Ritual VI

At first, only a flute and a narrow light pole will appear in the dark. Then, over the unchanging sound of tanpura for 45 minutes, raga will develop. We will give the last Ritual to traditions that remain alive, because they can still change.

Two distinct practices meet here, which we are not trying to reduce to a common, universal spirituality. They are united by a focus on a single sound, the time it takes to develop it, and the work of artists who do not treat inherited instruments as museum exhibits.

Timothy Archambault will begin the premiere of KRKACCRETION in near-total darkness. The narrow light pole will only cover the flute it holds. First, the artist will shake in seven directions a necklace made of animal bones and teeth and deer skin, given to him by Ajawawesi, a member of the Algonquian elders. The gesture is intended to focus the listeners' attention before the actual composition begins.

Archambault will play acoustically on a traditional Algonquian flute — pibigwane, made of cedar or alder. For the Algonquins, this instrument is the creator of the wind or its essence. It served, among other things, to imitate the sounds of nature, solitary contemplation and the transmission of signals. In KRKACCRETION, the quiet beginning will gradually give way to more extended flute techniques, which will create an increasingly dense structure.

Archambault's practice gains additional resonance in this space. On the album Chìsake, the artist turned to the songs of the shaking tent rite, and the form of Si On and Jakub Ziółkowski's installation evokes the broader idea of a ritual tent. A visual echo is created between them, not a reconstruction of a specific tradition.

Madhuvanti Pal dates back to the tradition of dhrupad — one of the oldest living forms of North Indian classical music. He plays the rudra vina, a long citron with two resonators made of gourds. Although ancient sculptures and miniatures depict women playing this instrument, in later practice it was inaccessible to them for a long time. Pal's album The Holy Mother Plays the Rudra Veen became the first full-length record recorded by a woman playing rudra vino. The artist not only performs music, but also builds and modifies her own instruments. In Krakow, Pal will perform a selected raga with the accompaniment of female tanpura. Its continuous sound will set a fixed reference point around which successive heights, ornaments and tensions will develop for 45 minutes.

For Archambault, music will be created by layering, for Pal - by patiently revealing the possibilities contained in the council. Both methods require time, silence and concentration, but lead to two different worlds.

The concert is co-organised by Cricoteka.

Availability:

The event will last approximately 75 minutes. Timothy Archambault's performance will last about 30 minutes and will be completely acoustic. It will take place in almost total darkness; only a flute illuminated by a very narrow column of light will remain visible. The beginning will be quiet, intimate and meditative. We ask the audience to remain silent.

Madhuvanti Pal's performance will last about 45 minutes. The artist will play Rudra Vini.

The audience will sit around the central stage on carpet, cushions and poufs. Several chairs will also be available for people who cannot use the floor or low seats.

You can leave the hall during the event, but there will be no re-entry.