Elena Ribet (Italy)

1 sound

People, I belong to you. Street, I belong to you. I am the sky petrified by a volcanic plume. I am the lake where the bowels of the earth have set their codes. I am destiny, trapped in the hands of another god who is not me. I am she who ordered the volcanoes to be silent or to speak. Even the moon’s soul arms its legions to appease me.

Deliver us from evil amen amen bed turns to dust amen water slides into earth amen hands slide over eyes. We want a prophecy of light in the name of the Mother, the Daughter and the Spirit of the Earth we want the mother of the rain beyond the mystery there is no war, only the dumbstruck gaze of the heart.

Why in the sky was there fire? We went beyond and beyond the sky, to Andromeda, the elected galaxy my mother's motherland, a great free nebula, where we were conceived in her word-logos. Impetuous women looked on, warriors and Amazons without violence, without desire for man’s dominion, unlike men. Positive energy and power Rearing before the armour of all the exclusions, now dissolved. The drum calls, and called us. Teach me, drum, the initiation ceremony of the third millennium, the way, the technique of the shaman. Teach me how to master myself, mistress, without dominating, teach me where, how I heal, how to heal.

We continued on to Andromeda flying in a strange fog. The foremothers gathered around us to ask. As if we were them. As if I were the foremother. To flee, to flee. It almost seemed to desecrate that place-non-place. Then, in search of our own key-place, of my own key-symbol, then ...

I saw HER/HIM a witch-warlock shaman woman, Wo-Man, to put it in the way of poets I saw the long white mask A with only three black slits, two eyes, an O-shaped mouth a huge, long, white skirt maybe a sceptre, no, a pin, no, a wand with a knob on top, no, a staff, which seemed to speak like forefathers with horns, a crescent moon towards the sun and the moons and then the other foremothers circled around us again S/HE spoke an incomprehensible tongue of grunts and sounds S/HE unapproachable, there behind and within the answers to our questions all white and white now, but without fog.

And then you sucked us back, into the circle of fire, among the clouds, into the wind, up to the stone canopy where we started out and we each felt called by name "Come back, come back", to the beat of the drum, to the beat of the heart, T’, t’, t’, t’m, t’m, t’m, time, time, in time in a new space in the heart and here, in woman and here, yes, on the earth, with the drum, alive, and yes, it was better “there”, to come back crossing the fire of heaven, and then home, galaxy, big bang. From the centre of the circle, from the visible To the invisible, coming back in the blink of an eye, to come back there, here, knowing how, knowing how and where, knowing ...

I am woman who heals (me) I am woman who heals (the world) I am woman who heals (she says) Woman who teaches Woman who rediscovers Woman who regenerates woman who regenerates herself I am energy woman
sun woman goddess-woman god-woman mother and daughter woman who goes and returns


Part of this walk

Talking chairs: Voices for the future of the planet

Talking chairs: Voices for the future of the planet

Poets and authors of the sound installation: Sara Capoccioni (poet) Galen Cranz (author of The Chair) Lidia Popolano (poet) Mariapia Quintavalla Elena Ribet (poet) Chelsea Rushton (poet) Angela Schiavone (poet) Marco Sonzogni (poet) Matilde Tortora (poet) Music by Lucio Lazzaruolo and Notturno Concertante Using Louis ghost chairs, the installation Talking chairs by Giovanna Iorio combines the transparency of this iconic chair created by designer Philippe Starck to the colours and sound of her unique voice portraits, spectrograms of the human voice. Chairs and human voices will be the only protagonists of this new sound installation that aims to reflect on the possibility of dialogue in a time of isolation. Philippe Starck described his transparent chair in these terms: “You are not sure exactly what it is but everyone recognises it and sees it as something familiar. It’s here when you want to see it and you can blend it in if you want to be discreet. It is half disappearing, dematerialising. Like all the production of our civilisation.” Through the “transparent design furnishings” the aesthetic aspect of transparency became accepted globally. In a society where everything that counts must be visible, the invisible becomes a valid alternative. Words, being a product of civilisation, disappear and dematerialise everyday leaving human beings every day more silent in a world of noises. Starck said that “the universal success of the Louis Ghost chair does not come from its design but from collective memory. The Louis Ghost chair was produced by our collective subconscious and it is only the natural result of our past, our present and our future.” In this installation we await for curious visitors to sit on the invisible chairs, blended in nature and only revealing the invisible colours of the human voice. Ten authors from Italy, USA and New Zealand have sent their message and voices to reflect on past, present and future. Talking chairs invites visitors to a place where chairs will no longer be chairs, but imaginary islands for urban sailors.
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