Tara Lodge Video : Hotel Review and Videos : Belfast, United Kingdom
Tara Lodge Video : Hotel Review and Videos : Belfast, United Kingdom
Property Location With a stay at Tara Lodge, you'll be centrally located in Belfast, walking distance from Queens Film Theatre and close to Queen's University of Belfast. This 4-star guesthouse is within close proximity of Ormeau Baths Gallery and Ulster Hall.Rooms Make yourself at home in one of the 34 guestrooms featuring DVD players. Your room comes with a pillowtop bed.
Complimentary wireless Internet access keeps you connected, and digital programming is available for your entertainment. Bathrooms have rainfall showerheads and hair dryers.Amenities Make use of convenient amenities, which include complimentary wireless Internet access and tour/ticket assistance.Dining Take advantage of the guesthouse's room service (during limited hours).Business, Other Amenities Featured amenities include dry cleaning/laundry services, a 24-hour front desk, and luggage storage.
Free self parking is available onsite.
Parking, 24 hours Front Desk Service, Low mobility guests welcome, Business centre, Laundry service.
Check-in from 15:00 , check-out prior to 12:00
Hotel adress: 36 Cromwell Road, Botanic Avenue, Belfast, United Kingdom
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Belfast iTours South Belfast Introduction
Patrick Kielty's introduction to South Belfast iTour 1
Belfast City Tour
I have highlighted the places of interest in and around Belfast city centre - including the City Hall, Central Library, Castle Court, Royal Avenue, Cornmarket and Victoria Square. Queens University and Botanic Gardens are situated in south Belfast (one mile from the city centre) Belfast Castle is located in North of the city. The Castle lies beneath the Cavehill and the garden is beautifully maintained during the spring and summer.
Ormeau Baths, the contemporary art gallery runs an exhibition for several weeks.
Belfast has beautiful architecture - just look at the buildings in Royal Avenue! The interior of central library reminds me of a Roman Temple. A building in the style of art deco is found close to the library.
Modern buildings have sprung up close to the Lagan River.
The political murals are a reminder of the city's troubled past and I have decided not to include them in this slide show. Instead I have chosen two that are not political
And speaking of politics. - Stormont parliament building is not open to the public but those on foot can stand at the steps which lead to the entrance of the building
Achieve: Belfast Bursary Fund — Hannah
Achieve: Belfast Bursary Fund
Helping young people take part in learning, education and employment.
The Achieve Bursary is a Belfast City Council Investment Programme initiative, administered by Belfast Metropolitan College. Watch this short film to find out how Achieve has helped Belfast Met Event Management student Hannah Barnes take a step closer to realising her ambition of starting her own business.
Are you a full time student at Belfast Metropolitan College?
Do you live in the Belfast City Council area?
Is your annual household income £25,000 or less?
If so, you may be entitled to a £500 Achieve Bursary.
Applications open on Monday 1 September 2014 and completed forms must be submitted to Belfast Met Finance team by Friday 14 November 2014. Funding decisions will be made in December 2014 with first payments made in the same month.
To register your interest, contact Gerard Martin or Donna-Marie French in the Belfast Met Student Finance team Tel: 028 9026 5172 or 028 9026 5183 or e-mail: studentfinance@belfastmet.ac.uk
And visit for details of eligible courses.
ACNI Troubles Archive Exhibition
Feargal O'Malley, co-curator of the Troubles Exhibition at the Ormeau Baths Gallery, describes some of the artwork on show, chosen from the Arts Council of Northern Ireland's newly established NI Troubles Archive.
2011 Assembly Campaign Launch
DUP Leader and Northern Ireland First Minister Peter Robinson addresses the press and Party candidates for the 2011 Assembly Election.
The launch took place in the Ormeau Baths Gallery in Belfast.
Belfast iTours West Belfast Introduction
Patrick Kielty's introduction to West Belfast iTour
The Border Itself
The idea of establishing a Border Interpretative Centre for the new millennium (September 2000) came from a line in a performance by artist John Byrne in the late 90's. He obtained the use of this simple building, which had been a small shop located right on the border itself on the main Dublin-Belfast road. He was supported in all this by Norah Norton, then director of The Temple Bar Gallery and The Arts Council of Ireland.
The centre was adorned by a specially designed neon sign. The shop was stocked with souvenirs and gifts including, ceramic miniature British army watchtowers wishing Good luck from the border, sticks of border candy rock, books on the border, t-shirts, bagged samples of 'The Border Itself' and a selection of postcards. There was also an interpretative video examining the border's geological history and people.
The Launch was accompanied by a billboard campaign depicting an image of his two children Áine and Cormac with himself enjoying a family day out on the border.
At it's official opening, a plaque was unveiled by fellow border enthusiast, Kevin McAleer. The plaque celebrated a twinning of the Irish border with it's Korean counterpart. In Kevin's speech he noted that even though our border was small, and despite having himself viewed many other borders, he still felt our own border to be the best and something that united the whole country.
After a successful opening and some initial commercial success, the centre ran into problems partly due to it's reliance on a diesel generator for power and the characteristically damp weather. Sadly, after less than a week, The Border Interpretative Centre was forced to close.
The story of this short-lived institution was subsequently portrayed at solo exhibitions in Temple Bar Gallery, Dublin; Ormeau Baths Gallery, Belfast - where an exact replica of the centre was created for the duration; later and poignantly it travelled to Gallerie Aggregat, Berlin - within view of the site of the old Berlin Wall.
john-byrne.ie
Liam Kelly | Conflict, Trauma and the Performative act
Intervention dans le cadre du colloque La performance : vie de l'archive et actualité, AICA-France/Villa Arson. 25, 26 et 27 octobre 2012
Session 5/8 : (Suite) Performance, genre et politique, différence des contextes, 26 octobre
Allocution 3/3
The body evolved as a significant theme in the 1980's and 90's in Ireland with the backdrop of political violence in the North of Ireland and the discourse on women's ownership of their bodies in the Republic of Ireland. The concentrated experience of seeing mutilated bodies and the attendant body-related descriptions reported almost daily on TV during the political troubles in N. Ireland may have contributed generally to so much local art practice in N. Ireland focusing on the body.
This proposed paper will analyse the appropriateness of the concept «performance» in the work of two artists who have engaged with conflict, trauma and the body related to Northern Ireland but also to the wider international condition of what might be described as the universally violated body as the new and lingering anatomy.
Shane Cullen's monumental Fragments Sur Les Institutions Republicaines (1997) is based on letters written by IRA political prisoners which were smuggled out of The Maze Prison near Belfast. As such the work relates text to the body politic; contemporary Irish and traditional French Republican idealism, and in his use of language/re-presentation of language to its location in myth and in the «polis» -- that which pervades both physical and political space. Cullen has always been interested in the ramifications of language - its emotional, psychographic charges.
The performance work of Alastair MacLennon (a member of Black Market International) is central to any consideration of the evolution and development of performance art in Ireland and the UK. When MacLennon first came to Belfast there was virtually no performance work in local activity. Both through his art practice and importantly his teaching he has had a profound effect on attitudes to performance art by younger artists. MacLennon creates installations that often become arenas for the single active walking figure (himself) to «actuate». Walking for extended periods of time among the displayed relics of a global hurt or split system his interactive performances engage with the detritus of some kind of after- scourge - the apparatus of a deep seated disablement. His ritualistic «walking out», however. often assures transformations and conversations.
Dr. Liam Kelly
Professor of Irish Visual Culture at the School of Art and Design, University of Ulster, Belfast ; member of the Research Institute for Art and Design Committee and a former member of the university Senate. He holds a BA (Hons.) degree in the History of European Art from the Courtauld Institute of Art, University of London, and a Ph.D from Trinity College, Dublin.
He is a writer and broadcaster on contemporary art and architecture having authored/edited a range of books, articles and conference papers. His publications include, inter alia, The City as Art : Interrogating the Polis, 1994 ; Thinking Long, Contemporary Art in the North of Ireland, 1996 ; Miquel Navarro 1973-96 (co-ed.) 1996 ; Liam Gillick - Big Conference Centre ( co-ed ), 1997; Art and the Disembodied Eye, 2007.
He was Director of two public art galleries (Orpheus Gallery, Belfast, 1986-92 and Orchard Gallery, Derry, 1996-99) where he curated a range of solo and thematic national and international exhibitions. At the Orchard Gallery he developed an international exhibition outreach programme with exhibitions in New York, Paris and Ljubliana. He took part in L'imaginaire Irlandais, a major festival of Irish culture in France, as curator of Language Mapping and Power, exhibited in Paris in 1996.
Recent curated exhibitions (selected):
Prepossession (co-curator), at the Ivan Dougherty Gallery, Sydney, Australia on the theme of trauma with artists from Australia (Tracey Moffat), South Africa (William Kentridge) and Ireland (Willie Doherty) and Art and the Disembodied Eye, dealing with artists who have engaged with military surveillance and the architecture of security and defence.
Conference Organisation (selected)
Organiser/co-organiser of six international conferences. In September 1997 he successfully organised in Derry and Belfast the AICA annual congress Art and Centres of Conflict -- Outer and Inner Realities' Most recently he was co-organiser of The Art Historians Conference (UK) CONTESTATIONS, Belfast, 2007.
Board/Committee memberships (selected)
Vice-President AICA 2009-2012
Member of Visual Arts Committee, Arts Council N. Ireland,1981-86.
Member of Executive Committee, Association of Art Historians (UK) 1990-93.
Board member, Ormeau Baths Gallery, Belfast, 2006-2012.
Member Audience Council, BBC NI, 2007-2010
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Future City Conference 2014
This video includes views from some of Belfast's young people on their priorities for the long-term development of Belfast city centre. It was played at the Belfast: Future City conference on 20 June 2014. For more information go to belfastcity.gov.uk/futurecity
Belfast 2 Blanco - Video Diary 4
B2B Crew 2014 - Video Diary 4: In this Diary the Team take the afternoon to say goodbye to the people of the Blanco Township, and throw a carnival for the kids. But also the team also got a nasty surprise when we learned that 3 Team Members from SA2 also had to leave Blanco to continue their own journey in an orphanage. Tears all round.
Enjoy and keep following us on Facebook (Belfast2Blanco), Twitter (@Belfast2Blanco) and on our Website (belfast2blanco.com).
We love to hear your comments also folks!
Wave TV1 - First Advert for Confederacy X
First Advertisement of Confederacy X -
1man 4lads guess who wins
1bloke v 4lads fighting
victor gama on acrux II
Victor Gama with musician/dancer Antonio Tavares playing acrux, one of Pangeia Instrumentos created and produced by Gama.
Pangeia Instrumentos are musical instruments built as part of a writting process that Victor Gama has been developed over the last 15 years. Inspired by the traditional musical instruments from Angola, where he was born and still works part of the year, Victor Gama developed new musical instruments as a way of reaching new territories in music and sound.
Often also playing with electronic musicians such as Tiago Cerqueira, Gama collaborates with William Parker and Guillermo E. Brown on the Folk Songs Trio.
Upcoming concerts in Europe, 29th July 2007, Glat&Verkehrt Festival in Austria.
VICTOR GAMA:
Victor Gama was born in Angola and currently lives in
Sintra, Portugal. He is a composer, performer, designer of
innovative musical instruments as well as an electronics
engineer. Several of his music works have been recorded
on CD including Pangeia Instrumentos on Aphex Twin's
Rephlex Records.
He has exhibited his instruments and sound installations
and performed extensively in Africa, Latin America, USA,
Canada and Europe having received a Project Development Award by Visiting Arts/British
Council for his exhibition and performance at Ormeau Baths Gallery in Belfast in 2004. Gama is
part of the Berimbau-Ungu project with the legendary Brazilian percussionist Nana
Vasconcelos with whom he has recently toured in Southern Africa. He's collaborated recently
with William Parker and Guillermo Brown on the Folk Songs for the Five Points, a digital arts
project initiated by David Gunn in New York commissioned by the Lower East Side Tenement
Museum. In 2006 he has exhibitied in New York and recorded live a collaborative session for
BBC's Radio 3 program Mixing It with celebrated british sound arist Max Eastley.
Gama initiated the Pangeia Instrumentos project in the early 90's in which he uses form as a
variable in the composition process. He has since developed The Golian Modes Theory in
which the score has a three dimensional component. The Golian Modes are four musical modes
derived from the ancient Kongo/Angolan graphic writing system known as Bidimbu. The basis
of the Golian Modes are the fundamental cosmogram known as Dikenga, and the concept of
N'kizy, a religious object that is used to establish communication with the ancestor's world.
Gama has introduced in his work technologies such as CAD/CAM, laser stereolithography,
injection molding and pulse cutting in collaborations with the University of Loughbourough,
London Metropolitan University and the Rapid Prototyping Consortium in the UK.
He has initiated and produced the Odantalan project in Luanda, Angola in 2002, an artistic
residency and conference with musicians, art historians and religious leaders from Angola,
Portugal, Colômbia, Cuba and Brazil. The project analyses the processes of resistance that
Africans once used against cultural imposition and devises new strategies and methods of
cultural generation.
He has also initiated the Tsikaya project, the first digital archive of tradional musics in Angola, a
partnership between his organization PangeiArt and the Angolan NGO's ADRA/Bismas from
Angola.
He has participated in Yehudi Menuhin's programme Mus-e and is a member of the Yehudi
Menuhin Foundation. He is the artistic director and founder of PangeiArt -- Assoc. Cult. an
organization that aims at bridging the worlds of culture, art and development.
Several of his works and projects have been sponsored and commissioned by The Prince
Claus Fund, The Gulbenkian Foundation, Instituto Camões, The Portuguese Performing Arts
Council, CNCDP/Portuguese Council of Ministers, Netherlands Institute for Southern Africa,
Visiting Arts /British Council, Arts Council England and EPAL.
The Great Learning (Paragraph 7) by Cornelius Cardew, featuring Bird On A Wire
Cornelius Cardew's The Great Learning was originally composed for the Scratch Orchestra, an ensemble of non-trained musicians who interpreted verbal and graphic scores, and who were active from 1969-1974. Paragraph 7 from The Great Learning is a verbal score composed of 24 lines of text. Each line indicates a new word or phrase, and is repeated a different number of times and at different amplitude levels, as indicated in the score. Members of the choir choose a new pitch for each new line, always matching pitches that are already sounding in the room; they introduce a previously unheard pitch when no new pitch can be found or sung from the existing group of pitches.
The text for The Great Learning is based on translations of Confucius by Ezra Pound. The entire text for Paragraph 7 reads, If the root be in confusion, nothing will be well governed. The solid cannot be swept away as trivial and nor can trash be established as solid. It just does not happen. Mistake not cliff for morass and treacherous bramble.
In our installation version of this work, two different recordings of 'Paragraph 7' were screened simultaneously on opposite walls in a darkened room. Each screen shows 4 simultaneously recorded videos inter-weaved to appear as a single, continuous shot.
Featuring Bird On A Wire: Niesha Allen, Rachel Austin, Pawet Bignell, Matt Green, Ciara Hickey, Gascia Ouzounian, Una Monaghan, Matthew Roger, Sile O'Modrhain, Richard O'Rawe, Tara Plunkett, Caroline Pugh
Installation version by Gascia Ouzounian & Conan McIvor. Directed by Gascia Ouzounian. Filmed by Conan McIvor and Stuart Sloan. Edited by Conan McIvor. Recorded by Chris Corrigan. Sonic Lab, Sonic Arts Research Centre, Belfast, 2010.
Installed as a multi-channel audio and video installation at Ormeau Baths Gallery, 'Arrivals' exhibit, curated by Ciara Hickey. Summer 2010.
Victor Gama - SOL(t)O part2
SOL(t)O is a multimedia solo show by Victor Gama featuring pieces for Acrux, Toha and Dino, from the Pangeia Instrumentos series of contemporary musical instruments, and projected footage from his Tectonik:TOMBUA project in the Namibe desert.
In SOL(t)O, Victor Gama develops a sound palette with his instruments that square the circle between Gamelan music, the work of turn of the century composers such as Eric Satie, and the music of the twentieth century minimalists Steve Reich, Michael Nyman or Arvo Part. Performing the instruments he has created, the Pangeia Instrumentos, name of the critically-acclaimed album launched by Aphex Twin on Rephlex Records, Gama pushes the envelop of folk based structures while mixing sounds from his lap-top and electronic loop stations.
SOL(t)O is a multimedia show that has recently been presented in major international venues such as the Carnegie Hall in New York, the Dinkelspiel Hall in California or the Centro Cultural de Belém in Lisbon, along the celebrated Kronos Quartet.
Lear more about Victor Gama's work here:
victorgama.org
A little more about Victor Gama and Pangeia Instrumentos:
Pangeia Instrumentos are musical instruments built as part of a writting process that Victor Gama has been developed over the last 20 years. Inspired by the traditional musical instruments from Angola, where he was born and still works part of the year, Victor Gama developed new musical instruments as a way of reaching new territories in music and sound.
Victor Gama was born in Angola and currently lives in
Sintra, Portugal, Luanda, Angola and Bogotá, Colômbia. He is a composer, performer, designer of innovative musical instruments as well as an electronics engineer. Several of his music works have been recorded on CD including Pangeia Instrumentos on Aphex Twin's
Rephlex Records.
He has exhibited his instruments and sound installations and performed extensively in Africa, Latin America, USA, Canada and Europe having received a Project Development Award by Visiting Arts/British Council for his exhibition and performance at Ormeau Baths Gallery in Belfast in 2004.
Gama is part of the Berimbau-Ungu project with the legendary Brazilian percussionist Nana Vasconcelos with whom he has recently toured in Southern Africa.
Victor Gama collaborates with William Parker and Guillermo E. Brown on the Folk Songs Trio, having performed as part of a digital arts project initiated by David Gunn in New York commissioned by the Lower East Side Tenement Museum in 2005. The Trio has subsequently toured Portugal and Austria in 2007.
Gama exhibitied for the first time in New York in 2006 at the Gigantic Art Space in a collective exhibition curated by Vernon Reid and Daniel Dawson.
He has recorded live a collaborative session for BBC's Radio 3 program Mixing It with celebrated british sound arist Max Eastley.
Victor Gama Trio
Victor Gama's Trio or Pangeia Instrumentos Ensemble performing at the Africa Festival in summer 2007 in Lisbon, Portugal.
Gama performs this summer with William Parker and Guillermo E. Brown at the Glatt&Verkerhrt Festival, Krems, Austria.
África Festival, Lisboa, 2007
Casa da Música, Porto, 2007
Culturgest, Lisbon, 2007
Fundação de Serralves, Porto, 2007
Atlantic Waves, St. Giles Barbican, London2006
Serralves em Festa 2006
Futursonic Manchester 2006
Atlantic Waves, London
Festival Sons em Trânsito 2005
Tenement Museum, New York, Folk Songs for Five Points project
Tonic, com William Parker e Guillermo Brown, New York
Galapagos, Brooklin, USA
Harbourfront Centre, All Over the Map Festival, Toronto, Canada
Tierry O'Toole Theater, North Kesteven, UK
VICTOR GAMA:
Victor Gama was born in Angola and currently lives in
Sintra, Portugal. He is a composer, performer, designer of
innovative musical instruments as well as an electronics
engineer. Several of his music works have been recorded
on CD including Pangeia Instrumentos on Aphex Twin's
Rephlex Records.
He has exhibited his instruments and sound installations
and performed extensively in Africa, Latin America, USA,
Canada and Europe having received a Project Development Award by Visiting Arts/British
Council for his exhibition and performance at Ormeau Baths Gallery in Belfast in 2004. Gama is
part of the Berimbau-Ungu project with the legendary Brazilian percussionist Nana
Vasconcelos with whom he has recently toured in Southern Africa. He's collaborated recently
with William Parker and Guillermo Brown on the Folk Songs for the Five Points, a digital arts
project initiated by David Gunn in New York commissioned by the Lower East Side Tenement
Museum. In 2006 he has exhibitied in New York and recorded live a collaborative session for
BBC's Radio 3 program Mixing It with celebrated british sound arist Max Eastley.
Gama initiated the Pangeia Instrumentos project in the early 90's in which he uses form as a
variable in the composition process. He has since developed The Golian Modes Theory in
which the score has a three dimensional component. The Golian Modes are four musical modes
derived from the ancient Kongo/Angolan graphic writing system known as Bidimbu. The basis
of the Golian Modes are the fundamental cosmogram known as Dikenga, and the concept of
N'kizy, a religious object that is used to establish communication with the ancestor's world.
Gama has introduced in his work technologies such as CAD/CAM, laser stereolithography,
injection molding and pulse cutting in collaborations with the University of Loughbourough,
London Metropolitan University and the Rapid Prototyping Consortium in the UK.
He has initiated and produced the Odantalan project in Luanda, Angola in 2002, an artistic
residency and conference with musicians, art historians and religious leaders from Angola,
Portugal, Colômbia, Cuba and Brazil. The project analyses the processes of resistance that
Africans once used against cultural imposition and devises new strategies and methods of
cultural generation.
He has also initiated the Tsikaya project, the first digital archive of tradional musics in Angola, a
partnership between his organization PangeiArt and the Angolan NGO's ADRA/Bismas from
Angola.
He has participated in Yehudi Menuhin's programme Mus-e and is a member of the Yehudi
Menuhin Foundation. He is the artistic director and founder of PangeiArt -- Assoc. Cult. an
organization that aims at bridging the worlds of culture, art and development.
Several of his works and projects have been sponsored and commissioned by The Prince
Claus Fund, The Gulbenkian Foundation, Instituto Camões, The Portuguese Performing Arts
Council, CNCDP/Portuguese Council of Ministers, Netherlands Institute for Southern Africa,
Visiting Arts /British Council, Arts Council England and EPAL.
Victor Gama on acrux
Victor Gama at the Africa Festival in July 2007, Lisbon, playing one of his Pangeia Instrumentos, the Acrux.
Gama presented his latest show, fwd:utopia, with fellow musicians Tiago Cerqueira and musician/dancer Antonio Tavares.
For this show Gama projected images of houses in ruins in the desert of Namibe in the south of Angola where he has been doing several other projects.
Next Gama dates are 29th July, Glat&Verkerhrt festival in Austria and coming up dates in Portugal and elsewhere.
VICTOR GAMA:
Victor Gama was born in Angola and currently lives in
Sintra, Portugal. He is a composer, performer, designer of
innovative musical instruments as well as an electronics
engineer. Several of his music works have been recorded
on CD including Pangeia Instrumentos on Aphex Twin's
Rephlex Records.
He has exhibited his instruments and sound installations
and performed extensively in Africa, Latin America, USA,
Canada and Europe having received a Project Development Award by Visiting Arts/British
Council for his exhibition and performance at Ormeau Baths Gallery in Belfast in 2004. Gama is
part of the Berimbau-Ungu project with the legendary Brazilian percussionist Nana
Vasconcelos with whom he has recently toured in Southern Africa. He's collaborated recently
with William Parker and Guillermo Brown on the Folk Songs for the Five Points, a digital arts
project initiated by David Gunn in New York commissioned by the Lower East Side Tenement
Museum. In 2006 he has exhibitied in New York and recorded live a collaborative session for
BBC's Radio 3 program Mixing It with celebrated british sound arist Max Eastley.
Gama initiated the Pangeia Instrumentos project in the early 90's in which he uses form as a
variable in the composition process. He has since developed The Golian Modes Theory in
which the score has a three dimensional component. The Golian Modes are four musical modes
derived from the ancient Kongo/Angolan graphic writing system known as Bidimbu. The basis
of the Golian Modes are the fundamental cosmogram known as Dikenga, and the concept of
N'kizy, a religious object that is used to establish communication with the ancestor's world.
Gama has introduced in his work technologies such as CAD/CAM, laser stereolithography,
injection molding and pulse cutting in collaborations with the University of Loughbourough,
London Metropolitan University and the Rapid Prototyping Consortium in the UK.
He has initiated and produced the Odantalan project in Luanda, Angola in 2002, an artistic
residency and conference with musicians, art historians and religious leaders from Angola,
Portugal, Colômbia, Cuba and Brazil. The project analyses the processes of resistance that
Africans once used against cultural imposition and devises new strategies and methods of
cultural generation.
He has also initiated the Tsikaya project, the first digital archive of tradional musics in Angola, a
partnership between his organization PangeiArt and the Angolan NGO's ADRA/Bismas from
Angola.
He has participated in Yehudi Menuhin's programme Mus-e and is a member of the Yehudi
Menuhin Foundation. He is the artistic director and founder of PangeiArt -- Assoc. Cult. an
organization that aims at bridging the worlds of culture, art and development.
Several of his works and projects have been sponsored and commissioned by The Prince
Claus Fund, The Gulbenkian Foundation, Instituto Camões, The Portuguese Performing Arts
Council, CNCDP/Portuguese Council of Ministers, Netherlands Institute for Southern Africa,
Visiting Arts /British Council, Arts Council England and EPAL.
Victor Gama - SOL(t)O performance part4
SOL(t)O is a multimedia show by Victor Gama featuring pieces for Acrux, Toha and Dino, from the Pangeia Instrumentos series of contemporary musical instruments, and projected footage from his Tectonik:TOMBUA project in the Namibe desert and musicians Salomé Pais Matos and percussionist António Tavares.
In SOL(t)O, Victor Gama develops a sound palette with his instruments that square the circle between Gamelan music, the work of turn of the century composers such as Eric Satie, and the music of the twentieth century minimalists Steve Reich, Michael Nyman or Arvo Part. Performing the instruments he has created, the Pangeia Instrumentos, name of the critically-acclaimed album launched by Aphex Twin on Rephlex Records, Gama pushes the envelop of folk based structures while mixing sounds from his lap-top and electronic loop stations.
SOL(t)O is a multimedia show that has recently been presented in major international venues such as the Carnegie Hall in New York, the Dinkelspiel Hall in California or the Centro Cultural de Belém in Lisbon, along the celebrated Kronos Quartet.
Lear more about Victor Gama's work here:
victorgama.org
A little more about Victor Gama and Pangeia Instrumentos:
Pangeia Instrumentos are musical instruments built as part of a writting process that Victor Gama has been developed over the last 20 years. Inspired by the traditional musical instruments from Angola, where he was born and still works part of the year, Victor Gama developed new musical instruments as a way of reaching new territories in music and sound.
Victor Gama was born in Angola and currently lives in
Sintra, Portugal, Luanda, Angola and Bogotá, Colômbia. He is a composer, performer, designer of innovative musical instruments as well as an electronics engineer. Several of his music works have been recorded on CD including Pangeia Instrumentos on Aphex Twin's
Rephlex Records.
He has exhibited his instruments and sound installations and performed extensively in Africa, Latin America, USA, Canada and Europe having received a Project Development Award by Visiting Arts/British Council for his exhibition and performance at Ormeau Baths Gallery in Belfast in 2004.
Gama is part of the Berimbau-Ungu project with the legendary Brazilian percussionist Nana Vasconcelos with whom he has recently toured in Southern Africa.
Victor Gama collaborates with William Parker and Guillermo E. Brown on the Folk Songs Trio, having performed as part of a digital arts project initiated by David Gunn in New York commissioned by the Lower East Side Tenement Museum in 2005. The Trio has subsequently toured Portugal and Austria in 2007.
Gama exhibitied for the first time in New York in 2006 at the Gigantic Art Space in a collective exhibition curated by Vernon Reid and Daniel Dawson.
He has recorded live a collaborative session for BBC's Radio 3 program Mixing It with celebrated british sound arist Max Eastley.
Victor Gama - SOL(t)O part1
SOL(t)O is a multimedia solo show by Victor Gama featuring pieces for Acrux, Toha and Dino, from the Pangeia Instrumentos series of contemporary musical instruments, and projected footage from his Tectonik:TOMBUA project in the Namibe desert.
In SOL(t)O, Victor Gama develops a sound palette with his instruments that square the circle between Gamelan music, the work of turn of the century composers such as Eric Satie, and the music of the twentieth century minimalists Steve Reich, Michael Nyman or Arvo Part. Performing the instruments he has created, the Pangeia Instrumentos, name of the critically-acclaimed album launched by Aphex Twin on Rephlex Records, Gama pushes the envelop of folk based structures while mixing sounds from his lap-top and electronic loop stations.
SOL(t)O is a multimedia show that has recently been presented in major international venues such as the Carnegie Hall in New York, the Dinkelspiel Hall in California or the Centro Cultural de Belém in Lisbon, along the celebrated Kronos Quartet.
Lear more about Victor Gama's work here:
victorgama.org
A little more about Victor Gama and Pangeia Instrumentos:
Pangeia Instrumentos are musical instruments built as part of a writting process that Victor Gama has been developed over the last 20 years. Inspired by the traditional musical instruments from Angola, where he was born and still works part of the year, Victor Gama developed new musical instruments as a way of reaching new territories in music and sound.
Victor Gama was born in Angola and currently lives in
Sintra, Portugal, Luanda, Angola and Bogotá, Colômbia. He is a composer, performer, designer of innovative musical instruments as well as an electronics engineer. Several of his music works have been recorded on CD including Pangeia Instrumentos on Aphex Twin's
Rephlex Records.
He has exhibited his instruments and sound installations and performed extensively in Africa, Latin America, USA, Canada and Europe having received a Project Development Award by Visiting Arts/British Council for his exhibition and performance at Ormeau Baths Gallery in Belfast in 2004.
Gama is part of the Berimbau-Ungu project with the legendary Brazilian percussionist Nana Vasconcelos with whom he has recently toured in Southern Africa.
Victor Gama collaborates with William Parker and Guillermo E. Brown on the Folk Songs Trio, having performed as part of a digital arts project initiated by David Gunn in New York commissioned by the Lower East Side Tenement Museum in 2005. The Trio has subsequently toured Portugal and Austria in 2007.
Gama exhibitied for the first time in New York in 2006 at the Gigantic Art Space in a collective exhibition curated by Vernon Reid and Daniel Dawson.
He has recorded live a collaborative session for BBC's Radio 3 program Mixing It with celebrated british sound arist Max Eastley.