”Anabiosis Passage” is a concert in which media technologies creates pioneering music based on Indonesian music cultures including the traditional, pop, and modern music. This unique work stems from “To Belong”, the modern dance work by choreographer, Akiko Kitamura, in which Yasuhiro Morinaga takes part as a music director.<\/p>\n
“Anabiosis Passage” features sounds which Morinaga fieldrecorded in Indonesia, and musicians he met then. This work interprets the Indonesian culture in a modern context by dealing with gamelan, Kroncong, and Hip Hop music and local environmental sounds of Indonesia. This work also deals with\u00a0the Indonesian musical instruments including the style of rendition and narrative literature as motifs, and creates a modern ritual space based on media technologies.<\/p>\n
Morinaga from Japan takes the roles of music director and electronic manipulator. Musicians of a string quartet and a pianist are also invited to this work from Japan.\u00a0“Anabiosis Passage” is definitely a work in which tradition and modernity interact with one another between Indonesia and Japan.<\/p>\n
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”Anabiosis Passage” is a concert in which media technologies creates pioneering music based on Indonesian music cultures including the traditional, pop, and modern music. This unique work stems from “To Belong”, the modern dance work by choreographer, Akiko Kitamura, in which Yasuhiro Morinaga takes part as a music director. “Anabiosis Passage” features sounds which Morinaga fieldrecorded in Indonesia, and musicians he met then. This work interprets the Indonesian culture in a modern context by dealing with gamelan, Kroncong, and Hip Hop music and local environmental sounds of Indonesia. This work also deals with\u00a0the Indonesian musical instruments including the style of rendition and narrative literature as motifs, and creates a modern […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[12],"tags":[3],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/340"}],"collection":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/comments?post=340"}],"version-history":[{"count":26,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/340\/revisions"}],"predecessor-version":[{"id":1758,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/posts\/340\/revisions\/1758"}],"wp:attachment":[{"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/media?parent=340"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/categories?post=340"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.the-concrete.org\/en\/wp-json\/wp\/v2\/tags?post=340"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}