Brass & Woodwind, afro-american & creole breath
Practical Info
- PrerequisitesAll levels
- Full Price50€
- Maximum Capacity15 persons
Description
For the 30th Errobiko Festibala, Raphaël Quenehen invites wind instrumentalists —brass and woodwinds— to join a collective musical adventure inspired by Afro-American and Creole carnival traditions. Through the learning of a simple repertoire, accessible to different levels of practice, and the discovery of a few principles of conducted improvisation, participants will prepare a large festive parade that will move through the festival’s closing night.
Program
Over the course of the two sessions, participants will learn a number of themes, calls, and motifs designed to make the parade for the 30th anniversary of Errobiko Festibala roar. The work will focus on collective breath, the circulation of sound through space, and an introduction to a few signs of conducted improvisation, allowing the group to play together in a lively and spontaneous way, in dialogue with the percussionists directed by Fawzi Berger.
The rehearsals will gradually build a flexible, festive, and open musical form, inspired by popular carnivals and Creole imaginaries.
On 25 July, the workshop participants will join the festival’s invited artists for the “30th Roar”, a large nocturnal procession in which brass, woodwinds, percussion, songs, dances, and fire will come together in a collective celebration beneath the stars.
Raphaël Quenehen
Raphaël Quenehen is a saxophonist and multi-instrumentalist. He enjoys blending his archipelagic melodies and soaring soundscapes with all kinds of musical territories: jazz, music from oral traditions, performance…
A founding member of the collective Les Vibrants Défricheurs, he has spent the past 25 years leading unconventional collective projects —Papanosh, Think Big, La Mèche, Bal Tu Danses-tu?— and taking part in many memorable adventures: Surnatural Orchestra, Compagnie Lubat, MNNQNS, Spin and Spells… Collective work, transmission, orality, and above all the expression of our singularities and musical accents lie at the heart of his practice.