Hanna Tuulikki, SING SIGN: a close duet, 2015

Hanna Tuulikki, SING SIGN: a close duet (film still), 2015. Courtesy of the artist.

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Hanna Tuulikki
SING SIGN: a close duet, 2015




Hanna Tuulikki’SING SIGN: a close duet, was originally commissioned for our 2015 edition, and combined live performances in Fountain Close, just off the Royal Mile, with a two-screen film installation presented at Gladstone’s Land. In revisiting the work, Tuulikki will also present a special live performance on-line, with her collaborator Daniel Padden – looking to the performative possibilities of the digital technology which has become such a critical tool for us all in recent months.


Originally devised for one of Edinburgh's historic 'closes', SING SIGN: a close duet reflects on the multiple ways in which we communicate, exploring the body in relation to the city. Taking its cue from Baroque social dance, at its heart is a vocal and gestural suite, performed live and for a two-channel film. Facing one another, my collaborator Daniel Padden and I enact an encounter: a dialogue conducted entirely through wordless song and gesture.

Borrowing the structure of a 'hocket' – a musical device where the melody is spilt between two voices – the vocal score adopts the rhythmic pattern of a map of the Royal Mile, to divide the parts. The resulting music is ordered, yet, like the city, it's asymmetrical; non-lexical sounds bounce back-and-forth like a baroque game of syncopated table tennis. As the notes of one voice coincide with rests in the other, the act of spoken conversation is given musical form. The choreographic score takes a different approach, translating street names into silent hand gestures drawn from British Sign Language. Moving in unison, our synchronised signs become poetry-in-motion, transforming words into dance.

Performing the vocal hocket is difficult; like walking a musical tightrope, if one person trips, we both fall and it collapses. To make things easier, we sing within a shared pitch range – I stretch out of my comfort zone into my lower register, Daniel extends his voice to his higher register –  undermining normative gendered voices. Muscle memory also helps, as do small gestures – the nod of a head, or an intake of breath – signalling intention. To stay balanced, we learn to communicate beyond words.

Revisiting SING SIGN in this strange period of physical distancing, the work reminds me just how much I miss the intimacy of real life interactions. Of course, we can all connect remotely, but in online video calls where faces freeze and sounds distort, the nuance of exchange is so often lost. As we prepare for an online performance, I remember that the origin of the word ‘hocket’ comes from the French for ‘hiccup’ or 'sudden interruption’. I wonder how technology might impact on our interaction. Daniel and I will both perform from our own homes, not face-to-face, but screen to screen. Will our exchange be interrupted by failed internet signal, or audio delay? Will we be able to read each other's subtle signals? I decide to keep an open mind and embrace the medium as part of the work. Hopefully we'll be able to stay balanced on the tightrope! Hanna Tuulikki


SING SIGN: a close duet is performed by Daniel Padden and Hanna Tuulikki, and developed with Deirdre Nelson (costume), Karen Forbes (British Sign Language choreography), Daniel Warren (film), Pete Smith (sound), Robin Gillanders (photography), Ruth Barker (dramaturgy). With additional support from Edinburgh World Heritage, National Trust for Scotland, and Edinburgh Sculpture Workshop.

This re-presentation has been made possible thanks to the support of the Scottish Government’s Festivals Expo Fund and EventScotland, part of VisitScotland’s Events Directorate.

Full selection of artist responses is available here.


Hanna Tuulikki (born 1982, Brighton, England) lives and works in Glasgow. She graduated from the Glasgow School of Art in 2006 from Environmental Art and now works across the visual arts, music and performance. Recent multi-artform projects include Deer Dancer (2019); cloud-cuckoo-island (2016); SOURCEMOUTH : LIQUIDBODY commissioned by Kochi-Muziris Biennale (2016); Women of the Hill commissioned by ATLAS (2015); Away with the Birds commissioned for Glasgow 2014’s Cultural Programme and the SPACE (2014-2015). Selected solo exhibitions include Edinburgh Printmakers (2019); Galleri Format, Malmö (2018); Alchemy Film & Arts (2018); BALTIC Centre for Contemporary Art (2017). She was Magnetic North Theatre's first Artist Attachment supported by Jerwood Arts (2017-19), and was shortlisted for the Max Mara Art Prize for Women (2019). Forthcoming exhibitions include British Art Show 9 (2021-22) and Helsinki Biennial (2021).


30 July – 30 August