‘Is she? Or, a little detour, dragged by the ear’

Marina Pereira Cyrino

doi:10.1590/2237-266085378

Abstract

Abstract: This articlestarts from an account of the process of commissioning, composing, and performing Mansoor Hosseini’sCasss...andra(2015), a solo work for flute collaboratively composed. By invoking the mythic figure of Cassandra, following her transformations through centuries of Western Art and her transformations through the researcher’s own body, this article invites the reader for possible ways of escaping the exotification of Cassandra as the mad sorceress, the female stranger. By weaving together artistic research, creative practices, and personal narrative, the entanglement of Cassandra, withCasss…andra,with the song of the flute, reframe and reclaim the auditory dimension of Cassandra’s gift.

Highlights

RESUMO – ‘Ela irá? Ou, um pequeno desvio, arrastada pelo ouvido’ – O presente artigo parte de um relato do processo de encomenda, composição e performance de Casss...andra (2015), de Mansoor Hosseini, uma peça para flauta solo composta em colaboração
Cassandra is a Trojan princess known for her immeasurable beauty
I was in search of collaborative processes that would provoke a mixture of my practice as a flutist with other art forms, as a way of dribbling a dominant characteristic of Western musical practice: what I call a fragmented specialization or a specialized fragmentation1

Summary

Introduction

RESUMO – ‘Ela irá? Ou, um pequeno desvio, arrastada pelo ouvido’ – O presente artigo parte de um relato do processo de encomenda, composição e performance de Casss...andra (2015), de Mansoor Hosseini, uma peça para flauta solo composta em colaboração. A few weeks later2, Casss...andra became a solo work for flute, collaboratively composed, which entails dance, theatre, the use of percussion instruments and extramusical objects, the sounds of human breath and bodily movement as its primary mediums. The flutist is placed hiding and breathing behind a box filled with objects to be thrown at two gongs positioned symmetrically by her side, with flute headjoints attached to her arms and legs.

Results

Conclusion