THE BROOK OF NO RETURN

Shadow play and amazing instruments

The Brook of no Return Sydney Sacred Music Festival 2019

Friday 20 and Saturday 21 SEPTEMBER

7pm

Wollongong art gallery

Free

The BRook of no Return

This contemporary shadow theatre production brings together spirit and comedy, myth and politics, lights and live music on unique instruments, with craziness and lots of surprises in a story that follows the plight of an abandoned log trying to reach beyond hostile borders.

Performed by The Shadow Theatre of Anaphoria, a transcultural ensemble of original handcrafted puppets and traditional instruments from around the world.

Presented by Wollongong Art Gallery

 

Artists

Kraig Grady
Kraig Grady is a US-Australian composer/sound artist. He has composed and performed with an ensemble of microtonal instruments of his own design and also worked as a shadow puppeteer, tuning theorist, filmmaker, world music radio DJ and concert promoter. His works feature his own ensembles of acoustic instruments, including metallophones, marimbas, hammered dulcimers and reed organs tuned to microtonal just intonation scales. His compositions include accompaniments for silent films and shadow plays. An important influence in the development of Grady's music was Harry Partch, like Grady, a musician from the Southwest, and a composer of theatrical works in Just Intonation for self-built instruments.

Born in Montebello, California in 1952, Grady began composing while still in his teens. After studies with Nicolas Slonimsky, Dean Drummond, Dorrance Stalvey and Byong-Kon Kim , he produced his earliest compositions. Since meeting tuning theorist Erv Wilson in 1975, he has composed and performed in alternative tunings based on Wilson’s theories, first in 31-tone equal temperament, and eventually in the just intonation resources of Wilson's combination-product sets and meta-slendro.

Terumi Narushima

Terumi Narushima is a senior lecturer in music at the University of Wollongong. She is a composer, performer and sound designer who specialises in alternative tuning systems. Her works include Tritriadic Chimes, a sound installation for LA MicroFest, Hidden Sidetracks, a composition for custom-made instruments premiered by Ensemble Offspring at the Sydney Opera House, and Mizu No Rin, a commission for Synergy Percussion. She has worked on various film and theatre collaborations, including Yasukichi Murakami: Through a Distant Lens which was presented at the Darwin and OzAsia Festivals, as well as the Griffin Theatre in Sydney and Parramatta Riverside Theatres. She performs with the microtonal ensemble Clocks and Clouds. Her book Microtonality and the Tuning Systems of Erv Wilson (2018) is published by Routledge. Her current project involves collaborative research into the development of microtonal flutes using 3D printing.