During this time, in almost every South American country, people were forcibly disappeared, tortured, incarcerated, and murdered because of their political beliefs. 1968-75) was a campaign of political interventionism, repression, and state terror carried out by right-wing dictatorships with the support of the U.S. This word, however, makes a very different set of collective memories arise in my mind. The word “cóndor” has that effect on my set of personal/collective memories.Ĭóndor: iconic bird of the Andes, that which flies higher than all the one that knows no boundaries, no borders a symbol of transcendence, spirituality, and wisdom for several cultures in South America (not to be confused with Latin America). I am interested in how one “thing” (an object, a word, a concept, even a person) can be interpreted by means of two or more contrasting collective memories. It is through memory that “things” acquire meaning(s) and that we are able to place them within an imaginary continuum of time that we call “the past”. Or, perhaps I should say, it is through memory that we construct our conception of the world, History (with capital “H”), and our sense of identity. However, Miko and Rubén decided to use ribbed sticks on tom-toms instead, giving it the sound quality of one giant centipede instead of that of, maybe, several normal-sized caradeniños. The third type of sound in the piece is usually a wooden comb on a drum (the drum only serves as a resonator). In this recording, percussionists Rubén Bañuelos and Mykołaj Rytowski use a bamboo mobile and woodblocks for the first instrumental group and metal springs for the second. This allows performers to play the piece regardless of their instrumental availability or budget. The instrumentation of the piece is semi-open, which means that performers can choose whatever objects they want to use for the two instrumental groups of each set. This piece, written for two percussion sets, is inspired by the sounds that insects produce in their interaction with the world beings whose presence - sometimes annoying, sometimes scary, sometimes welcome - is gradually disappearing from our daily lives. Their touch and the sounds that they produce differ greatly from ours.
#Trio los amaya skin
For those who have exoskeletons, their physical contact with their surroundings is radically different from those of us who have skin and muscles around our bones. Insects don’t have teeth-they are all teeth. “Siénteme / guerrilla de dientes entre los árboles” fragment of Pedro Vargilla’s sixth poem from “Marea” This is another - yet non-intentional - dual quality of the album that I came to realise after I chose the pieces for it. The types of non-human others that, conceptually, I deal with in the album are also two: 1) animals (mostly insects) and 2) collective memory (one should remember that collective memory behaves very similarly to a living organism as it has a genealogy, it evolves, and it goes extinct). In both cases (the musical duo and the relational human/non-human duo), I strive to find the porous areas where one-plus-one is not necessarily two but maybe one-point-six or three or seventeen. They share another peculiarity: all of them explore how humans relate to non-human others. All the works in this album are for duos - some of them between two instruments and others between an instrument and some sort of electronic source. It was only months or, in some cases, years after they were composed that I looked back and saw them align. But, can it?Ĭortahojas is a collection of pieces that, at the moment of their conception, had nothing to do with each other. ĭoes music-making transform how one relates to insects? What about plants, environments, or memories? Not necessarily.
We asked Luis Fernando to guide us through the concepts behind the works of his debut album Cortahojas, released in February 2023 by Protomaterial Records. in composition and music technology from Northwestern University. He studied composition and music theory at the Centro de Investigación y Estudios Musicales (CIEM) and holds a Ph.D. Topics such as collective memory and the relationship between humans and non-humans (such as plants, animals, or environments) are commonly present in his work. Collective memory, even more so.” Luis Fernando Amayaīorn in Aguascalientes, México, Luis Fernando Amaya is a composer and percussionist. “It is through memory that ‘things’ acquire meaning(s) and that we are able to place them within an imaginary continuum of time that we call ‘the past’.
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