From Sea to Shining Sea Performance – Nov 4

Main Gallery

At 4pm Jimena Sarno will present a choir performance by the C3LA Choir activating her “From Sea to Shining Sea” experience. Borrowing its title from the last line of the song “America the Beautiful”, the project utilizes the acoustic qualities of the site, ballistics data and weapon sounds as re-structuring parameters to deconstruct and rearrange the song for a choir performance. The reimagined musical score breaks down the phonemes and syllables of the lyrics in this iconic tune and expands them into 12 minutes of haunting mantra and firings of voices across the sonic field.

The performance will be followed by Mecca Vazie Andrews at approximately 5pm, where she will present the culmination of her MOVEMENT movement workshops with the debut of her new work “Fringes” involving the community.

“from sea to shining sea” (FSTSS) is a sculpture, video and sound installation that takes a site-specific choir performance as a departure point. The C3LA Choir will perform at White Point Military Reservation, within a decommissioned long range naval gun casemate where guns were never fired for their intended purpose. The final installation will move into Angels Gate Cultural Center, reconstructing the spatial and theatrical context of the live performance piece as a sculpture, video and sound installation.

Borrowing its title from the last line of the song “America the Beautiful”, the project utilizes declassified logistics data from White Point Military Reservation as parameters to deconstruct and rearrange the song. Through the process of breaking down language by isolating and reorganizing the musical and linguistic components of “America the Beautiful”, the piece reconsiders the song’s history, to subvert its poetic, benevolent, and hopeful narrative.

The project responds to San Pedro’s militarization process as a coastal city and the historical significance of the site. With a rich history of immigrant populations, San Pedro’s history also aligns with WWII notions of national security, as they still relate today to patriotism and xenophobia. FSTSS connects the history of this militarized, man-made landscape to the normalization of the U.S.’s exceptionalism to legitimize military interventions worldwide, and its ambivalent relationship to the displacement of immigrants and refugees, often a direct result of such interventions. FSTSS repurposes a site of military destruction, reclaiming the space through a collective audio-visual experience.

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