Here’s a treat for you. Above, watch TED Senior Fellow Susie Ibarra work a drum solo like you’ve never heard. Last night, Ibarra played two richly melodic, complex, and passionate pieces (of which this is a snippet) as part of the all-Fellows late-night lineup at TEDGlobal 2014, including appearances by Usman Riaz and Bill “Blinky Bill” Sellanga. Curious about the composer and percussionist’s striking style, we asked her to tell us more about this work, and about her creative process.
Tell us about the drum solo pieces you played last night. They seemed like complete compositions in their own right, unusual for solo drum.
The short pieces I played last night are from a new solo program, Rhythm Cycles, thatI’m currently composing and performing. I hear and see them as small cells of structured rhythmic and melodic compositions for drum set. For live performance, I also memorize and break open to improvise in sections. Constructing rhythms for these pieces, I’m practicing polyrhythms that ask my body to feel and deliver layers of narrative simultaneously. Time, melody, texture, harmony and space inform these cycles of rhythm. More specifically, I’m drawing from historical and cultural references in drum culture, choosing certain melodies and rhythms derived from various world traditions. It’s not necessary for the listener to know the details of these traditions, but I’ve placed their intentions in each cycle, each narrative piece, so that the listener can experience the rhythms cycling through the compositions.
Your work sounds both improvised and composed, but it’s very hard to tell with percussion!
Yes, I’m both a composer and improviser. But what determines how I work depends on who the musicians are, what instruments they play, what purpose, musical environment or ensemble I’m creating music for. My background is in both oral music traditions of jazz and Philippine Indigenous percussion as well as Western classical music. This influences my performative and notation practices, too. In composition, there’s time to return to refine the development of the piece until it is decidedly final. Even this can happen in stages of formation. In improvisation, I have time to improve my performance vocabulary in practice on my instruments — but my musical performance on stage is ever-changing, influenced by my experience and the environment of that specific moment.
To read more about Ibarra and her work, visit the TED Blog >>>
Session 2 of Fellows talks at TED2014 was just as unexpected as Session 1. Here, read a recap of each talk in the session.
Uldus Bakhtiozina. Photo: Ryan Lash
Somi, singer + cultural activist East African songstress Somi brings her smoky voice to the TED Fellows stage, with “Brown, RoundThings for Sale” from her album The Lagos Music Salon. Often called a modern-day Miriam Makeba, Somi recently signed a recording contract with Sony’s relaunch of historic jazz imprint Okeh Records.
Steve Boyes, conservation biologist “Wilderness cannot be restored or recreated, only destroyed,” says Steve Boyes. “We are about to lose our last glimpses into pre-history.” Every year, Boyes crosses Botswana’s vast Okovango Delta in an18-foot dugout canoe in a quest to preserve Africa’s last wetland wilderness. He undertakes this 220-mile research expedition to conduct a comprehensive biodiversity survey, benchmarking the wilderness against which to note future changes. Boyes and his colleagues are privileged visitors here: the only inhabitants of the Delta are the indigenous baYei people, who have accepted the researchers part of their tribe. The explorers enter baYei territory barefoot, unarmed, with minimal food — but with hundreds of pounds of high-tech equipment: the batteries, computers and solar panels required for research and to offer real-time data online with the public — “sharing the experience with people around the world to convince them to protect a place they’ll never visit.”
David Sengeh, biomechatronics engineer Born and raised in Sierra Leone, David Sengeh witnessed the devastation of a war in which entire villages were destroyed and an estimated 8,000 men, women and children lost their limbs to amputation. As the country recovered, Sengeh was troubled to see that many amputees were not using their prosthetics, because ill-fitting sockets made prosthetics too painful to wear. Even in the developed world, it can take weeks or even years to procure a custom-made, single-material socket made the traditional way, with molding and casting. At MIT, Sengeh began developing a comfortable socket that can be produced quickly and cheaply, using magnetic resource imaging to get precise scans of limbs and finite element analysis to analyze stress and pressure points. With this data, his custom sockets can be produced anywhere using multiple 3D-printed materials that relieve pressure where needed on the patient’s anatomy. The new sockets are a revolution in prosthetic design, and is set to transform the lives of amputees the world over.
Eric Berlow, ecological networks scientist Scientist Eric Berlow joined the TED Fellows specifically hoping to work with people outside of his own area of expertise. He was not disappointed: he worked with artist David Gurman on a project called We the Data about democratizing personal data, during which they reached out to experts on privacy and personal safety, including human rights activist Esra’a al Shafei and censorship activist Walid al Saqaf. Curious about other Fellows’ experiences with collaboration, Berlow recently polled the other Fellows about their collaborations, and mapped the answers. The resulting network map is startlingly dense and complex, especially given that the Fellows program is only five years old. Interestingly, 84% of the people involved had collaborated across disciplines, and many had not even met in person. Among tech, science and art projects, one collaboration stood out: in 2011, during the Libyan revolution, comics publisher Suleiman Bakhit worked with strategist Adrian Hong to evacuate tens of thousands of injured civilians to Jordan. The cloud-based interactive tool used to map these collaborations is itself a brand-new Fellows collaboration between Berlow, Gurman and Gaustav Biswas, available browse at MAPPR.io.
Still hurting for gift ideas? Never fear. The inventive and iconoclastic TED Fellows are coming to the rescue with the recent fruit of their labors. These inspired and unusual items — from Chinese-inflected banjo music to a remote-controlled underwater vehicle — are sure to delight your loved ones. Just be gentle stuffing that all-terrain vehicle into the stocking, or Grandpa George into the mushroom burial suit.
The gift: The littleBits Synth Kit Perfect for: Aspiring musicians and actual musicians
The latest ingenious offering from Ayah Bdeir’s littleBits electronic building block company lets you snap together a modular synthesizer from 12 pieces. The product of a three-way partnership among littleBits, comedian-musician-anthropologist Reggie Watts (watch his TED Talk) and famed synth maker KORG, the littleBits SynthKit can be mixed and matched with any other littleBits kits to create all manner of musical artworks and toys with sound. Get it: Order it through the littleBits website ($159)
The gift: The Muslims Are Coming!
Perfect for: The social-justice-minded comedy fiend
Comedian and filmmaker Negin Farsad‘s hilarious documentary follows a group of Muslim-American comedians as they tour Middle America on a mission to combat Islamophobia and convert it to Muslim love. Featuring Farsad, and co-produced by TED Fellow Andrew Mendelson, TMAC also features public interventions like the “Ask a Muslim” booth and the game show “Name That Religion” — not to mention special appearances by comedy heavyweights Jon Stewart, David Cross, Janeane Garofalo and Rachel Maddow. Get it: Order theDVD ($15), or purchase it via iTunes or Amazon ($9.99)
The gift: OpenROV Kit Perfect for: Explorers, your resident Jacques Cousteau David Lang and his friend Eric Stackpole wanted to explore an underwater limestone cave in California, but they didn’t have the remote-controlled robot that would make it possible. So they decided to build one — opening up the process for instructions and advice from the public. In the process, they not only invented the OpenROV, the world’s first affordable, open-source, remote-controlled underwater robot, but formed a thriving global community of underwater explorers. Get it: Buy the latest iteration of OpenROV ($849)
The gift: City of Refuge Perfect for: Fans of pop, folk and bluegrass, and folks with eclectic ears
Singing, songwriting, Illinois-born, Nashville-based, Chinese-speaking clawhammer banjo player Abigail Washburn weaves together disparate musical traditions and genres from the past and present to create an exuberant and soulful sound. Features My Morning Jacket’s Carl Bromel, the Decemberists’ Chris Funk, Turtle Island String Quartet’s Jeremy Kittell, atmospheric jazz guitarist Bill Frisell and Mongolian string band Hanggai. Get it: Available via Amazon ($14)
Percussionist and composer Susie Ibarra is creating virtual sanctuaries for real cities. Working in collaboration with local artists, historians, architects, city planners and musicians, Ibarra and her partner Roberto Rodriguez — who together form Electric Kulintang — have created a musical pilgrimage that takes the public on a sound walk through 12 sites in Lower Manhattan, each featuring an original composition. But more than that, the locations offer respite — they are an invitation to contemplate the special qualities of the built environment.
It’s a music mobile app sound walk — an interactive dialogue, with music and technology as the medium. It’s about bringing sanctuaries of sounds to these historical sites, and partly about bringing the sounds of the natural world back into the built environment. Roberto and I had been talking about the possibility of doing a mobile app sound walk with Andrew Horwitz, an arts promoter, writer for Culturebot and the former programs director of the Lower Manhattan Cultural Council. We were asking if we could do a technology piece based around walking within communities in Lower Manhattan.
As the idea took shape, we started looking at sites: the African Burial Ground, the American Indian Museum, Titanic Memorial Park, the New York Stock Exchange, Castle Clinton, Peter Minuit Plaza (where Manhattan was first purchased), Teardrop Park and Battery Park Labyrinth — memorials that were built after 9/11 — and Pier 15. We asked ourselves, “What are the cultural stories of each of these places? What is the energy? And what can we offer both city dwellers and tourists?”
Other cities are interested as well. Pittsburgh is commissioning it. Troy, New York, is interested. We have been talking to Sydney, and we are thinking about taking it to Mumbai and Delhi. I’ve also just talked to a visual artist in Taipei. It’s fascinating, because there’s so much history in each city, combined with contemporary forces.
I’m thinking about bringing Digital Sanctuaries to the Visayas, in the Philippines, which recently suffered a big earthquake. My brother and sister-in-law were in Bohol the day it happened. Luckily, they are okay. Electric Kulintang has worked with the beautiful Loboc Children’s Choir in Bohol. Fortunately, the earthquake happened on a holiday when many places were closed, but the choir lost its church — a UNESCO World Heritage Site — and its community and rehearsal spaces. I’m thinking about what kind of sanctuaries would be needed there. How might we help them rebuild?
What makes Digital Sanctuaries interactive?
Digital Sanctuaries offers the audience a virtual experience at each site. The music streams from each location base, and when someone enters the space, they can listen to the music and read about the site’s history. There is also a four-channel mixer page where they can make their own remix, share, and post responses.
Those who cannot visit the Digital Sanctuaries sites in person can visit the website. We’ll have short samples of the compositions on SoundCloud for each place, and information about the work and collaboration. It will also link to Electric Kulintang’s album Song of the Bird King.
Tell us about your concept of sanctuary.
It’s a very intense place, Lower Manhattan. Have you walked down there? The Financial District can really be very intense. We wanted to provide the people who live and/or work in this environment with a place of respite. We considered who might engage with such a sanctuary. It might be people who live there or work there, or just people who are visiting.
The poster for Digital Sanctuaries.
So do you think the idea of sanctuary will change from city to city?
Yes. Each city will be different historically and culturally. I think that even between Mumbai and Delhi, the sounds we create will be radically different.
What was the process of putting Digital Sanctuaries together?
In the development stage, we work with the collaborating partners — those who are hosting the piece or commissioning it — to listen to what the voice of the city is, and then we do research on which sites resonate best with that. And then, what are the stories of these sites? All this informs the composition. We’re finding that creating these digital sanctuaries of music involves a remapping of cities constructed by histories, and numerous dialogues with the people who live in each place. History and present culture both weigh into the creation of the pieces, and along with stories of indigenous people and immigrants, there’s the natural history of each site.
Roberto and I composed compositions for 12 sites. He composed some, I composed some, and then as a duo, Electric Kulintang, we co-compose. Roberto does some pre-programming with electronics. We invite guest artists for each composition to perform and record in the studio. He and I also perform and record various electronic and acoustic percussion.
All of the artists for Digital Sanctuaries, New York City, are from or live in the area. For example, African Burial Ground features Pulitzer Prize-winning poet Yusef Komunyakaa reciting a poem he wrote for the site, Guinean master artist Famoro Diaobate performing on balafon and vocals, and the Young People’s Chorus of NYC singing.
Our collaborating visual artists are also New York City residents. Long-time collaborator Makoto Fujimura is a former resident of Lower Manhattan and is a visionary in supporting and preserving cultural practices. Our interaction designer Shankari Murali, originally from Mumbai, has a well-developed understanding of how to integrate music, art and design for a city. Together, we developed the mobile app. These will be re-adapted for each city.
Do you think that over time, the compositions themselves will change and evolve?
Yes, I like to think so. Cities’ geographic location, natural history, current residents and those who preceded us have all combined to create cultures unique to each place. Music is one of these amazing gifts that ebbs and flows and rises out of these pockets. Culture has defined music, and music has defined culture. And one of the things that interested me in creating Digital Sanctuaries was the potential and possibilities for collaboration. I like the idea of digital public art, a web that can grow and move — something people can build and add onto.
If you happen to be in New York, join one of the inaugural hosted walks happening every day until Sunday, November 10. Meet at noon and 2pm for the Red Walk, at the African Burial Ground, 290 Broadway, New York, 10007. Meet at noon and 2pm for the Green Walk, at South Cove Park, 50 Battery Place, (Between 1st and 3rd Pl), New York, 10280. Meet at noon and 2pm for the Blue Walk, at the India House, 1 Hanover Square, New York, 10004.