natalia mallo

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Gisele & Natalia workshop – Indepen-Dance

During the intense one week of rehearsals for the show MayBe (a Brazil-UK co-creation with dancers Marc Brew and Gisele Calazans), we had the chance of offering a workshop for the project Indepen-Dance (thanks Karen Anderson for this unique opportunity!).

Gisele offered the material of her work on primal-developmental movement (a research based on her observation of the movement patterns of babies). I offered my approach on the relationship between music and dance. (I was also translator of the encounter).

It was an enormous pleasure to work with such open, available and joyful dancers.



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Scottish-Brazilian Collective Day 1

So today we started (me, drummer Mariá Portugal and pianist Marcel Barreto) a collaboration with the wonderful Scottish trio Aonach Mor, from Glasgow.

We chose to work on 2 really iconic composers from Scotland and Brazil: Robert Burns and Luiz Gonzaga. We did a new arrangement that blends “Ae fond kiss” with “Asa branca”. And it was so amazing to see that the melodies go together really well, and that both songs share this nostalgic feeling that turns sadness into something beautiful.

Burns talks about a love that ends with a kind kiss, and Gonzaga, hypnotized by the bonfires of St John in northern Brazil, wonders why is there so much sadness in the world. The answer could be: just so that we can make music out of it 🙂

Here’s a little of what happened today. It was a delight.

This is a part of a series of co-creations between Brazil and the UK, supported by the British Council, Creative Scotland and Live Music Now Scotland.

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A fala dos ventiladores

Conversa/performance com Yann Seznek. Artista sonoro, pesquisador, músico, criou especialmente para o Edinburgh Arts Festival a instalação “Currents”. Conversando com ele soube que se interessa em por para fora o que está escondido dentro dos nossos computadores (as ventoinhas que os impedem de explodir). Com as ventoinhas montadas num painel de madeira plugado em microfones de contato e utilizando um controlador midi, ele vai gerando uma mini orquestra percussiva. Sons que vão tomando velocidade e ficando mais agudos ou mais graves, pulsos e subgraves nos lembram animais, carros, vento. Me lembra até o ranger vagaroso de um velho ventilador de teto da infância em Buenos Aires. Tudo feito à mão, o artista se considera um artesão. Só lamenta depender do computador como “organizador do fluxo de impulsos”, e o deixa sempre na abertura mínima para funcionar. A instalação acontece numa cabine de polícia.