Carmen Zella of NOW Art sat down with artist Odeya Nini for a livestream about her work and collaboration with our Attune project on Instagram (@nowart_la). As a creative art agency, we love to foster conversations around art, sound, design, and innovation around Los Angeles and beyond.
Below is a transcript of the video:
Carmen Zella (CZ): So I’m super happy to have this conversation with you.
Odeya Nini (ON): Yes, likewise.
CZ: I feel like since we just first started in conversation, there’s been a lot of synergy, you know, with the idea behind this exhibition and your practice. Can you talk a little bit about your work? Like, if you were to describe your work to somebody that you met on an airplane, or somebody that was unfamiliar with your practice, how would you describe it?
ON: It’s always hard to put into words, but I call myself an interdisciplinary vocalist, which already—hopefully that word interdisciplinary—opens up kind of like a question of, well, what is that? Not a traditional vocalist, but really bringing in different disciplines. There’s movement, and the body and the spirit, and some kind of embodiment elements, theatrical elements, performance practices, deep listening, improvisation, and a lot of different elements that come into the practice. It’s not just one thing. I really think of it as pulling from all these different things.
But I think what it has mainly become is a practice of finding connection between us, through energy, through the voice, but the voice really being energy and vibration; and opening up a channel, connecting with something that’s beyond the physical, material world, which is what sound is: vibration, energy, and connecting in that way.
So when I work with people, teaching them how to sound and guiding them, I’m really talking about the voice in that way. And as a performer, I put that in the forefront of what I’m intending. So it’s not just about something being interesting, but about it being a deeply felt, heart-centered experience of connection and gratitude and love that is received through the art form.
CZ: So when you’re performing, how much does the audience participate in what is being shared in that moment?
ON: They have a big role in it because they’re receiving, and they’re also giving their energy. It’s an energetic exchange. Even if we’re completely silent, there’s a lot of energy.
So my role initially is creating a space where people can arrive and be open to receiving, like having them feel they’re welcome. They’re invited energetically into an experience. And then whatever happens sonically, whatever happens energetically, they’re involved. They’re pulled into it, and they’re receiving, and they’re also giving back with their presence. And then we’re going back and forth.
So people do have a very big role. We all, me as a performer, the audience, the space, everything, we’re kind of moving and shifting in the space as part of the whole experience.
CZ: So out of curiosity, in this platform for Attune, and there’s a bunch of things that you mentioned that I think are really super important; there’s a documentary that I’ve just been deeply invested in that’s talking about the fact that if you go past ourselves, past our atoms, everything that looks like solid matter is actually, when you go into that quantum space, all particles that are separate. It’s actually just energy particles.
So the fact that sound and frequency can move those energy particles in our bodies for healing on all these different levels means that it’s not penetrating these preconceived solid structures, like nothing that we see is solid anymore. And so then there’s this beautiful understanding of the importance of energy exchange.
Something that is a curiosity to me is: on a platform where there are physical people in front of you, but you’re also engaging and exchanging with people that are present but not physically present—have you ever done that before, and how is that going to play into your presentation and composition?
ON: Yeah, I mean, teaching online or doing anything like that, people are there. Sometimes I don’t see them if they might have their camera off, if it’s a group class.
But when I’m on my online course and having people experience my work when I’m not there, I’m guiding them and we’re sounding together, but it’s a recording. So I feel like my energy and presence are still there, even though I’m not physically there at the moment.
I think so much of it is what we hold in our minds. The way I think about sounding and the energy that is the sound, how that song or texture, whatever I’m vocalizing, moves through space and ends up landing or imprinting on people, is about the intention I put into it.
So for me, thinking about all those different people in different places that I can’t see, and imagining them and seeing them in my mind’s eye and just feeling that they’re there, brings them close. I don’t really think of them as being far away or not connected. I feel like if I feel we’re connected and they’re here, even if I don’t see them, then it’s just as if we’re all in the same room.
I’m not thinking of modifying it really for someone I don’t see, but just bringing the unseen into feeling like they are right there.
CZ: Are you going to be prompting the audiences in some of these separate locations to engage, and then we can hear them?
ON: Yeah. So the invitation is that there’s going to be a track that we play, a field recording track taken from different locations in the city and nature sounds. That’s the idea. So different kinds of textures.
And then there’ll be a very simple melody that we will all be invited to sing together, so that we’re all connected through just a simple melody that will be easy for folks to echo. And then we’re just kind of singing together inside of this landscape.
CZ: And what is it that you would love to achieve with your artistic practice? Like, if you were to say, my metrics for success—when you stand in front of an audience or create a composition—what is it that you’re hoping to accomplish?
ON: I hope that people feel that it moves away from just hearing with the ear and thinking, “Oh, I like that,” or “I didn’t like that,” or “That was cool,” or “She’s talented,” or “This is interesting.”
But whatever it is, they take it in and feel it as an experience, and feel like they were happy to be there, and that they’re grateful, and that it felt good to be in the experience of that performance, that sound.
So I think in all my performances, there are compositions and a lot of different things going on, but the most important thing is what I bring with my energy; what I’m holding in my body, what I’m radiating outward, what I’m thinking about, and caring about what I’m doing with the audience and pulling them in.
Everything that’s unseen but felt—riding the waves of sound—and that people at the end feel, “Wow, I am so grateful that I was here. That felt really good.”
And it can be different things. Some people might feel like, “Wow, that was really sweet and beautiful.” Others might feel something intense, an image, a memory, a loved one, a deceased loved one. Something is happening.
It’s not about the music itself, but the music is a way to open up a different kind of experience, something that person needed.
So maybe in something like this, where there are textures and sounds—water, wind, animals, rustling leaves—and then we’re singing this repetitive melody, that repetition can put us in a kind of trance and take us out of our heads. All those questions start to melt away, and we’re just like, “I’m just here. Here I am, sensing and feeling. I’m with other people. I’m on the planet. I’m feeling love.” Something happens.
CZ: Yeah. If I were to offer you any location, any circumstance to perform, what would be your North Star? Have you ever thought about that?
ON: Yes. I feel lucky that I’ve performed in so many absolutely incredible, mind- and soul-bending places that are resonant. I’ve been seeking them out for many years now, spaces that have incredible acoustic resonance, where I can feel the space give back so much.
I think spaces like cathedrals—
CZ: Oh yeah, like a cathedral that doesn’t have too much iconography, but has that sacred domed ceiling.
ON: Yes. But I’ve performed in silos and caves and water towers and tunnels. I performed in a cave, it was just incredible. And in a mine a few months ago in upstate New York, absolutely incredible energy. So spaces that are so resonant, and to continue doing that.
CZ: That’s something nice. So my last question is: outside of what you want the audience to feel, what do you want your practice to contribute to in the world?
ON: I think it means so many things, but what I’m thinking about in recent years is that it’s really come down to a sense of love, love for ourselves.
So many people don’t love their voices, or there’s so much judgment around them. But the voice is such an incredible instrument. It’s not about being a musician. It’s about being a human being. It has so many secrets to tell us. It’s medicine. It’s moving our body. It’s breath work. It’s energy work. It’s consciousness, going beyond the material world.
And it doesn’t matter what sound. It’s not about a specific sound that’s going to make me feel love. It can be a cry, a wail, a sweet angelic tone, anything.
When we’re sounding a certain way, and we’re really feeling and sensing sound, vibration, energy, then we can leave our troubles behind. All the stuff that feels like walls and boundaries and limitations, we can just be in a different space.
That’s what we all really are. We are love.
It took me years to feel like I could say that. But now it’s just what it is.
I feel like that’s been my mission in the last few years through my work as an artist, through teaching, workshops, retreats, sound meditations, and working with people. I see it again and again. I see how people, through this work, feel transported and feel loved by the sound, and feel like they can give that. And it’s not something that’s ever done. It’s a discovery. It’s a practice. We keep reminding ourselves that there’s so much beyond what we think our limits are.
Voice really teaches us that. And we all have it.
CZ: Yeah. Absolutely.
ON: It doesn’t have to sound like anything. It has to feel, intend, and connect.
CZ: I am so overwhelmingly excited for this project and to hear your composition.
ON: Thank you, Carmen.
CZ: It’s been a real pleasure to have this conversation with you and get to know you a little bit more.
ON: Thank you for having me. Thank you so much.
CZ: This is everything. What you’re sharing with Los Angeles County is going to be extremely special. I’m very excited. Have a really great night. I’m going to go ahead and post this on Instagram right now.
So thanks again, and we’ll talk soon.