대죽도는 바다와 갯벌이 동시에 존재한다. 반은 바다가, 반은 갯벌이, 반은 산새 소리가, 반은 바닷새가 소리를 샌다. 서로 다르게 소리 내며, 서로의 영역 안에서 노래 부르고 먹이를 나눠 먹고 자연스럽게 따로 같이 살아간다.

1. 대죽도 따로 같이 Full Ver_20240605 0653 기온19도 / 풍속1m/s

재두루미 소리를 채집하며 하늘을 바라본다. 공룡이 살던 중생대에 와 있는 듯하다. 조류가 마지막 살아남아 있는 공룡이라고 하는데, 재두루미 몇백 마리가 아침을 향해 울음소리를 내고 있다. 하늘을 나는 거대한 공룡들. 몸길이는 1m쯤 되고, 삼삼오오 날개를 펴며 날아가는데 2m쯤 되어 보인다. 무리 지어 울음소리를 내며 나는 모습이 중생대가 맞는 거 같다. 두루미들이 얼음 위에서 자는 이유는 천적을 피하기 위함이다. 백종한 선생님이 들려준 이야기 중에 두루미가 무리 지어 잘 때 삵이 나타나면 무리가 같이 울음소리를 내어 삵의 공격을 막는다고 한다. 두루미의 울음소리에 겁을 먹은 삵은 도망간다고 한다. 살기 위한 울음소리는 어떻게 들릴까? 나는 살기 위해 어떤 소리를 내는가? 듣고 싶다.

하갈리_두루미 아침 20231129 0717 기온 -4도 / 풍속 1m/s

명창 강도근 선생의 판소리 공부에는  삶의 태도, 곧은 정신이 있는 듯 하다. 소리를 배운다는 것은 무엇일까? 동편제의 판소리가 존재하는 이유는 남원 명창들의 곧은 정신과 삶의 태도에 있지 않을까?

명창 강도근의 삶의 태도_고수 강은주씨 인터뷰

ENGLISH  (Pour le français, voir ci-dessous)
I was profoundly shocked by the extreme barbarity of the Islamist terror attacks on November 13 in Paris, which became the worst massacre in France since World War II. 
Driving back home from Paris on November 14, I felt the urge to say something about it and I decided to compose a tribute to the victims. 

I was particularly touched by the testimonies from the ones who were trapped for hours in the Bataclan concert hall with the Islamist terrorists. Some could flee, but many had to find places to hide or had to play dead under the corpses in order to survive. Endless hours of wait, in shock, as the barbarian murderers moved between spaces and came back several times, calmly executing people lying on the ground when they noticed signs of live, with the intend to explode themselves amongst the survivors. A small group managed to hide, cramped for hours in a tiny technical space, holding firmly the door handle to make it look closed. The assassins came back three times, trying to open that door. They didn’t manage, but each time those who were hiding thought their last hour had come. The structure of the piece reminds these endless hours of wait, with alternating feelings of shock, relief, hope, resignation and fear. Besides the voices of the survivors, the piece ends with those who lost loved ones. 

Though this work came as a reaction to the Paris attacks and though all the witnesses relate to it, I choose not to name the city in the title, in tribute to the many other cities hit in the past by the same fanatical ideology. And to the many cities that followed, including Brussels, my hometown, where three Islamists exploded themselves on March 22, 2016, assassinating and hurting hundreds, amongst them, a friend of mine, murdered in the metro. This work is dedicated to all the victims of blind religious violence, their friends and relatives. 

FRANCAIS
J’ai été profondément choqué par l’escalade monstrueuse de la barbarie et l’horreur indicible des attaques islamistes du 13 novembre à Paris, le pire massacre en France depuis la seconde guerre mondiale. En rentrant de Paris en voiture dans la nuit du 14 novembre, j’ai ressenti le besoin de réagir. J’ai voulu rendre un hommage aux centaines de victimes innocentes, de témoins traumatisés, de familles détruites. 

J’ai été particulièrement touché par le calvaire des victimes du Bataclan. Si certaines ont pu s’échapper rapidement, la plupart sont restées enfermées plus de deux heures avec les terroristes. Pour survivre, elles ont dû trouver des endroits où se cacher ou faire le mort sous les corps des morts et des blessés. Et voir ou entendre les assassins revenir à plusieurs reprises, tirant sur toute personne qui bougeait. Un petit groupe a réussi à se cacher dans un local technique, des hommes forts tenant la poignée de la porte afin de faire croire qu’elle était fermée à clef.  A trois reprises, les terroristes ont tenté d’ouvrir cette porte et, à chaque fois, les occupants ont cru leur dernière heure arrivée. La structure de cette pièce rappelle ces heures d’attente interminable, où les victimes, en état de choc, ont oscillé à plusieurs reprises entre soulagement, espoir, peur et résignation face à la mort. La pièce se termine sur les témoignages de ceux qui ont perdu des proches.

Si les attentats de Paris ont été le déclencheur de cette pièce et si les extraits sonores s’y rapportent, j’ai décidé de ne pas nommer la ville dans le titre, en mémoire des très nombreuses autres villes touchées par la même idéologie fanatique. Et de celles qui ont suivi, dont Bruxelles, touchée une seconde fois le 22 mars 2016 par trois islamistes qui se sont fait exploser, tuant et meurtrissant des dizaines de victimes, dont une amie, assassinée dans le métro. Cette pièce est dédiée à toutes les victimes de violence fanatique et aveugle, à leurs proches et à leurs amis.

Requiem for a City (2015-2017) (stereo mix of the original octophonic work)

I have always been touched by the voice, spoken or sung, attracted by foreign languages and moved by certain timbres, inflections, breaths or prosodies.
My work at ULB Laboratory of Experimental Phonetics and the understanding I gained have in no way explained why I feel this singular resonance with certain voices and certain vocal modes rather than others. 

This third part of my intuitive and sensual exploration of this mystery is inspired by Russian texts: Mikhail Bulgakov’s "The Master and Margarita" and texts by the dissident poet/singer Yanka Diaguileva. 
Both authors resisted soviet censorship, reaching their audience through samizdat and magnitizdat.
Today, after Putin's devastating invasion of Ukraine and the extraordinary level of censorship and repression imposed in Russia, it resonates with a renewed acuity. 

This piece also integrates elements of sung voice and electronic voice generated by a Thereminvox.

Main Russian voice: Anna Pospelova. 
Additional Russian voice: Alexandra Dementieva.
Produced with the help of the Ministry of Culture of the Fédération Wallonie-Bruxelles in Belgium.

명창 강도근의 삶의 태도_고수 강은주씨 인터뷰

SoundVoyager Jeon,Kwangpyo

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