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This piece by Liene Bosquê is a tribute to the great temple in the big architectural cluster of Mỹ Sơn destroyed in Vietnam. It is a contemplation on all that is taken by the fire of war, but more than that, a contemplation on the balancing of the feminine and masculine forces which is a constant in humanities' formula.  In collaboration with music artist Alexandra Filipe, the sculpture is activated through sacred chanting. The melody used in this performance piece was originally composed by Filipe using the mathematical Fibonacci sequence and it was later arranged with the sacred chant "RaMa, RaMaDaSa" which brings that duality into a middle pillar, projecting equilibrium and healing into the world.  The artists plays with the elements of duality like the feminine and the masculine, sun and moon, linga and yoni, ida and pingala, through both the visual and the audio structures. Originally the word "To sing" (cantare) meant "to produce by magic". This mantra intends to generate an organizing effect at the molecular level of those who chant and listen to it.  The silent sculpture becomes alive and transported from an inward prayer to the outward years of the streets.


This is a project that Alexandra concieved in 2004 along with three other musicians, Sara Goncalves (soprano), Flor da Mata (Flutist) and Joao Santos (Guitarist). She wrote all the original songs, including the wale song which its melody is based on a real wale chant. The concert has been showing for the past 12 years at the Oceanario de Lisboa in Portugal, in front of one of the main aquarium windows. It was designed having in mind the ocean theme and it is based in Edwin Gordon's Music Learning Theory. Rhythms, melodies and movement are explored in a dynamic and contrasting way, along with little noise making toys that babies can play, like rattling balls and bells. It is interactive and has run uninterruptedly always with a full house for the past 12 years.

Sereia Floreia (The Mermaid Floreia) - Alexandra Filipe
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