Lullaby
By Joshua Ben Longo
“Lullaby” invites the viewer to leave the outside world at the door and embrace the undulating tide of sound and movement inside this sacred space. Once you enter will encounter a series of metal rocking structures activated by several performers. Their motions, easy and repeated combined with the rhythmic swaying of the sculpture suggest a ritual long practiced invoking a sense of revery in both the performer and viewer. Though no aspect of any specific religion is presented within the performance, the church space was chosen to amplify not only the sound produced by the sculptures, but the potential spiritual signifigance of repetition with regard to ritual. This performance specifically reflects on human and non-human relationships encouraging a shift in perception from the individual as the center of which consciousness derives to one where life is born from interaction. It is through the sensory exchange in which the sum of the actors and their actions create a new consciousness inviting viewers to watch, listen, reflect without judgement.
This performance took place for one night on Friday May 17, 2019 at the Trinity Center for Urban Life in Philadelphia, Pennsylvania. There was twelve performers and two conductors in matching white outfits activating twenty metal rocking structures. The structure held a simple tube with small balls that made a subtle whooshing sound upon activation. The speed of the rocking and subsequent sound was similiar to the speed of you average lullaby. The sound of one structure activated was subtle and soothing, but as more rockers were activated, the expression amounted to a wall of sound and texture transforming the church into a giant resonating instrument. The repetition lulled the viewers into a meditative state which made the silence which eventually came more profound. Whether the piece was enjoyed or understood, it allowed people to stop, reflect and experience the present inside a space without judgemnt creating a secular moment. The performance was forty five minutes and consisted of four movements. The intention of the movements were to create visual and auditory variance in speed all while building up to a crescendo of sound and movement not unlike a thunderstorm in the middle of an ocean.
This performance was made possible because of the talents of many people. This would not have happened with the creative and spiritual guidance of Jill Carbonneau and George Ferrandi. Gardner Murray expertly fabricated all of the metal structures. Ignacio De Socarraz Novoa’s hands and eyes help make the initial protypes, cads, and animations. Hannah Cole Sostak and Evan Mosko were instrumental in helping direct and manage the performance. And of course all of the performers and helping hands at the show.
