Rainforest and Jambori Rimba Audience-Interactive Playpens (Installations)
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Note: As of 2004, "Rainforest" has undergone major revisions, including complete redoing of all stations using the MAX/MSP software especially designed for this installation by the composers, and the integration of multicultural aspects showing how native peoples (from our expeditions in Borneo and the Amazon) live, work, and play,
Description of event: "Rainforest" is a portable, self-contained audio-visual-environmental audience-interactive installation which allows up to five participants at a time to instantly create original and beautiful sounds together, over the sultry and ethereal rainforest drone playing in the background, while viewing the slowly-changing surrealistic multiple slide presentation of rainforests from around the world. It can be open to the general public, or classes of 25 at a time can be accommodated in 30-45 minute increments. Unlike other "exhibits", the creators and facilitators are present at all times, interacting with the visitors. The creative stations consist of keyboards sampled with actual rainforest sounds recorded by the McLeans in Peru, Hawaii, Australia, Puerto Rico, Borneo, and New Zealand. Other stations include microphones with artifacts that can be used by the visitors (bird calls, etc.) and which are then digitally-processed through delays, pitch-shifting, etc., and an amplified and digitally-processed spoke wheel. "Rainforest" is structured so that there are no "wrong" or "unmusical" choices. It works well with a variety of university (music major, general studies, etc.) and community environments, and has been successfully performed in museums, galleries, alternative spaces, universities, and community arts centers.
Click here to read some recent hosts' comment on "Rainforest."
What comes with "Rainforest": The artists will be driving, bringing all performance materials (2 synthesizer keyboards, equipment rack, mixers, mics and stands, etc.) and green lighting. They stay with the installation throughout, interacting with the visitors. Sound system and slide projectors may be provided if host wishes.
Setup: Time needed-three hours including unloading. Can often partially unload the night before. Setup is at the front of room in a convex semicircle with each station c. 3-4 feet apart. Slides are ideally projected on front wall behind equipment so visitors can look up at them while performing. This is flexible, however. See setup diagram below.
Equipment provided by host: 2 large cafeteria-style tables, 1 school desk size table, 1 music stand, loading cart for long hauls, 1-2 standard Kodak Carousel or Ektagraphic slide projectors w spare bulbs, large screen or light wall space to project slides on preferably toward front of room, 20-30 chairs.Stereo sound system is requested. For a slight extra fee, McLean Mix can provide the projectors (but not the screen) and the sound system ($50 each, one-time fee no matter how many days).
Services to be provided by host: Publicity and promotion, room completely darkened, c. 25 chairs set up, projector screen set up, help with unloading. During the opening hours, controlling visitor access to the room. With a walk-in situation with a large audience this might mean stationing someone at the door to make sure no more than 15-20 people are in the room at any one time (those not participating directly can sit and look at the slides and listen to the sounds being created). With specific classes, host needs to coordinate schedule, and teachers are asked to help control traffic to and from the creative area as participants take turns.
Power requirements: 20 amps, one plug to the tables.
Space requirements: Very flexible. Basically a large (c. 30 x 30 on up) room, hall, gallery, or auditorium that can be darkened will do. Should also be isolated from other loud sounds such as music playing next door or gym classes carrying through walls, etc.
Security requirements: Only applicable for more than 1-day installations. We ask that the room be locked during times we are not performing, and that during these times nothing else be scheduled. If room is not completely secure, then we ask that host provide an audiovisual cart on which we can set up the main part of the electronics, and wheel it into a secure office overnight. We ask that all reasonable means be taken to secure our equipment. This being done, we do not hold the host liable for theft, fire, or other calamity.
Cost and length: Please refer to Events and Fees link. For multi-day stays, you have the advantage of greatly increased audience through word-of-mouth. Rainforest is a hybrid between a type of interactive museum experience, and live performance. This is its uniqueness. "Rainforest" is often done with a formal concert at the end. We can send descriptions of these at your request. Due to its audience-interactive aspects with the artists, "Rainforest" is enthusiastically supported by Meet the Composer, and funding approximating 1/3- 2/3 of the fee is often available through application by any non-profit organization. Inquire about this.
Testimonials from recent venues sponsoring Rainforest.
Floor Plan: (Note-we now usually use the "alternate" slide projector placement)
These are examples of the visual (2 slide projector, single screen, fade and dissolve) approach accompanying the sound. For a peek, click here. Note: These images may take awhile to load.
The McLean Mix Compact Discs & Cassettes Heading ~ The McLean Mix Performances Heading ~ How to contact The McLean Mix ~ Table of Contents
Please note: This is our newest and perhaps
most unusual audience-interactive installation. Premiered in October
of 1996 at the Universiti Malaysia in Sarawak province of the island of Borneo,
it has had spectacular success in its full USA premiere at S.E. Louisiana
University in Hammond in a week-long residency, after which it became available
for presentation throughout the McLean Mix touring schedule. What follows
is an excerpt from Priscilla's program notes to the original UNIMAS performance
(the first two graphics from Hasnul J. Saidon's program design):
The steaming Borneo jungle is alive, and embraces you as you walk into a
darkened room reverberating with cicada calls, drums, sape, singing, gamelan
and 
bird calls engaged in a unique harmonic
blend, throbbing with the wild beauty of the rainforest and its peoples.
An art video draws you in, as you see mysterious jungle images melting into
one another. On the floor are inviting instruments, calling to you to add
your own creativity and explore what they have to offer: sampled rainforest
birds on the keyboard, a mixing board allowing you to fade in and out music
of Kenyan, Iban, and Malay tribes, and drums, which surprisingly blend together
musically, a microphone that invites you to add your own sound and listen
to it change and repeat in curious ways, a set of beautifully designed ceramic
"logs" suspended from the ceiling to be struck with a wood piece, a circle
of light that invites you to actually "step in" to the jungle and visually
see yourself blend with the existing surrealistic video images on the large
screen above -- all for your exploration. Along with this, a stereo tape
is playing composed music and authentic cries of insects, birds, and frogs.
The idea for JAMBORI RIMBA! began when three artists -- Malaysia's leading young video artist Hasnul Jamal Saidon and the internationally acclaimed composer/performer touring duo The McLean Mix (Barton and Priscilla McLean) wished to continue their work together after their very successful collaboration in 1992 which produced RAINFOREST IMAGES. This video/musical work was a mix of rainforests' sounds and visions around the world, and especially the Peruvian Amazon, and the idea was formed to create an art work involving the oldest rainforest in the world and its special people here in Borneo, as a tribute to the unique Malaysian style of bringing different voices together in one united song, and as an expression of the beauty and harmony of the fragile Borneo rainforest.
The University of Malaysia, Sarawak (UNIMAS) arranged for Barton McLean to
spend three months here beginning September 15, and to set up the brand new
state-of-the-art electronic music studio in the Applied and Creative Arts
building. On October 9 he was joined by his wife Priscilla, and the four
artists, including musical advisor Mohd. Fadzil Abdul Rahman began a series
of expeditions, funded by UNIMAS, to learn about,
experience, photograph, and record a wide
sampling of the Borneo jungleexperience. The artists have recorded and filmed
at Bako National Park, have lived with the Ibans at a longhouse and a remote
hunting station in the Ulu Ai, have searched for orang utans near Batang
Ai, have experienced the screaming cicadas and hornbills at Kubah National
Park, have toured the Semenggok area, and the Wind Cave near Bau, were kindly
hosted by Narawi Hj. Rashidi at the Sarawak Cultural Village, and have spent
several dawns recording various bird and insect choruses, nearby, including
braving the impenetrable palm swamp behind the Applied and Creative Arts
building at UNIMAS!
A remarkable event occurred when the McLeans began listening to all the recorded sounds. They discovered that, when played together, the Iban music blended with the sape tunes, and that the soaring evening cicadas at Kubah were harmonizing perfectly! A feeling of amazement came over them when they realized that these and many other sounds really do unite (in the key of E), into a rich Borneo symphony unaltered by electronics! Perhaps we are finally discovering the real symbiosis of people and the rainforest, which has been here all along!
The McLean Mix: JAMBORI RIMBA Fact Sheet
Description of event:
"JAMBORI RIMBA" is a portable, self-contained audio-visual-environmental-audience-interactive installation which allows over a dozen participants at a time to actively participate in creating sound, movement, and art work (in the accumulated schlpture exhibit) within the context of a haunting multimedia environment (sound, multiple slides, video, interactive video) inspired by the Malaysian Borneo jungles and its peoples. Although displaying characteristics of an exhibit, it is most importantly a media composition by composers/media artists Barton and Priscilla McLean, and is performed by the participants who come through the space. It can be open to the general public, or classes of 25 at a time can be accomodated in 30-45 minute increments. Unlike other "exhibits", the creators and facilitators are present at all times, interacting with the visitors. The creative stations consist of (refer to setup diagram below) (1.) a continuous 45-minute video produced by Malaysian video artist Hasnul J. Saidon from field trips taken into the interior while living with the Iban (former headhunter) tribe, and incorporating modern video processing techniques. The images of the natural and human environment are made abstract by HasnulÕs artistry. This is not sequential, and can be absorbed for any length of time (as can all the other stations). It serves to set the visual tone for the whole exprience. (2.) the Interactive Dance/Movement Virtual Reality station is a combination of multiple slides and live video processing/projection. The participants enter a space draped with black cloth. Their image is transported, via video camera and video processor, to a screen to the left, where they can see their movements as though they were actually part of the slide images (taken from Borneo jungle scenes) on the screen. As they move, their movements are altered in strange ways, to allow for creative interaction within their own movement and also within the jungle image on the screen. The multiple slide images change in a slow fade/dissolve fashion so that one image is always part of the other. The dark spaces in the image are where the participant can look for his/her image. The actual video processing is constantly changing, adding a wonderful unpredictability to the experience. During its USA premiere, several dancers became quite absorbed in this virtual reality experience, and stayed for hours. (3.) The Cultural Mixer allows participants to blend together music loops from various tribal chants, dances, and instrumental excerpts. (4.) The Ceramic Gongs, beautifully decorated by visual artist Ann Kristen Lindsay from authentic Borneo designs, can be struck with mallets and the resulting sound echos and is pitch-shifted as the participants listen. (5.) The Jungle Wheel is stroked with mallets, or bowed with a violin bow. The resulting sounds form an eerie choir which blends with the others. (6.) A microphone is provided for those who which to bring small instruments (woodwinds, small strings, artifacts, etc.). Their creations are echoed and processed to allow for significant creative interaction with themselves. (7.) The Keyboard Sampler contains sounds recorded by the McLeans on field trips to Borneo, and serves to add an authentic flavoring. Among the sounds are those of native birds, insects, and amphibians. Participants can Òcreate their own mini-jungleÓ by playing multiple keys on the sampler. (8.) The Accumulated Sculpture area is an optional component which is organized by a local art teacher under our direction, and requires whatever types of art materials can be most efficiently utilized (colored paper, scissors, glue, twine, leaves and twigs and branches, fabrics, cloth, light wood, etc.). Participants create various jungle artifacts (masks, natural items,etc.) which are then hung in the main room, and are lit with colored spotlights to provide a stunning visual complement.
HASNUL J. SAIDON, JAMBORI RIMBA VIDEO ARTIST
Click here for the spectacular JAMBORI RIMBA SLIDE/VIRTUAL REALITY EXAMPLES
"JAMBORI RIMBA" is structured so that there are no "wrong" or "unartistic" choices. It is targeted toward adult/university/community-family audiences, and can be successfully performed in museums, galleries, universities, and community arts centers. Of all of our installations, ÒJAMBORI RIMBAÓ is the most multidisciplinary, involving artistic creativity (music, dance, fine art), cultural areas, technology, geography, and mixed media. University or high school classes in music performance, ethnomusicology, theory, composition, art studio, photography, art history, dance, environmental studies, biology, cultural studies, etc. can be specially accomodated.
What comes with "JAMBORI RIMBA": The artists will be driving, bringing all performance and processing materials and creative station lighting, video camera and lighting, second sound system. They stay with the installation throughout, interacting with the visitors.
Setup: Time needed -- a full day before the installation begins. Before the McLeans arrive, the tables, projectors, screens (or wall spaces) and sound system would need to be in place, or close to it.
Equipment provided by host: 3 large cafeteria-style tables (6 including the optional accumulated sculpture component), 4 music stands, loading cart for long hauls (4-wheeled horizontal cart--not a hand dolly), 1-2 standard Kodak Carousel or Ektagraphic slide projectors w spare bulbs, large screen or light wall space to project slides on; one video projector with RCA composite input and large screen or wall space; either (1) a second video projector with VHS cassette playbackand large screen or wall, or (2) a large video monitor attached to a VHS cassette player; stereo sound system with all cables to speakers, etc.; 3 mic stands with booms; 8 chairs or floor pillows (or even better, 2 couches where the chairs are indicated). Various art materials for optional accumulated sculpture component.
Services to be provided by host: Publicity and promotion, room completely darkened, chairs, sound system, tables set up, projectors and screens set up, help with unloading and setup. During the opening hours, controlling visitor access to the room. With a walk-in situation with a large audience this might mean stationing someone at the door to make sure no more than 20-25 people are in the room at any one time (those not participating directly can sit and look at the slides and listen to the sounds being created). With specific classes, host needs to coordinate schedule. Power requirements: 20 amps for central power area in middle of space. 2 separate circuits for slide projectors and main sound system (15 amps each).
Space requirements: Very flexible. Basically a large (c. 30 x 30 on up) room, hall, gallery, or auditorium that can be completely darkened. Should also be isolated from other loud sounds such as music playing next door or gym classes carrying through walls, etc. For the optional accumulative sculpture component, an adjoining hall or space that can be lit is needed. Also in this space (a foyer type of space) we would like to hang a modest introductory wall exhibit about the artistic, cultural, geographical, environmental aspects of the experience. It can be done on one wall or we can do a more elaborate exhibit, with paintings, masks, other artifacts. Depends on the space. So, before they actually enter the darkened room, they will be able to read about what they are about to do.
Security requirements: We ask that the room be locked during times we are not performing, and that during these times nothing else be scheduled. If all reasonable means be taken to secure our equipment, we do not hold the host liable for theft, fire, or other calamity.
Cost and lengh: Unlike our other installations ("Rainforest" and "Desert Spring"), this one requires more setup effort (we think the rewards justify it, however). We would need to charge a setup fee in addition to the actual running of the installation. Setup day; $500. 1st day of installation: $800. Each additional day, $500,plus lodging (room with separate beds) and meals. For multi-day stays, you have the advantage of greatly increased audience through word-of-mouth. "JAMBORI RIMBA" is a hybrid between a type of museum or gallery exhibit, and live performance. This is its uniqueness. "JAMBORI RIMBA" is often done with a formal concert at the end. We can send descriptions of these at your request. Due to its audience-interactive aspects with the artists, "JAMBORI RIMBA" is enthusiastically supported by Meet the Composer, and funding approximating 1/3- 2/3 of the fee is often available through application by any non-profit organization. Inquire about this.
Jambori Rimba Complete Floor Plan
Available time periods: change from week to week as the schedule develops, so it's best to call. Contact Barton McLean, 55 Coon Brook Rd, Petersburg, NY, 12138, USA (518) 658 3595.
Full copies of all reviews, demo cassettes, video, brochures available upon request, as are information on funding sources. Address: #55 Coon Brook Road, Petersburg, NY, 12138, USA. Phone: (518) 658 3595
