Re-arrangements
Re-arrangements for Drum/Voice (1977 onwards) PULp
PULp worked on numerous performances as a duo particularly between 1978 and 1983 including Palais des Beaux Arts, Brussels; Vanguard Gallery, Los Angeles and Langton Street Gallery, San Francisco.
We were interested in inter-connectivity and continuous state-change, kinetic energies and vibrations, fluid realities, the fugacious, the elusory, the evanescent. All quanta are jittery, packed with energy left over from the big bang. We were interested in unique perspectives such as how ‘music’ is described in Tibetan Buddhist tradition as a combination of the actually present music produced by the sound-making voices and instruments as well as the internally produced music perceived and imagined by each and every listener. We made numerous posters and drawings reflecting these concerns. ”
Art works today have to be capable of radical change all the time. Good work has to change according to the circumstances out of which it arises, our changing perception of the world, social, political and economic changes and pressures, and changes within the performer. You have to follow your intuition and insight. Our work changes according to the context in which we perform, or more exactly, according to our perception and response to that circumstance.” PULp statement VOX MAGAZINE
“Anne Bean’s collaborative performances with Burwell were ritualistic events in which Bean became an androgynous shamanistic figure whose actions were orchestrated by Burwell’s dramatic drumming, which used elaborate drum kits incorporating a variety of percussive objects, paint, and pyrotechnic devices” The Aesthetics of Risk, 2008 ”
A lot of people see the things we do as aggressive or destructive but that’s not the intention. We’re more concerned to show that things are transitory…” Anne Bean in Melody Maker, 1982
“Cabaret Futura organized by Anne Bean and Hermine Demoriane: Paul Burwell’s drumming was positively inspired and Anne’s singing and moving with flaming firebrand against slide projections were extremely powerful.” Time Out ”Anne Bean and Paul Burwell put on an incredible show of pyrotechnics, preaching, pounding of drums and proclaiming.” Performance Magazine
”Anne Bean and Paul Burwell put on an incredible show of pyrotechnics, preaching, pounding of drums and proclaiming.” Performance Magazine Hermine Demoriane and I organised a number of performances and events in the seventies and eighties. 1982 ‘He Who Is Your Lord Is Your Child Too’, a Nativity play written by Hermine in the manner of Kathy Acker, with original texts borrowed from Lou Andréas Salomé, Rilke and Freud, in which I played the part of Mary. It was staged at Notre Dame Hall, Leicester Square. The programme of the play contained an actual narcissus which ‘bled’ into the programme.
