location specific electro acoustic collective improvisation necessarily passes through the visual. The qr code must catch your attention before it can work as a key to the virtual audio track of the place.

QR codes are in many cases used in commercial contexts, and the first thing we need to do is to decolonise this technology from the logic of the market. I’ve met a good deal of people not aware that you can easily make these codes yourself. Using qr codes is probably the easiest way for anyone to interact (virtually) in the street through sound, – and any other media btw.

In order to make sure that people understand that this specific qr code is not a commercial – ceci n’est pas une pub – we must add something, visually, to the code itself. Streetsoundartist Medlyd uses CD boxes on which he paints the QR code. Using a technique that cannot be subject to mass production, Medlyd succeeds in communicating the non-commerciality of the code. And a CD box connotes music. It’s a CD release!

In this photo you see a stencil of a hooded crow on top of a paste up of a QR code measuring 15×15 cm. The obvious handy craft side to the work makes it obvious that this is not commercial, it is ‘street’.

Now scan the code! We won’t sell you anything. We want to share a unique piece of sound art improvised on this specific location using only sounds from this place.

Ceci n’est pas une pub.

Knippels bridge being streetstrumentalized, though momentarily interrupted by rain

Bikestruments, bridgestruments, anti padlock guerilla

Bike bells on bridge (anti padlock guerilla)

From bike to trike (?)

From bi- to tri-

Bike bone hanging in bike nerve being attached by bike magnet

Preparing bikestruments in the State Workshops for Art

Building streetstruments: paint-bucket-bass, drain-trombone and sewer-chimes

First workshop: constructing streetstruments

The street dressed for the streetstrument workshop

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Materials from the construction site are lined up according to their characteristics

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The participants are constructing streetstruments

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Sewer chimes

Second workshop: Collective improvisations on electrified streetstruments

Improvising using the paint bucket bass

After the workshops: The streetstruments are left in their street, inspiring passers by to make their own street improvisations

Paint bucket bass and drain-trombone entrusted the passers by

Related posts:
Construction site interacts musically with neighbors

Quotation: Lefebvre about the living disorder of the street

The street sound activist’s toolkit

Tubes from the ground, now getting a sonorous aftelife

Construction site interacts musically with neighbors

Tubes from the ground, now getting a sonorous aftelife

Tubes from the underground. Now getting a sonorous afterlife in a streetstrument/ giving-back-the-noise workshop

Concept: During a street art decoration of the wall around the local metro construction site, akutsk is making a ‘streetstrument’ workshop.

The workshop is going to be in two parts:

  1. a streetstrument building workshop. In these weeks, I’m collecting debris from the construction. At the event August 11, these objects will be the material for instruments.
  2. a Anthropomorfer workshop, where the participants form the sounds and improvise collectively via laptop and smartphones

Everything is on location, anyone can join, and afterwards we paste up QR-codes linking to recordings of the impros.
Here is the Facebook event.