You can use these free learning materials to practice making sounds from objects around you, create sounds from associations with a place, listen and respond to soundscape recordings, and create a space for freedom of expression during group activities.

The learning kit includes a lesson plan, activity guidelines, presentation materials and audio recordings. The activities are rooted in playful expression and the principles of embodied learning.

A project initiated by Vilnius University Culture Center, in which a team of artists: director, dramatist Saulė Norkutė, scenographer Šarūnė Pečiukonytė and contemporary music composer, sound designer J "Mo'ong" Santoso Pribadi (Indonesia) invites one participant to try their observation practice methodology. This observation primer in audio guide format (Lithuanian and English) stimulates imagination, teaches attentiveness and creates a unique observation experience, which all members of the VU community, as well as city residents and visitors from the age of 14, are invited to try.

How important is the ability to observe for a person? According to the creators of the audio guide, observation is not action, observation is withdrawal. Observation as a research method cannot be questioned, it just needs to be practiced and then all the right answers come. Observing the environment means seeing many different time directions, courses, prehistory, working living organisms and other elements.

We invite you to become an intern of this methodology and take the first steps towards a more careful and comprehensive observation, develop this habit and apply it daily. During a little more than an hour-long session, you will not only walk around the closed territory of Vilnius University, located on MK Čiurlionos Street, but you will also become temporarily invisible to buildings, passers-by or even sidewalk tiles.

Practice takes place outside, Vilnius University MK Čiurlionio str. in the territory of 21/27 yards. Start - the lobby of the Vilnius University Palace (entrance from MK Čiurlionios str. 21).

The processional performance commemorates Tupaia the Tahitian priest, navigator and translator that boarded the Endeavour, which departed Plymouth in 1768. This group of international artists were joined by the general public at the National Maritime Museum in an event that turned recycled materials from the Pacific Ocean into performance and sound. Assembled to critically reimagine and reconfigure the departure of Captain Cook’s Endeavour 250 years ago in a processional performance on the banks of the river, the participatory performance in this video began in the Queens House. The installation includes the collateral of these performances, including the dingo sound and uniform in the first rooms, the cloak for Tupaia, and trash instruments to interact with.

A film project by Khadija von Zinnenburg Carroll

Director of Photography – Ludovica Fales

Music – J "Mo’ong" Santoso Pribadi

Costumes – Keren Ruki

Dancer – Kirill Burlov

Drawings – Nikolaus Gansterer

Musicians – Simon Layton, Hana Qugana

Lead Carriers – Ruby Hoette, Emma Hoette

Camera – Ludovica Fales

Editing – Martina Moor

Additional cameras – Khadija von Zinnenburg Carroll, Claire Loussouarn, Niza Ester Ritzvi, Raffaele Nocerino, Charlotte O’Donnell

Additional Musicians – Keren Ruki, Jo Walsh, Jack John Maurirere, Khadija von Zinnenburg Carroll, Chris Moffat, Julia Binter, Naomi Vogt, James Peachey

Additional Carriers – Azadeh Sarjooghian, Abigail Jacqueline Jones, Martha Flemming, Imma Ramos, Alex Wolfers, Katy Barrett

Additional sound – Khadija von Zinnenburg Carroll, Nikolaus Gansterer, Jessyca Hutchens

Procession participants – Jody Toroa, Kay Robin, Stuart Blyth, Maria Amidu, Dimitri de Preux, Mark Condos, Leslie James, David Lappano, Islay Shelbourne, Tamara Murdoch

Rowers – Billy Smith, Brian Denholm, Cam Taylor, Carolyne Dick, Clare Lissaman, Elaine Tan, Jen Szeto, Lara Collins, Lawrence Vaike, Louise Harkness, Nikki Petelo, Paula De Ceglie, Sarah Ho, Siobhan Thomas, Susie Turner, Tala Petelo, Thor Harley.

Each instrument has an onomatopoeic name, this is predominantly how names are made in Indonesian: Pret, Gajah Pipa, Blek Siter, Tong Bass, Demung Kaca, Saron Kaca, Slenthem Kaca. The name follows the Rasa (sense) of the sound produced. The composition is written in symbolic drawings, rather than notes. The pattern is comparable to the gamelan, but using trash frees it from the necessity of traditional patterns that the gamelan conventionally uses. At its core, this subversion of any commodifiyable tradition brings this into the space of experimental sound and contemporary installation art.

The performance of Limbah Berbunyi reveals a surprise in that the instrumental music does not sound like trash. One could be a bagpipe, or a Slompret (a traditional instrument from East Java) which sings, or rather, is sung, while the audience wonder about its origin. The bagpipe, for example, sounds like traditional Indonesian flutes: Pui-pui (Makassar,South Celebes), Serunai (Minang,West Sumatra), Slompret (East Java), but it is played on the Javanese Slendro scale.