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Paula Shocron: Paths to a New Sound

Jakob Baekgaard By

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AAJ: You are also interested in dance and poetry and have used both art forms in your music. How would you describe the connection between dance, poetry and music? For instance, what is the relation between music and dance and the significance of setting words (poetry) to music?

PS: I feel all artistic fields are connected in many ways. They are all ways of expression of feelings, sensations, thoughts, how one sees the world. All arts were together in the past, no matter what culture we are talking about. It was with the "academy of arts," especially in the Western world when they began to separate. Today I notice that there is a great need to bring everything together again. It is happening in the artistic world all over the globe. For me this is like food, I need different kind of artistic expressions to feed myself and help me to grow as an artist and as a human being. I can't separate them anymore. The words, sound, the music moves, the movement could tell you a story, and so on!... On the other hand, I've been investigating the relationship between music and dance for a long time, seeking to discover and develop my own piano technique and also to understand the rhythm in a global (and new) way. Today it becomes primordial for teaching.

AAJ: Could you describe the Proyecto IMUDA? How does it connect to your music and aesthetic?

PS: I think the basis of the project started after recording with "Gran Ensamble," in 2012, at that time I was starting to take dance seriously, one day I came up with the idea of training some simple dance technique with a small group of musicians, just to see how the music could be affected when we were improvising. When I discontinued the Gran Ensamble, I asked some of its members if they wanted to work and train with a dance teacher, my friend (and also my dance teacher at that time) Laura Monge, as an experiment. Some of them said yes, and we started to work. I really enjoyed that experience (which continued for two more years) and learned a lot from it. It was my first step in this process. After that I started to organize some performances (including musicians and dancers) in different spaces. I felt that it was an opportunity to keep the research going, ("live" research in this case). I named the performances "Proyecto IMUDA" (which means Music and Dance Improvisation). At the same time, I was taking dance classes three times a week. Gradually I became a kind of dancer, movement and rhythm were very similar to me. Now I understand better the meaning of Proyecto IMUDA, which is not Music and Dance separated, they are together, the music as movement and dance as rhythm!

AAJ: When did you become involved with Nendo Dango Records and how did it happen? How would you describe the aesthetic of the label and the music you are releasing?

PS: NDR was born two years ago, after talking with Pablo Díaz and Miguel Crozzoli about the lack of records labels for free music in Argentina. We decided to create this music platform to release our own recordings. We found the meaning of Nendo Dango a perfect way to describe the aesthetic of the label: "We believe that sound is like a nendo dango capsule, within all possibilities; every breath of each artist is crossed and transmuted, being one towards oneness, revealing unique and infinite sound-eco-system." (From NDR Bandcamp)

AAJ: You released the latest SLD Trio album, Tensegridad, on the renowned Hat Hut Records. How has it been to become a part of the rich tradition of the label? Do you identify with the musicians on the label in terms of aesthetic?

PS: I am still very surprised by the proposal from Hat Hut! I've been listening to a lot of recordings from this label for a long time, like Cecil Taylor, Anthony Braxton, Albert Ayler, Archie Shepp, Ellery Eskelin or Myra Melford, among many others. I am absolutely delighted and grateful for the invitation to be part of it. This experience has encouraged me to keep making the music I believe in. I don't know if I can totally identify with the musicians on the label, but surely we share some aesthetic approaches.

AAJ: Speaking of Tensegridad, it strikes me as a record that is both in the moment, past and future. Was it your intention to create something that would connect the threads of the past, present and future and, if so, how did you consciously (or not) try to reach that point?

PS: I was not really conscious about that. It is actually an interesting observation! I suspect it may be related with the situation of constant search for freedom, I'm not surprised that past, present and future become one whole time. Or, in other words, past, present and future can live in peaceful coexistence...

AAJ: I've noticed that you have also contributed cover artwork for some releases. Could you tell about your visual art and the connection to the music?


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