Kulning is an ancient Nordic singing style, traditionally used by women at the summer pastures to call the cattle and as a way of communicating with each other from a far distance. Kulning are high pitched, melodic and strongly directed loops that can be heard from several kilometers away. I use Kulning as a vocal expression in my compositions. Kulning is about liberating my voice and letting go and it demands space.
I’m a singer from Stockholm. Kulning and folk singing became my musical language when I discovered folk music at the age of 20. I was seduced by the tonality, variety, flexibility and freedom to sing in my own personal way.
I want to Kula! How can I kula if I don´t have a forest? Could I be able to create a virtual “forest” where my voice can grow and spread out in the same way as outdoors?. Can I create new music on the condition of the Kulning and get a satisfying kulnings experience indoors?.
Where am I?
Folk music and kulning is my musical language. I live and work in a society of change, migrations, nationalism, and unfair distribution of resources between poor and rich, men and women. In my music I want to reflect past and present, based on the instrument and singing style I made to mine.
I experiment with kulning in indoor spaces. Improvise in a open Grand piano, revalue technics, directions and positions. Try out tools to create “virtual musical SoundScapes” using digital technology. Experiment with exercises that can give my voice long durability. Try out composition models to get musical ideas to implement in new compositions.
The insight that the room is an extension of the sound of kulning made me understand the importance of uncompromising acoustics. Only then can the Kulning come out true and I can start creating music on my own terms.
The question is whether I can create music only based on the premise of the kulning with the idea that the room is an extension of the kulnings sound?
Why do I want to challenge myself with Kulning? Can I express myself and tell everything I want by kulning? Does the historical perspective matter? Can singing and kulning fit in the same composition? What happens when I change the historical context to a new one? How can I defend that I’m doing an outdoor music indoors?