In the corridor of Edinburgh Sculpture Workshop, Hanna Tuulikki is spinning what looks like a wooden carving of a bird-feather on the end of a rope above her head. Standing outside her studio, with the aid of what she calls a thunder-speller, the Anglo-Finnish artist, singer and performer is making a noise that sounds like a low whoosh of industrial thunder. The last time she used the ancient instrument more commonly known as a bull roarer in such a fashion was in 2015 on Skye, when the thunder speller heralded in the open-air performance of Tuulikki's three-act ritualistic song-cycle, Women of the Hill. More than two years on, Tuulikki and her thunder-speller revisit Women of the Hill by moving indoors for a one-off performance at the Centre of Contemporary Arts in Glasgow. Re-imagined for a theatrical context, this showing of a work devised for three female performers is a long way from the outdoor hollow close to the hidden entrance of High Pasture Cave, the iron-age sacred
An archive of arts writing by Neil Cooper. Effete No Obstacle.