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Roberto Musci<\/a>, born in Milan in 1956, is an Italian composer, performer, saxophonist, guitarist, and visual artist known for blending field recording, traditional ethnic sounds, and modern electronic techniques. His innovative approach bridges the gap between global field recordings and experimental music, earning him recognition in both the commercial and fine art worlds. From 1974 to 1985, Musci traveled extensively through Africa, India, and the Far East, collecting ethnic instruments and field recordings, which formed the foundation of his distinctive style.<\/p>\n Upon returning to Italy, Musci began combining these traditional sounds with synthesizers and electronics, creating a unique fusion of ancient and modern influences. His 1987 album Water Messages on Desert Sand<\/em>, composed with Giovanni Venosta, was Grammy-nominated in the UK. Musci has since released numerous albums on labels like Island Records and Music from Memory, while composing for films, theater, and dance, and contributing to audiovisual installations.<\/p>\n Musci continues to push boundaries through audio-visual projects like Xenomorphs<\/em> and Pangea Panthalassa<\/em>. In this interview, we explore his lesser known work as a visual artist in addition to his storied career as a boundary-pushing composer.\u00a0<\/p>\n Brady Walker: Why create art under the name Wayang?<\/strong><\/p>\n Robert Musci: <\/strong>The term \u201cWayang\u201d comes from \u201cWayang Kulit,\u201d which is the traditional shadow theater of Java (Indonesia) and is derived from \u201cBayang,\u201d which in Indonesian means \u201cshadow.\u201d Shadow theater is an extremely fascinating performance.<\/p>\n In Wayang Kulit, finely crafted leather puppets are used to tell stories, often based on ancient epics such as the Ramayana and Mahabharata. The puppets are lit from behind, casting their shadows onto a screen, creating a mesmerizing visual experience. These performances often incorporate music, dialogue, and elaborate narration, blending cultural heritage with entertainment.<\/p>\n It is not only an art form, but also a way to convey moral lessons, social commentary and cultural values. I have seen several performances of this theater in Indonesia and have always been fascinated by shadows and have often identified with them.\u00a0<\/p>\n Shadows also hold deep symbolic meaning in various religious and spiritual traditions. In Buddhism, for example, the shadow represents the impermanence and transitory nature of existence. It serves as a reminder of the transitory nature of life and the importance of embracing change and detachment. Similarly, in Hinduism, shadows are seen as a metaphor for the illusory nature of the material world, urging individuals to look beyond the surface and seek enlightenment.<\/p>\n Shadows can represent untold stories, forgotten traditions. Furthermore, shadows can also be spoken of in a symbolic context, such as in rituals and practices that address themes of death, loss, and memory, often present in the traditions of different cultures.<\/p>\n For all these reasons, I chose Wayang as my creative avatar.<\/p>\n \nVisit Musci\u2019s MakersPlace Profile<\/a><\/h3>\n
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