Interview with Enni And Birch about Sweden, the Sami People and Environmental Struggles during the great collapse and ever more real threat of the rise of the right-wing to government.
Hatis Noit speaks after the concert at Jardins Efémeros 2022, in the Cathedral of Viseu.
We listen to excerpts of the songs Himbrimi, Aura and Inori from her debut album “Aura” released in 2022 by Erased Tapes; and we also hear two excerpts of improvisations presented by the artist at the concert, especially the last song of this programme, which is dedicated to the wild fires Hatis saw in Portugal.
Hatis Noit is a Japanese artist living in the UK. All the songs in this record are created using only the artist’s voice. Hatis Noit is an autodidact, inspired by folk music, opera, Gagaku, Bulgarian and Gregorian chanting, but also contemporary music. The songs have no words.
The title “Aura” for the album was inspired by Walter Benjamin, who described Aura as the ‘fundamental essence of art’, which in its original form would only happen once.
The song ‘Aura’, is about a memory of getting lost in a forest near her birthplace Shiretoko, Hokkaido.
“I felt as if I was close to my death, I could feel myself dissolving into and becoming a part of nature rather than just being an individual. This sense of awe and peace found there is always the place where I start making music from”Hatis Noit
The song ‘Inori’ was created using field recordings of the ocean, only one kilometer away from the nuclear plant in Fukushima, when she was there at a memorial ceremony, which marked the re-opening of the area for locals to return to their homes, after ten years. The song is dedicated to the lives lost during the tsunami, and also to the memories that people have of their hometown.
[“Himbrimi”, from the record Aura by Hatis Noit]
[Jardins Efémeros, Viseu Cathedral, field recording]
[Opening improvisation by Hatis Noit, excerpt, by Hatis Noit, own recording ]
M: We are speaking with Hatis Noit. It’s very nice to meet you.
Hatis Noit: Nice to meet you too!
M: What is your art about and are you speaking with nature in someway?
Hatis Noit: Yes, sure. When I sing, first I try to connect to… the almost very first memory of mine, which is the nature, from my birth place Hokkaido Shiretoko. It’s a very much natural place, surrounded by wild animals and a big forest. So, I’m always, like, coming back to the original memory of mine is a big inspiration for making my music.
M: So, in someway also speaking like animals, and speaking with animals?
Hatis Noit: Ah! Yes, I wish I could! Not only about animals but also nature, I feel sometimes like being able to communicate with them… I’m not sure if it’s right, or if its actually what they are talking about, but sometimes, yeah, I feel like I understand them, you know? Without using words.
[“Aura”, from the record Aura by Hatis Noit]
M: Maybe it’s too much of a fabulation of mine, but what are you speaking about, if I can ask?
Hatis Noit: Ah, yes, sometimes we are talking about how delicious are those wild berries, wild fruits, or like, how fun is running around the forest… or you know, how sweet to be blown by the wind. Or with trees, you know, like talk with animals, or with insects, or talk with soil, with trees or leaves… anything… sometimes wind…
M: It’s very sweet! And this kind of stories, do you think that through music you are also telling these stories, or re-telling these stories, for other people to access this state of being, or this state of mind? … I think you manage to bring this state of mind to other people. For me, listening to your music is not only very relaxing but it also gets me in the right frequency.
Hatis Noit: Oh, if you feel so, I’m very happy!
M: And for example during the concert there were some bats flying through the church and you could hear them actually! … So… you also learned from the Gregorian chants, and the traditional Bulgarian songs, as well as Japanese chants. How do you think you are furthering those practices in a contemporary way? Are you also building on this tradition?
Hatis Noit: I’ve been inspired by those traditional techniques of voice a lot, and my music is also very much influenced by them. But I actually haven’t had any proper education of them, I didn’t really learn any of those techniques, officially or properly. So in that way I can be more floaty around them. Whatever I found interesting from any way of using voice, I would first mimic them, and like again, again, again, again. And at some point I ended up combining them into a music which is basically the music I really want to listen, you know? Because I’m just a big fan of human voice in general, so any type of vocalization inspires me and excites me so much. So it’s like a journey to explore the ability of the human voice.
[“Inori”, from the record Aura by Hatis Noit]
M: You presented to us an improvisation about the wild fire, that you saw on the way here. We have wildfire seasons here. We have large plantations of eucalyptus which is the Australian tree. And we have the most planted area in Europe of eucalyptus. So this is the cause of those wildfires. In some way, the same as Fukushima was not exactly a natural disaster, it was a human made tragedy too. A couple years ago, more than a hundred people died because of the wildfires here. How is your music a way of healing and caring for the heart_ How do you feel these tensions?
Hatis Noit: My way of seeing this is: human is also a part of nature, I always think so. And from that perspective, possibly I sound a bit cold to say that. But as long as we are a part of nature, we cannot beat nature. Nature is bigger than human beings. But sometimes people behave as if we can control nature, of as if we can change nature or the environment, or as if we can concur nature. But I don’t think so, it’s not possible. In some way, nature will definitely, not beat, but give things back to us. If we do something bad, of course nature would give some back to us, even bigger things. So I don’t really have a single-sighted perspective. But to think about this planet or think about nature, including us. What happens in this world is sort of meant to be. So in a way we have to be always very modest with nature. We cannot control it, and we cannot change it. We have to be aware we are a part of nature, not apart from nature.
M: Thank you so much!
Hatis Noit: Thank you!
[Improvisation for the Wildfire, excerpt, by Hatis Noit, own recording ]
Interview with Hatis Noit, Matéria Prima
16/07/2022, Viseu, Portugal
An interview with Frédérique Aït-Touati about INSIDE, a performance presented at Index Bienal, in Braga, about representation of the feeling of living inside the planetary systems. The performance is part of the “Terrestrial Trilogy”, a series of performances created together with Bruno Latour and performed by Duncan Evennou.
Frédérique Aït-Touati is a historian of sciences and a theater director at her company Zone Critique.
The image is The Soil Map is taken from the book Terra Forma, manuel de cartographies potentielles, by Frédérique Aït-Touati, Alexandra Arènes org Axelle Grégoire, 2019
Falámos com a Jessica Beasley sobre história, representação, filosofia entre outras associações livres. Uma conversa longa através dos oceano para refletir sobre passados históricos, possíveis aberturas para o futuro e o presente do pensamento em Portugal e nos EUA.
Maiti habla sobre sus experiencias en el barrio ocupado de Errekaleor, conocido como Errekaleor Bizirik, en el pais Vasco.
El barrio existe desde 1950’s, destinado a trabajadoras en la época de expansion industrial. Progressivamente fue sendo abandonado por la ciudad e incluso objecto de planes de demolicion.
Las habitantes del barrio fueron amenazadas de despejo por la ciudad de Vitoria, han lutado contra las enpresas de electricidad para conseguir autosuficiencia eletrica e se han organizado mucho para que su comunidad se torne libre de opression e por el apoyo mutuo necessário a mantener el barrio.
La pagina de wiki es muy informativa: https://es.wikipedia.org/wiki/Errekaleor
Foto by Asier Iturralde Sarasola – Own work, CC BY-SA 4.0
We get to know how she experiences her art and the forms in which she finds ways to tell stories and lend a microphone to often under-represented beings and critters, like planton, whales and other sea dwellers.
“The listener experiences the bloom of plankton, the shifting and crackling sea ice in the Barents Sea around Spitsbergen (towards the North Pole) and the underwater sounds made by bearded seals, migrating species such as humpbacks and orcas, and the sound of hunting seithe and spawning cod. All depend on the spring bloom. Jana Winderen researches the hidden depths with the latest technology; her work reveals the complexity and strangeness of the unseen world beneath. The audio topography of the oceans and the depth of ice crevasses are brought to the surface.” – from Jana Winderen’s Bandcamp
About Jana’s sounds:
“Jana Winderen is an artist who currently lives and works in Norway. Her practice pays particular attention to audio environments and to creatures which are hard for humans to access, both physically and aurally – deep under water, inside ice or in frequency ranges inaudible to the human ear. Her activities include site-specific and spatial audio installations and concerts, which have been exhibited and performed internationally in major institutions and public spaces.” – from Jana’s website
À conversa com as Decibélicas, uma banda punk de raparigas, que nasceu no subsolo Bracarense em 2016. Conversam sobre as origens da banda, o porquê de fazerem música juntas, só delas, entre raparigas. O que acontece quando as mulheres sobem ao palco? As Decibélicas têm-se afirmado como uma das bandas mais interessantes da Galáxia. Falam ainda sobre os maiores fracassos da banda, o contexto nacional e local. Contam também de uma gata que pariu durante um dos concertos delas. As Decibélicas são de momento: Ana Luísa, Nanda, Jad, Inês e Vanessa
Apresentaram performances nos festivais Milhões de Festa, Indie Lisboa e na Festa do Sentido da Vida, assim como na galeria Zé dos Bois e nos Maus Hábitos (com Linn da Quebrada), entre muitas outros concertos. Apareceram no documentário “Ela é uma Música”. Fizeram parte do (agora defunto) Colectivo Projéctil, e estão associadas à promotora “Cantigas do Poço”.
“As Decibélicas são um conjunto musical experimentálico constituído por cinco ou mais elementos humanos venusianos diversos que, sem cuidado nem à estética nem à métrica, exploram os meandros da espacialidade musico-temporal do Poço Metafísico Augusto Bimilenar e Muy Singelo de Braga, numa tentativa produtivamente fútil de expressar a sua condição sistémica e/ou emocional. Serão vistas nos locais habituais e são muito simpáticas, mas cuidado!… Algo de inesperado poderá acontecer…”
Ouve as Decibélicas aqui: https://decibelicas.bandcamp.com/
Entrevista de Rui Magalhães, Texto Crítico de Mi_
Ouvimos Fome Bruta (Joana Moher), artista sonoplástica e transdiciplinar.
Conversamos sobre as simbioses, a natureza, biomateriais, transdisciplinariedade, os problemas de design da nossa era, como procurar novas relações com es outres seres. Vivemos numa planeta multiespecies e cabe-nos cultivar relações e amores, imaginar criativamente como enfrentar e sanar as feridas do antropos-.
Viver, hoje, é questionar, investigar e relacionar-mo-nos com cada vez mais longas e intricadas redes inter-species, pelas quais somos também responsáveis.
Curiosidade, vontade de aprender e saber fazeres que marcam o pensamento e a prática simbiótica da artista.
Ouvimos as suas músicas das cassetes: SUX, ANOXIC, MATA BICHO, BRUIT IMPULSE, INTIMACY OF VIOLENCE e AS FLORES DÃO-SE AOS PORCXS