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about
What political representation can we
make of a law that is sung?
lyrics
VITORIA / 23 PORTAL DE BETROÑO
I found the name of this city in a publication decorated with an image of the equestrian statue of the King, together with another seven publications more concerned with local affairs, illustrated with engravings by the calcographer Bernardo Albiztur y Tornaría on 14, 15 and 16 October 1759.
VICTORY / SAINT MARY SQUARE
The biblical roots of praise (ruwa – to praise – and the noun teruwa – praise; according to some philologists the root of these two words means “splitting the eardrums with a great noise”) are related to the conquest of a territory.
CHEERING / 29 SAN PRUDENCIO
“When I came into the theatre hall there arose a great murmuring of ‘look, look’. The decoration of the theatre was not very good. The stage was raised on uneven barrels and planks; all the windows were open, because they did not use torches, so you can imagine how that diminished the beauty of the spectacle. The life of Saint Anthony was performed. When the players said something that the public liked, they shouted “Victory, Victory”; I am told that it is the custom in this country. I noted that the devil’s costume was no different from the others, and that to identify him he only wore some tights the color of fire and some horns.
Relation du Voyage d’Espagne, de Marie Catherine d’Aulnoy. Haga: Henri van Bulderen, 1692. (Viajeros por Álava. Siglos XV a XVIII. Vitoria-Gasteiz: Obra Cultural de la Caja de Ahorros Municipal de Vitoria, 1972).
LAUDES REGIA / PORTICO OF GLORY (OPEN DUE TO WORKS) / SAINT MARY SQUARE
It is not so much a question of looking for remnants and curios of a Power that was left behind, but of trying to enquire into the procedures that have cultivated a sublime idea of it. Based on a description of the laudes [praises] and their mutations, the historian Ernst H. Kantorowicz has left us a detailed study in which he stresses the role of the liturgy and the ceremonial solemnity of this process of glorification. Praise made of visual allusions and auditory resonances, induced by the music of the verse, but that impregnates not only the episodes of the story, but also the objects through which the staging of the ritual is reconstructed: coins, the consecrated host, swords, musical scores, etc… A song of praise that is repeated until it becomes the prop for the staging of power, the configuration of sovereignty and public order. The laudes are a sign of the unity between the terrestrial and celestial powers. The fact that today, beyond the mythological fog, they continue to function in the clamor that consecrates Public Opinion, the State and the Nation, shows their true nature, the colorful conspiracy of their transformations.
credits
from LaLana,
track released May 21, 2011
Sound collage for "LaLana" instalation in Art and Cultural Center Montermoso (Vitoria-Gasteiz)
Oier Etxeberria is an artist, musician and curator. His work is conceived as a tool to measure and question those frameworks
of meaning that shape reality, becoming concerned with topics as varied as acclamation, history of metryc system or the film archives of the Jesuits....more
