6:45, 1920x1080px, 2018
THE REFRAMING OF BEING FORGOTTEN NO.1 : VIDEO PERFORMERS
They make improvisation by changing or
omitting the order of the fixed melody
called the Jib which exists in the mind of
the player. I edited the video in Jib length
units so people can visually and intuitively
know the improvised units. As you watch the
video, you can visually feel that the scenes
are changing getting shorter and faster as
the time goes by, which shows that the
performers are piling up the fixed melodies
short and fast. In the Video, the performers
played concisely and uncomplicatedly to make
listeners as easy to understand as possible.
Designer
Suk Go
Shooting, Editing
SungKwan Kim, Suk Go
Adviser
Joost Grootens,
Simon Davies,
Gert Staal,
Kim Bouvy,
Bart Guldemond,
Koehorst in ‘t Veld
Simon Davies,
Gert Staal,
Kim Bouvy,
Bart Guldemond,
Koehorst in ‘t Veld
cast members
Sun-Kyung No(Jangu),
So-Yeon Kim(Haegeum),
Sung-Min Jo(Piri),
Dong-Hyun Yu(Daegeum),
Gun-Young Yu(Ajeng)
So-Yeon Kim(Haegeum),
Sung-Min Jo(Piri),
Dong-Hyun Yu(Daegeum),
Gun-Young Yu(Ajeng)
Earl Brown; Open Form
Most of Brown’s works are composed of fixed modules, and a form that performance is improvised by changing the order of such modules spontaneously is called Figure Earl Brown’s Open Form. In the Reference Figure, fixed modules (fixed melodies) are grouped in circles, and the order of these circles can be freely changed by the conductor during the performance. Although the performance using the Open Form is different every time, all the performances have a single identity since they are composed of the same modules. He performed these Open Form scores in conjunction with mobile sculptures by Alexander Calder or paintings by Jackson Pollock. Most of improvised scores used visual elements, and it can be seen that the improvisation is made possible as the performer is reinterpreting these visual elements. Particularly, the use of Earl Brown’s Open Form allows creating the improvised score that retains a single identity even if similar figures of the modules are removed or the order is changed. Especially interesting was Earl Brown’s Open form during reserching improvisational score. Many of Brown’s works consist of fixed modules, but the module’s order is left to the conductor for free choice. Throughout this process, his pieces are not identical but are played in a variety of ways, maintaining a single identity (ex: The combination of Alexander Calder’s mobile sculptures). Sinawi is an improvisational piece, but there are apparently repeating parts: fixed modules. I noted that this was similar to the Open Form of Earle Brown that created improvised music by changing the order of modules or omitting some of them although music was basically composed of fixed modules, and further learned that Gugak musicians used the same method to modulate performing times by mixing and matching detailed modules in their minds in an improvised fashion. While such improvisation is possible without scores because they have played for more than 10 years since their childhood, it is difficult for ordinary Koreans and foreigners to capture its meaning in a short period of time. Thus, I decided to show the sentiments of Koreans contained in Sinawi visually and intuitively through editing as a designer.