{"id":6277,"date":"2021-05-21T09:23:14","date_gmt":"2021-05-21T07:23:14","guid":{"rendered":"https:\/\/www.musikfabrik.eu\/blog\/ochred-string\/"},"modified":"2022-01-13T09:33:51","modified_gmt":"2022-01-13T08:33:51","slug":"ochred-string","status":"publish","type":"post","link":"https:\/\/www.musikfabrik.eu\/en\/blog\/ochred-string\/","title":{"rendered":"Ochred String"},"content":{"rendered":"
\r\n
\r\n
\r\n
\r\n\t\t\t\t\n
\n
\n
<\/div>\n
\n
<\/div>\n
\n

You are currently viewing a placeholder content from YouTube<\/strong>. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.<\/p>\n

More Information<\/a> <\/div>\n

Unblock content<\/a> Accept required service and unblock content<\/a> <\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n <\/div>\r\n
\r\n\t\t\t\t

Liza Lim<\/strong> – Ochred String<\/em> (2008)
\nfor oboe, viola, violoncello, double bass<\/p>\n

Peter Veale, oboe
\nAxel Porath, viola
\nDirk Wietheger, violoncello
\nFlorentin Ginot, double Bass
\nJanet Sinica, video
\nJan B\u00f6yng, editing
\nJulius Gass, sound direction<\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n

\r\n
\r\n
\r\n
\r\n\t\t\t\t

Two substances which are centrally important in traditional Australian Aboriginal cultural economies are ochre (coloured earth mixed with water used for painting) and string made from human hair which is then rubbed with ochre and animal fat.
\nThese elemental substances coming from the earth and the body are widely used in the production of ritual items accompanying key ceremonies, such as for birth, initiation into different life-stages, marriage, funerals, healing, increase of fertility, of natural resources, love magic and sorcery.
\nIn several Aboriginal cultures, an important aesthetic component lies in the quality of the \u2018shimmer\u2019 created when skin and hair is rubbed with oils and ochre. The glowing, light-flickering effect is associated with transformation of matter and connection to spiritual states.
\nIn 2003, I was invited to Dhanaya in North-Eastern Arnhem land, Australia as a guest to attend funeral ceremonies for a very important Yolgnu woman, artist and cultural leader. My first exchange in the ritual camp was to give some of my (straight) hair which was used to make extremely fine paint-brushes that were used to paint the coffin-lid. In exchange, I received mica-flecked red ochre to \u2018protect and make me invisible to any bad spirits\u2019.
\nOchred String<\/em> does not borrow any elements of Indigenous music in terms of rhythms, melodies or language but is indebted to that experience in Dhanaya in its exploration of aspects of the aesthetic category of \u2018shimmer\u2019, presence versus hiddenness and choreographies of calligraphic mark making.<\/p>\n

Liza Lim<\/em><\/p>\n

\n

 <\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n

\r\n
\r\n
\r\n
\r\n\t\t\t\t\n
\n
\n
<\/div>\n
\n
<\/div>\n
\n

You are currently viewing a placeholder content from YouTube<\/strong>. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.<\/p>\n

More Information<\/a> <\/div>\n

Unblock content<\/a> Accept required service and unblock content<\/a> <\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n <\/div>\r\n
\r\n\t\t\t\t

Peter Veale about Ochred String<\/em> by Liza Lim<\/strong><\/p>\n <\/div>\r\n <\/div>\r\n <\/div>\r\n<\/div>\r\n","protected":false},"excerpt":{"rendered":"

Liza Lim’s composition “Ochred String” is inspired by her exchange with an Australian Aboriginal ritual camp and their culture. We present a video performance of the piece, as well as an interview with oboist Peter Veale.<\/p>\n","protected":false},"author":7,"featured_media":6272,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","footnotes":""},"categories":[109,106,3],"tags":[],"class_list":["post-6277","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interview-en","category-programmnote","category-video"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/posts\/6277","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/users\/7"}],"replies":[{"embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/comments?post=6277"}],"version-history":[{"count":2,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/posts\/6277\/revisions"}],"predecessor-version":[{"id":6285,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/posts\/6277\/revisions\/6285"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/media\/6272"}],"wp:attachment":[{"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/media?parent=6277"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/categories?post=6277"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.musikfabrik.eu\/en\/wp-json\/wp\/v2\/tags?post=6277"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}