May 10, 2022
Sonic Portals: Sound Bath Performances
Saturday, May 14, 2022
3:00 to 4:00PM
As part of the exhibition, Let Them Roam Freely, NXTHVN is offering two healing sound bath performances that explore the creation of portals through sonic experiences as a form of harmony, wellness, and relaxation. A sound bath is a meditative and social experience where participants are “bathed” in sound waves. In the first portion of this performance, there will be a guided meditation in the creation of sonic portals; followed by a meditative jazz experience with instruments such as a gong, saxophone, and bass.
Admission to the sound baths is free. The sound bath will last for roughly one hour. Audiences will be welcome to sit or lie down; audience members are strongly encouraged to bring their own yoga mats and seating cushions. Chairs will be made available on a limited basis, upon request.
Sound performers include Antonius Bui, Wes Lewis, and Nicholas Serrambana.
Antonius Bui is a poly disciplinary artist and shapeshifter invested in the transformative potential of ritual, portraiture, craft, and performance. They are an untrained musician whose experiences with sonic portals is rooted in dancefloors, churches, mosques, temples, gurdwaras, bedsheets, and gardens.
Wes Lewis has been performing as a jazz saxophonist in the combo and ensemble settings for over 10 years, having studied with a slew of mentors in the Buffalo NY area, including George Cauldwell, Dave Schiavone, and Jim Marone. Moving to New Haven in 2019 to pursue a PhD in Computational Biology and Bioinformatics, the coaching of Wayne Escoffery and cross-pollination from musicians at the Hart School, UConn, and Yale majorly influenced Wes’ autodidactic study. With roots in the styles of Joe Henderson, Ambrose Akinmusire, Pharoah Sanders, and Anthony Braxton, his playing is both modern and refined.
Nicholas Serrambana is a queer untethered by the syntactical disclosures of pronouns and the other failures of the liberal arts industrial complex. Rather, as a spectral composer and contrabassist, Nicholas sees it fitting to approach gender in a spectral, hauntological manner as well, an ontology that mirrors the composer’s emphasis on asemic ephemera and Derridean différance. Art jargon aside, Nicholas writes music for the notes of the bent keyboard, and has performed these limber lyricisms in universities and DIY basements alike. In their current practice, Nicholas is concerned with acoustic trespassing as a therapeutic offering, performing outdoors whenever possible as a disavowal of both technology and ticketed exclusivity. The terrain that they map is, ultimately, one of acoustic monoliths and blessings. Most of all, they aren’t a jazz musician …