The aesthetics of heritage

The aesthetics of heritage, 2014

Performance/ Installation, Kosice White Night, Kaserna Kulturpark
Size variable; metal cages/ Czechoslovakian wolfdogs /opera singers
Video-and foto documentation

‘The aesthetics of heritage’ plays with the original use of the voice and a communication without human language; investigating the natural and sophisticated voice control and trying to teach one to mimic the other.

The Czechoslovakian wolfdog is a breed between German Shepard and wolf that, in an experiment of the army (ČSR), was bred to protect the border between east and west. The wolfdog has an incredible vocal range of up to three octaves when howling. In opposition of this wordless and primary use of the voice is the most cultivated and controlled form of voice: opera singing. The opera piece is divided in three acts, trying to form a choir of singers and dogs in a huge, strongly reverberating underground parking lot, simulating the echoes that carry wolfs howling over valleys and mountains. In the first act the four singers use operatic language to imitate the intonation and pitches of wolf howling. The second act, half of the performers sing a classical composition, while the other already try to howl. In the last act, all performers howl, hoping for the wolfs to join. The cages are made of old fences and window barriers from the area.

This project wouldn’t have been possible without the great performers: Silvia Pasnisinova, Janette Zsigova, Alzbeta Smolinkova and Pavol Cebak. Also special thanks to Lukáš Bača and Viktor Veliky and their dogs.

‘The aesthetics of heritage’ was developed during a three month residency in Slovakia at k.a.i.r. and wouldn’t have been possible without the generous support of the Goethe Institut in Bratislava.

13. November 2014 by Lisa Premke
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