Chanting of Deaf Water

The Chanting of Deaf Water is drawing a line to the deafness of the Ayoro River, which, according to its history, became a road in the Kojohama neighborhood, changing its shape, leaving only the memory trace of the water flow that surrounded us once. The field sound recording of the streams of the Ayoro River circulates within the glass objects through our bodies and our cohabitation within the Kannonji temple in its temporal context opens up memory spaces of a landscape that was once alive.

In the project Chanting of Deaf Water, the artist works with sound in the context of landscape memory, where she uses the metaphor of deafness as a sensory perception of sound, the physical and visual qualities of listening will be revealed to the sounder. At the same time, the artist invites you to explore the throat singing technique, which draws attention to the internal sensors of our own body, where through the structures of the anatomical tubes inside us, a sound is born that vibrates within us like instruments that are able to broadcast this sound to the environment while maintaining the memory of the vibration and feeling of sound inside. This sound takes on a physical form within us and we can translate this sound into a new method of preserving the archives of our environment.

Our body has many ways of hearing and producing sounds, including many structures that circulate within us. Different systems of our body transmit sound vibrations to the space around us, and many remain inside us. Our way of communication can go beyond the general perception of listening, through the formation of a significant form of communication and transmission of vibrations to the environment through the body, which becomes the instrument of this dialogue, the correspondence between us and the environment, and vice versa. Deafness is a phenomenon that opens the space of sound through the interpretation of the one who translates or voices the one whose ability to hear is lost. On the other hand, deafness opens several rooms to hearing through opposite forms of sound, accepting our environment as a space of various nuances and vibrations that transmit sound within the sensory experience and transform it into a bodily one. Landscapes often contain this sacred form of deafness where sound develops into a form of memory of voices that are no longer heard, voices that have lost their volume over time, and voices hidden under the shadow of our being. At the same time, deafness continues to cohabitate with those voices that sound within their natural form of the land we touch.