Flora Détraz’s piece HURLULA com­poses a bust­ling sound­scape made of vari­ous screams, yells, shouts, and stud­ies their echoes in the move­ments of the bodies.

For her new piece, Flora Détraz con­tin­ues her explor­a­tion of the con­nec­tions between voice and move­ment; HURLULA is a pro­ject which revolves around the act of scream­ing, and it will take two dif­fer­ent forms – a con­cert-per­form­ance and a film which can be shown sim­ul­tan­eously as a dip­tych or sep­ar­ately. Scream­ing is a raw and spon­tan­eous mode of expres­sion, an over­flow­ing of the voice which can express a great num­ber of dif­fer­ent emo­tions, accord­ing to the cul­tures and con­texts. In HURLULA, Flora Détraz works on the artic­u­la­tion between inside and out­side; the title is a neo­lo­gism cre­ated from the verbs “hurl­er” and “hululer” (scream­ing and hoot­ing in French). A pre­par­at­ory research phase with sing­er Sofia Jern­berg has allowed Détraz to gath­er vocal mater­i­al to ima­gine a sound com­pos­i­tion com­bin­ing vari­ous types of screams, like a chaot­ic sound­scape in which the body is immersed. Flora Détraz focuses on the tech­nic­al and phys­ic­al tra­ject­ory of sound in the body and its reper­cus­sions on move­ment and emo­tions. Her dance is a dance of deform­a­tion, an over­flow­ing of voice on the body; influ­enced by the oneir­ism of exper­i­ment­al sur­real­ist cinema (from Jean Cocteau to Dav­id Lynch), the video pro­ject will use cinema tech­niques to explore the details of move­ment and the inscrip­tion of the body in nat­ur­al landscapes.