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CD
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BS 065CD
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Greta Lindholm is an absolutely unique personality in the contemporary dance scene. She toured in India, Mexico, Japan, Scandinavia, Italy and France, during the '70s and '80s making known her synthetic and experimental approach in the choreographic field. Her art explores new boundaries and is essentially pure celebration of the body language and voice in its intimate relationship with the fluidity of movement. Using mainly foot drumming and vocal rhythms, she makes her body the only instrument of continuous exploration, halfway between traditional songs and rhythmic-gestural improvisation. Greta seems to treasure different vocal cultures and give them an avant-garde reinterpretation: from Scandinavian folklore to jazz scat singing, from Baroque arias to the African Pygmy. Particular influence is given by the metric-vocal spelling of Karnatic and Hindustan music. All these different suggestions serve to reinforce and accompany her plastic movements. Greta's performances are studded with imaginary phonemes, onomatopoeic patterns, rhythmic phrasing, phonetic articulations, breathing, spiral structures, frenetic drifts, hand clapping or feet like timpani or snare drums. In this way her dance becomes "silent music" and can have analogies with other noteworthy vocal explorations, such as those of Meredith Monk. Co-production with Sing a Song Fighter.
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LP
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BS 065LP
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LP version. Greta Lindholm is an absolutely unique personality in the contemporary dance scene. She toured in India, Mexico, Japan, Scandinavia, Italy and France, during the '70s and '80s making known her synthetic and experimental approach in the choreographic field. Her art explores new boundaries and is essentially pure celebration of the body language and voice in its intimate relationship with the fluidity of movement. Using mainly foot drumming and vocal rhythms, she makes her body the only instrument of continuous exploration, halfway between traditional songs and rhythmic-gestural improvisation. Greta seems to treasure different vocal cultures and give them an avant-garde reinterpretation: from Scandinavian folklore to jazz scat singing, from Baroque arias to the African Pygmy. Particular influence is given by the metric-vocal spelling of Karnatic and Hindustan music. All these different suggestions serve to reinforce and accompany her plastic movements. Greta's performances are studded with imaginary phonemes, onomatopoeic patterns, rhythmic phrasing, phonetic articulations, breathing, spiral structures, frenetic drifts, hand clapping or feet like timpani or snare drums. In this way her dance becomes "silent music" and can have analogies with other noteworthy vocal explorations, such as those of Meredith Monk. Co-production with Sing a Song Fighter.
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