David Furlong (British association of dowsers) in his 2008 presentation titled "London Ley, described how London is patterned with triangles denoting lines of energy. One large triangle has it's northern point in Hampstead Heath its Westerly point in Wimbledon and its Easterly point at Greenwich. Furlong explained that the lower line of this triangle carries negative energy. Realising that the line runs through Southeast London where I live, I began to develop ideas as to how to respond to this entity.


Musician and writer David Toop in his book "Haunted Weather", describes Japanese composer Takimitsu's duet titled "Vacalism Ai", "…. two voices, one male one female, both repeating the Japanese word ai, or love in a variety of intonations speeds and pronunciations"1. During a residency at the Letherby gallery (Southampton Way), I gathered from the passer-by, different translations of the word "Love". I have come to understand that sound is a method of drawing through place, and consequently I am currently developing a contemporary "Driftsong" methodology, by which I mean sounding, through place while moving through that space. The nature of my actions, which disrupt cultural expectations of the behaviour of a person of my age and gender, provoke stereotypical interpretations that overshadow the primary intention of the work - therefore for this performance I constructed a devise (a fascinator) that offered an indication of the nature of the action (celebratory), and distracted and fascinated the gaze of the other away from my identity. On August 18th, intending to evoke moments of "Sharawadji"2 "Sublime of the everyday, rising out of the bru ha ha sonic muddle"3, I performed "Love a "South London Driftsong" walking along the lower line of the London Ley triangle, singing different translations of the word of love.


Penda (Swahili) Lifd (Dutch) Khoshmaye (Kurdish) Jacal (Somail) Charbliheh (Norwegian) Mina (Pushtu) Prem (Hindi) Habb (Egyptian) Szeretlek ( Hungarian) Kaadhal (Tamil) Sayang (Malasian) Fiker (Ethiopian) Dueces (Persian) Fikr (Amharis) Lek (Hungarian) Anbu (Tamil) Misuri (Swahili) Rakkaus (Finnish) Love (Englsih) Aroha (Maori) Chikonde (Malawi) Ljubav (Croatian) Iubire (Romanian) Eu (Vietnamese) Ahava (Hebrew) Eguono (Yoruba) Esso (Spanish) Bagnala (Senegalese) Ask (Turkish) Caru (Welsh) Anpu (Lows) Adaraya (Singelese) Obicham (Bulgarian) Sevgi (Uzbekistan) Ai (Japanese) Kwagaala (Luganda) Mehboob (Urdu) Sarang (Korean) Mara (Uganda) Hub (Arabic) Pyaaar (Punjabi) Cint (Malay) Ife (Yoruba) Mohabhat (Hindi) Kocham (Polish) Currla (Southindia) Ishiq (Hindi) Mhabba (Maltese) Houd (Dutch) Kaerlighed (Danish) Nakupedda (Swahili) Prem (Goodjerati) Hub(Arabic) Dustarm (Persian) Agapi (Greek) Amor (Potugese) Meile (Lithuanian) Amore (Spanish) Liefde (Afrikaans) Bhalobasha (Bengali) Ai (Mandarin) Afulaminyai (Igob) Uthando (Ndebeli) Luck (Thai) Tumakhay (Indian) Liubov (Russian) Mahal (Philippine) Rudo (Shona) Nila (Czech) Liebe (German) L'amour (French) Karlek (Swedish) Hob (Arabic) Odo (Ghanaian) Gra (Irish) Bife (Mali) Koham (Polish) Alskar (Swedish) Ima (Ibibio) Mikvavxar (Georgian)

 

1 D. Toop. Haunted Weather, music silence and memory, UK: Serpents tail, 2004, p.130.


2 R. Murray Schafer, "Forward", in Sonic Experience, a guide to everyday sounds, eds. J-F Augoyard & H Torgue, Montreal & Kingston, London, Ithaca, McGill-Queen's University Press, 2008, pp. xv-xvi


3 As explained in R. Murray Schafer's text- The word Sharawadji, was brought back to Europe by 17th century travellers to china, to describe an unexpected perception of beauty in the absence of any discernable order. Murry Schafer explains that when this concept is transferred to the urban sound environment "sounds become sublime less by excessiveness than by their implausibility"