Nancy Lee and Kiran Bhumber are the creative brains behind Pendula, an interactive art installation that uses the movement of swings to create music and projections, which premiered at Vancouver’s 2015 Jazz Festival. Nancy, the swing set builder, is a VJ, filmmaker and new media artist. Kiran, the music programmer, is a composer and performer whose artistic interests lay at the intersection of technology and music.  Below, Sad Mag’s Shannon Tien talks to the duo about agency in art, teamwork, and the community value of swing sets.

 

Shannon Tien: Tell me about Pendula.

 

Nancy Lee: Pendula is a multimedia, audio-visual, interactive installation. We use both hardware and software to take the swinging motion and turn them into audio or visual parameters, which means their effects that can be seen and heard during our installation. Using swing sets.

 

ST: How did this idea come together? What was the inspiration behind it?

 

NL: I started building outdoor swing sets as a public interactive installation piece. And then I did an event where I installed 8 swing sets indoors during an electronic music night that I organized. And there I met Kiran for the first time–Kiran was there swinging on the swings. And at that time she thought, “Hey, maybe we could make this swing into an interactive piece.” I’d also had projections installed. At that time it wasn’t an interactive piece, I just had projections over the swing area.

 

And then we later met again at New Forms festival working as production assistant volunteers. And that’s when we had time to sit down and talk about the project and our vision for it. The swing set I had at the event wasn’t my full vision that I had for it in my mind. I wanted the projections to reflect the social interactions that happened within the swinging area.

 

Kiran Bhumber: Having seen the swings at Nancy’s party, not interactive, I was very inspired by the idea of making the visuals interactive and also adding audio elements [and a] musical performance element, which was amalgamated into the installation at Jazz Fest. We had a musical performance at the top of every hour where I played clarinet and we had a cellist and I programmed the swings to be an actual instrument and act as an effects pedal. We had the swings changing the sounds of these acoustic instruments.

 

ST: What was the timeline for this project to come to total fruition?

 

NL: About 8 months on and off.

 

ST: Can you tell me about the experience of performing it at Jazz Fest? Was anyone allowed to go in and swing?

 

NL: Yeah, after every performance, we invited people to come use the swing sets. And it was interesting, during the performance, because I’m playing the swings, it was interesting to see people’s facial expressions, how they reacted to the piece. You could see their “aha!” moments when they figured out what the swings were actually doing. I enjoyed seeing that moment.

 

ST: And how did you start working with swings? I’m just wondering because there used to be a public installation by my bus stop in Montreal where swings played different musical tones.

 

NL: Oh yeah I’ve heard of that! I started working with swings because I like climbing trees and I like building things out doors. Swings are kind of an easy thing to build. You just need rope. And I was dumpster diving and salvaging construction wood that I would use for swing seats. It costs very little to build a swing and the kind of return you get for the community or user is so much greater than the financial cost of building it. It is a really great investment for the community to build swing sets. You generate so much joy from it.

 

Usually we’re used to art installations being behind glass or a “do not touch area”. There’s a very definitive boundary between the observer and the art piece. And with this swing set, people do come up to us and ask, “Are we allowed to touch it?” But when people can play on the swing set they kind of become the piece. And some of the people who were using the swing sets, they kind of understood that, you know, “I’m becoming a part of the installation.”

 

KB: And also the addition of individuals on each swing. The piece is going to be different depending how many people are on the swings. So, the social adaptation and amalgamation of their swinging motion to create more aspects of the piece.

 

NL: We have three swing sets, so they’re kind of a three-piece ensemble. And [the people] all play the swings in a different way so the collective audio-visual output is different every single time.

 

ST: Did anybody get really into it at Jazz Fest?

 

NL: I think at the Jazz Fest, because of the setting, people were into figuring out the swings. People tested out different things. I think with public art installations, people are still pretty shy. People were more into figuring out how it worked than playing it as an instrument.

 

ST: Is this the first time you’ve set this piece up?

 

NL: It’s the first time that we’ve done the three swing sets with the audio and visual.

 

KB: It’s been challenging incorporating the audio into a space that will allow it. So there’s no sound bleed. That’s an issue we had with Jazz Fest as well. The previous installs have been just visual because of that.

 

ST: How did you overcome that challenge at Jazz Fest?

 

KB: We got bigger speakers.
ST: Have you two collaborated before?

 

NL: This is our first collaboration together, but this is just the beginning of something. We plan to do more interactive musical pieces and performance pieces as well. We have so many ideas in our head that we would definitely like to explore in the future.

 

ST: Do you have any upcoming events?

 

KB: I just had my upcoming event today actually. I curated a show for Jazz Fest that was all based on interactive works. So technology and music. But at this moment Nancy and I are going to Kamploops in a couple days to start working on a new project. It’s kind of more vague now. We’re just going to check out the site.

 

NL: It’ll also be interactive, but more on the exhibition side of things, rather than a performance.

Watch: Pendula by Nancy Lee and Kiran Bumber

Pendula was on exhibition in Vancouver June 20 and 21st as a part of the Vancouver Jazz Festival. Visit www.swingwithpendula.com for further information on the Pendula Exhibit, and www.coastaljazz.ca for more information on the festival.

This interview has been edited and condensed. Thank you to Jelissa at Classics Agency.