A primeira vez que ouvi essa sonoridade em LPs nos anos 1980, eu ficava imaginando como seria… somente muitos anos depois pude ver a força que vem não só da voz, mas de todo o corpo e do conjunto.
The Frenchman look so stressed 😐 the French wuman in the background looks like it is meditating 2:23 Why they keep staring each other looks like they want to kill each other. I still prefer the old ankle the best 👏 she looks very experienced... Enjoyed the performance still
Thanks Laurent for your well-researched, polished presentation. I appreciated your astute mentioning some of the origin story of Evergreen Club Gamelan. You mentioned Vancouver’s Expo '86 International Gamelan Fest. ECG was the only Canadian gamelan group invited to perform there. While we were prepared and eager to attend, in the end we were unable to raise the necessary return travel funds from Toronto for 8 musicians in a very short time, and thus had to cancel our participation. ECG had to wait until early 1990 to perform in Vancouver (at the Western Front, the home of gamelan Alligator Joy at the time), when I was the group’s Artistic Director. Your notes on ECCG's extensive interactions with Quebecois musicians - and vice versa - is an important point in my view. They have taken the form of, 1) commissions of numerous scores by leading and emerging Quebecois composers, 2) collaborations with several Montreal music groups and 3) soloists, 4) the representation of that music on several CDs, as well as 5) two concert tours to Paris with SMCQ. Capped by ECCG's Nov. 2019 Montreal concert with SMCQ, this ongoing series of ECCG/Toronto - Montreal collaborations over three decades, in which gamelan is a distinguishing and essential ingredient, framed your presentation nicely. It reminded me how central those partnerships have been to the narrative of creative gamelan music performance and mediation in Canada - and abroad in the case of our two live mainstage concerts at Radio France, Paris. As for the Toronto Gamelan Summit 97, in which over 75 musicians from across Canada - and a few Indonesian musicians from the USA - took part, I can shed some light. As the project’s founder, fund raiser, project manager, Artistic Director and a core performing musician, I have a good selection of relevant primary docs in my archives. I’d be glad to share them. Andrew Timar
Réponse aux questions laissées sans réponse: 1) Les 40 musiciens Balinais, ils représentaient quelle institution? ISI? Est-ce que c'était un groupe mis sur pied juste pour la tournée? C'était une troupe de 40 musiciens et danseurs nommée Budaya Duta, de Denpasar. Effectivement, plusieurs d'entre eux étaient affiliés à STSI (Aujourd'hui ISI, l'institut des arts à Bali) 2) De quand date le rapport que José Evangelista et ses étudiants ont composé pour tenter de sauver la collaboration avec les profs balinais? (Question posée par personne en particulier) En 1992, un rapport a été écrit (vraisemblablement adressé à la Faculté de Musique) pour tenter de les convaincre de l'importance des professeurs balinais invités. Pour la venue des premiers professeurs, une bourse de 30 000$ par année était versée par la Fondation Asie-Pacifique du Canada pour la venue d'enseignants. Après la venue de I Wayan Suweca (Small (de Batubulan)) qui a fait une maîtrise à l'UdeM, cette subvention a cessé, ce qui a engendré une réflexion sur l'avenir de l'Atelier de gamelan. Je ne sais pas ce qui est arrivé, mais d'autres professeurs sont venus enseigner par la suite, et ce jusqu'en 1995.
Awesome! I had no idea there was such a good student ensemble in Montreal! You all sound much better than most of the student groups here in the states.
Iyakah?? Tarian kecak asli tarian daerah indonesia yang lebih tepatnya di bali. Saya selaku warga indonesia merasa terhina degan komentar yang anda berikan. Atau mungkin anda sendiri yang alien berasal dari planet merkurius? Wkwk dasar bocah
