By Kerstin Ergenzinger & Florencia Curci

Preparing the walk through the Lapataia valley with maps and through the cartographic gaze from afar we strongly felt our foreignness and the valley’s negative space. Its resonance space was an external void. Its prevailing elements seemed to be water and wind.

We imagined bodies and voices in the winds. We imagined to join with our breath sounding tones without semantics.

Pairs of beating instruments + notebook + long connectors. Gut Glowitz. 10.09.2023

We took a fragmentary wind instrument – a mouthpiece for PET bottles printed in Berlin, and PET bottles from the flight to the southern hemisphere – the ubiquitous resonance chambers of our times.

As planned, we would start separated in two groups from different entry points into the valley. The aim was to meet at the Lapataia River and continue together to Bahia Blanca.

The two of us started in different groups, how would our first different encounters with the places be, when and how would we actually manage to meet?

Firsts test in Lapataia Valley. March 2023

The valley is part of the so-called “intercultural contact zone” (Selk’nam, Kawesqar and Yagán) located in Yendegaia National Park (YNP).
What is a contact zone? A zone where prior separated entities have a possibility to meet.
The valley is a walkable cut in the ice covered mountain ranges.
A passage between different communities in the past.
A meeting, a hike along the old suggested passage to activate its cultural presence.
A collective practice of an interdisciplinary and intercultural contemporary group upwards the Lapataia river.

Instrument N.1 + long connector. Pfarrkirche Altenkirche. 15.09.2023
Pfarrkirche Altenkirchen 3 duos Nr. 1/2 Nr. 5/6 Nr. 8/13 + connection long tube

Towards Rügen, more mouthpieces and instruments were built and bottle pairs selected.
In Rügen we continued and deepened the research and exercises to finally include others and practice together.
What would one essence or principle of contact be?
Batimientos – Schwebungen – Sounding tones without semantics.
When two close-by frequencies physically meet, they start to beat and a prior non existing
third entity emerges.

Rügen: Batimientos Schwebungen sites of exploration

Breath and Beat

Always play in a duo

Breath in a continuum with your partner, taking turns

Find the beating

Sustain the beating as long as possible

Stop when the continuum is broken

Session of duo beating pairs inside small garage. Gut Glowitz. 12.9.2023
Gut Glowitz duo Nr. 5/6 study of batimientos – Schwebungen 0913 + tuning hole 12.9.2023

Signals (for overblowing)

Play an overblow. Wait after each signal as long as its resonance fills the landscape. When you can’t hear the signal anymore, play a new one.

Variation: play as a duo when you don’t see each other.

Session duo signals overblowing. Close to Gut Glowitz. 12.9.2023
Close to Gut Glowitz. Selection from session trio signals overblowing in the night with Nr. 1/2/8/13/4. 14.9.2023

Connected air flow

Play in duos. Connect both instruments with a pipe. Breath in turns. Listen to the variations that emerge from the circulating air flow. Observe how the labium and window of your mouthpiece turn into the tone hole of your partner’s instrument.

Playing duos + connections. Ralswiek black mountains 12.9.2023
Ralswiek black mountains. 2 duos Nr. 1/2 + 5/6 + connection long tube. 12.9.2023
Playing 3 duos Nr.1/2, 3/4 + 8/13. Kap Arkona 15.9.2023