Presentation on theme: "Weave, music and community A Shetland tale. When I was a bachelor… Born in Zimbabwe and grew up there Music ‘O’ Level Exchange in Chicago and won a scholarship."— Presentation transcript:
When I was a bachelor… Born in Zimbabwe and grew up there Music ‘O’ Level Exchange in Chicago and won a scholarship Returned to Zimbabwe and did Hotel and Catering Management Moved to London 1992 Gained Performance Diploma in Opera 1998 Created the Wind Dog Café in Shetland and moved up in 2001 Left the café in 2006 to run the Centre for Creative Industries Teach and train in vocal music and performance Learnt to weave in 2006 from Melanie Venes
In the beginning ASF Shetland was formerly the Ann Sutton Foundation A woven whirlpool! Came to Shetland in 2006 Established at the Centre for Creative Industries in Yell Maelstrom project in 2007 Looking at textiles as a regeneration tool for development
Structure and composition Duke Bluebeard’s Castle –Bela Bartok –Psychological opera –Fibonacci series (0 1 1 2 3 5 8…) and Golden ratio (a+b is to a as a is to b) –F# to C and back again
Structure and composition A woven whirlpool! ( part two)
Ancient Greek thinking? Tete a tete opera taking knitting as its focus. Odysseus Unwound. Synaesthesia (together sensation) A web of song - Homer and the lyric poets. Taken from a JSTOR publication. –Claims weave terminology acts as a metaphor for intellectual activity as well as literal weave with song –Linguistic associations with weave and music –Mechanical associations with the lyre and the warp threads of the loom. Warp weighted, upright looms.
Time and music and weaving Is there something about perceptions of time and how music affects it? How does music affect the weaving process? Does music and weave automatically go together? Why? Rhythm Does music allow a weaver to block out anything other than weaving? Why?