Cabaret Travels: Shy's Creative Assignment #2 - Inside Outside

I'm traveling so decided to play with audio instead of trying to video anything new.  So here is my last study with a different audio score to it created from Ulka's and my voices and my feet on garage band (a bit rough, but you will get the idea).

Here is the link: https://vimeo.com/72153069
Password is: Cabaret

Outside Cabaret Creative 2 from Shyamala Moorty on Vimeo.

By the way, all the text is from the written assignment 2 research.

Questions:

1.  How do you interpret the piece with this new sound-score?
2.  How might this be political in a similar or different way then my first version of the movement with the "magic to do" soundtrack? Here's the first version in case you'd like to reference it: http://www.postnatyam.blogspot.com/2013/06/cabaret-travels-creative-response-1.html
3.  Does the new sound track inspire any ideas for you as to how the mirror might be used more?
4.  If I were to work with a sound designer or composer, any suggestions on what to add/remove/enhance etc.
5.  Any other ideas or thoughts?

Sneak Peek for "Trace" on Nov 7-8: SKYPE music

Here is the final soundscore that I created with the assistance of Loren Nerell to accompany our Skype call video installation.  It'll be shown as part of "Trace" at Sea and Space Explorations on Nov 7-8.

The soundscore includes kathak rhythmic compositions by Bandana Sen and a ghazal by Begum Akhtar.  Parhant (rhythmic recitation) by Cynthia Lee and Shyamala Moorty.

Cynthia's Response to Cyber-Padam Assignment

For my "cyber-padam," I decided to create a sound-score. I thought about what the usual elements of our internet conference calls are: bad reception, overlapping voices, the sounds of typing, and the occasional interruption by Anjali's little daughter Neva.  In addition to referencing some of these sounds literally, I created a more abstract sense of overlapping voices through the use of kathak bols. I took two different compositions - one an amad and one a chakradar, but both based on the syllables "tat tat ta tuka" - that I had learned from my teacher Bandana Sen, and overlapped them.  This compositional technique reflects my interest in exploring polyrhythms in a North Indian rhythmic context, an interest that was sparked by my collaborations with tabla player Lenny Seidman. Underneath all this, I added an old field recording of Begum Akhtar singing a ghazal to give a sense of a love story.