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on dry land
Búzios
MENU
Menu
- Olívia -
OLIVIA
TIME AND THE SOUND EXPLORATION OF NATURE
Artistic and Technical Sheet
Performers/Creators
Antony Fernandes - Bagpipes (Swedish)
Carmina Repas Gonçalves - Viola da Gamba and Vocals
Joana Lopes - Choreography
Tiago Manuel Soares - Percussion
(bille, çaranda or sieve and scallops)
Video and sound capture and editing
Abel Andrade
Artistic direction and elaboration of pedagogical contents
Carmina Repas Gonçalves
Production
Thistle Project
Music collected in Apúlia, Esposende, by Armando Leça
Filmed at Praia da Granja, Vila Nova de Gaia
Specific objectives
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Exploration of the notion of pulsation
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Sound exploration of space and nature
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Sensitization for silence, for the beauty and subtlety of soft sounds
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Exploration of sounds of textures
Suggestions for exploring the contents of the video at home or in the classroom:
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Look for, in nature (in the school garden, in a garden close to home, on the beach, etc.), elements that produce sound. They can, if possible, transport these elements to the house or into the room, if not, it can be interesting to carry out this sound exploration in the street.
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Select the most interesting sounds. It can be 1 per child, you can make small groups that explore the same elements. Explore all the timbre possibilities of each element. Talk about the relationship between the sounds and the textures or physical characteristics of the element they have in their hands (sandy, rough, liquid, hollow, etc). Create different soundscapes using the same elements (a forest at night, a forest with a stream, a beach, etc.); it helps a lot if you build a small mental path through the place you decide to explore (ex: we arrived at a forest and it was windy; then we heard a bee that landed on a flower; suddenly, in the background we started to hear water running and we decided to approach ; when we got there we went to wash our hands; on the right side we started to hear a woodpecker in the tree, etc...)
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Explore the idea of pulsation, subdivision and accentuation of time. Ex: Maintain a collective pulse; then each group or each child, in turn, can explore first the subdivision of time, then an accentuation of 2 in 2 or 3 in 3 beats. (binary: 1,2; 1 and 2 and;1, two; ternary: 1,2,3; 1 and 2 and 3 and;1, 2, 3; ) Listen example:
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Learn the song. First with small sentences, then larger sentences. Repeat until memorized. Inventing gestures when assimilating the melody helps memorize a lot. When the melody is memorized, start adding rhythms and textures with the materials collected.
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Play games with oranges (or any other object, as long as it has a good weight and a good size for the children's hands and muscles) singing the song at the same time._cc781905-5cde-3194 -bb3b-136bad5cf58d_Esta canção é um pouco irregular ritmicamente, o que torna este jogo um desafio. No entanto, se o texto_cc781905-5cde- 3194-bb3b-136bad5cf58d_ are well memorized, the game becomes quite intuitive and enjoyable. It helps a lot just saying the words with the rhythm (almost like a soft rap) loading in the syllables that appear in the first beat of each measure :II went to seaThereoranges is /fruitwhat's up/seano/has.
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Learn and dance the choreography. If the children find it difficult to sing and dance at the same time, the group can be divided into two: one group sings, the other dances, then switches. Suggestion: you can change the name of the character in the song so that each child has their name in the story. Ex: Ò Maria, ò Maria, you got all wet; Joãozinho, Joãozinho, you got all wet.
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Finally, divide the group into two: one sings and dances (or sings and plays with the oranges) and the other plays with the elements they have collected. They can simply improvise rhythms over the melody or, if they prefer, they can combine what they do in each stanza and each time they repeat the song. Both hypotheses are interesting and actually, very different capacities work. If they manage to combine what to do, structuring the song with the chosen rhythms, with the playing of oranges or with the dance and build a sound environment likeintroduction, can be an interesting work to present at a school party, to film at home e keep it as a souvenir, to present to the family or simply to enjoy a weekend afternoon._cc781905-5cde -3194-bb3b-136bad5cf58d_
THE SONG
Source
Instrumental
stanza 1
stanza 2
stanza 3
This song was collected in Apúlia, Esposende, by Armando Leça
The instrumental is the same as stanza 1 but without text
A - I went to sea
Oranges are fruit that the sea does not have
B - I come all wet
Of the waves that come and go (bis)
A - Of the waves that come and go
I come in awe
B - Oh Olivia, oh Olivia
You got all wet (bis)
A - You got all wet
all full of flowers
B - Oh Olivia, oh Olivia
To talk to your loves (bis)
THE GAME
The Game of
oranges
Instrumental
stanza 1
stanza 2
stanza 3
This game serves to work on the notion of pulsation and the accentuation of time. The orange passes from hand to hand on all beats, but the first beat of each measure must be clear. Depending on the game, this accentuation is done differently. In the video, each hypothesis appears in a different stanza, but the ideal is to play the same game throughout the song or even repeat the song several times until the body learns what to do.
In the instrumental, any of the games can be played. In terms of tense stress, it is equal to stanza 1.
Individual game: the orange passes from one hand to the other on all beats and accentuation is done by holding the orange lower on the most important beat (as if the orange were heavier) and higher on the lighter beats of the compass; the word fruit appears in a compound measure that must be represented in the game with a wider and more circular movement of the arm.
(1,2,3,1.2, 123🇧🇷1.2, 1,2,3, 1,2,3, 1,2,3,1.2, 1,2,3, 1,2,3, 1,2,3,1.2, 1,2,3)
Individual game in a circle: the game that appears in the second stanza of the video is the same as the first but played in a circle with all the children. It is a challenge to the capacity for concentration and abstraction.
(1,2,3, 1,2,3,1.2, 1,2,3, 1,2,3, 1,2,3,1.2, 1,2,3, 1,2,3, 1,2,3,1.2, 1,2,3)
Group game: to be played in groups of 3. One of the children is responsible for holding the first beat of each measure. Then the orange passes from child to child keeping the pulse. In triple time signatures, it circulates clockwise; in binary time signatures, this difference is marked by passing the orange in the opposite direction, immediately returning to the clockwise direction. Each child must try to stay in the various positions of the game (1st, 2nd or 3rd time)
(1,2,3, 1,2,3,1.2, 1,2,3, 1,2,3, 1,2,3,1.2, 1,2,3, 1,2,3, 1,2,3,1.2, 1,2,3)
THE DANCE
Dance
Instrumental
stanza 1
stanza 2
stanza 3
Choreography in a simple circle, hand in hand. It can be done with a group of any size. Movement counterclockwise. Each stanza always has two parts, according to the structure of the song itself. At this point when children are warned to avoid touching, one can dance simply without holding hands.
In the instrumental you can dance like in stanza 1 or take the opportunity to improvise with movements inspired by nature.
A - Counterclockwise from side to center: walk 5 steps starting with the right leg; 1 hop with the left leg (in the word fruit), followed by 5 more steps.
B - Facing center: step to the left, joint, step to the right, joint. Go to the center diving with the trunk and go back up the trunk; step right, joint, step left, joint. Go to the center diving with the trunk and go back up the trunk.
A - Improvise imitating the movement of the waves while changing places.
B - Facing center: step to the left, joint, step to the right, joint. Go to the center and back away. Step right, joint, step left, joint. Go to the center and move away again;
A - Walk to the right starting with the right leg.
B - Facing center: step to the left, joint, step to the right, joint. Each one turns around with both hands next to the mouth (as if calling someone); step right, joint, step left, joint. Go to the center and back away.
Production:
Institutional partner:
