Performing with instrmnts
Many of Gama’s compositions are part of larger conceptual projects that explore social, historical, and environmental themes. He uses his music and instruments to tell stories of significant importance in regions as diverse as the deserts of Southern Africa, Antarctica or the rain forests of the Amazon, making his work not just musically compelling but engaging on many levels.
”I’m at the World New Music Days in South Africa and Victor gave a stand out performance earlier this afternoon at The Centre for the Less Good Idea (a space set up by William Kentridge) – a kind of media opera without singers, but powerfully charged (yet gently so) for our current times.”
Ed McKeon, Third Ear UK
tectonik.TOMBWA – pieces for acrux and toha
In tectonic.Tombwa, Victor Gama develops a sound palette using his unique set of musical instruments as exclusive sound libraries, squaring the circle between Southern African polyrhythmic patterns and ostinato, particularly from Angola. Exploring the potential of electroacoustic music, blending acoustic sounds with electronic processing and manipulation, his experimentation with sound textures and timbres adds depth and complexity to his compositions.
The Acrux is celebrating twenty-five years in existence. It’s part of a broader theory that argues for the continuity of the same processes that gave us traditional musical instruments, now developed in the 21st century within the context of current digital technologies.
VELA 6911 – a Diary of Antarctica
VELA 6911 is a piece written by Victor Gama based on the diary of Lindsey Rooke, an officer who was part of a secret nuclear test undertaken by South Africa in 1979. The piece was commissioned by the Chicago Symphony Orchestra and premiered at Harris Theater as part of the CSO’s MusicNOW concert series. It had its European premiere at the Calouste Gulbenkian Foundation in Lisbon.
Written for eight orchestral instruments and Victor Gama’s own instruments acrux, toha and dino, the piece was conducted in Chicago by Cliff Colnot and in Portugal by Rui Pinheiro with Portuguese harpist Salomé Pais Matos playing toha with Victor Gama. The video component was shot by Gama in Antarctica on a research trip closely following Lindsey’s diary during January 2012.
If you are interested in any aspect of our exhibition, from details on specific instruments to booking options with concerts included or custom designs for museums or educational programs, talk to us.
victorgama@pangeiart.org
Loods 6, KNSM-laan 155
Amsterdam 1019 LC
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