CONCERT 5 A Little House Music at CAMPGround
world premiere
SATURDAY, MARCH 7, at 6 pm
Dancers: Bailey Grayson & JepStar Jacinto
Cabin Fever Orson Abram
Cabin Fever is a work of self-expression exploring suburban repression and the psychosexual and violent consequences of this lifestyle. Inspired by the work of artists such as Ryan Trecartin, Alan Resnick, and Paul McCarthy as well as the concept of the “final girl"/monstrous feminine in films such as Andrzej Zulawski’s Possession, I explore what it means for human behavior to be uncanny and stretch the boundaries of humanity and interactivity through performance. Audience Participation is encouraged. Viewer discretion is advised.
Orson Abram is a multimedia artist who blurs the lines between composer, percussionist, improviser, filmmaker, performer, and sound artist. In 2025, they graduated from Oberlin Conservatory and College, where they studied Music Technology, English, Percussion Performance, Cinema and Media, and are currently pursuing their master's degree in Composition with a Teaching Assistantship in Music Technology at Bowling Green State University, where they study with Marilyn Shrude and John Eagle. Orson works across the intersections of video, performance, installation, and music composition to explore the translation from personal to universal memory, the ethics of performance, and transgression in traditionally conservative spaces. Their work aims to provoke and cross the lines of what music composition and performance is designed to be.
OUToutOUTsideSIDEside Anthony R. Green
A house, like a fence, can serve the function of welcoming and keeping people in or shewing and keeping people out. With this in mind, the happenings on the inside of a house are quite often and also seemingly separate from the happenings outside of it. OUToutOUTsideSIDEside attempts to abstractly explore this relationship in a fun, rather queer, devious manner. Movement and sound have implications. What, if anything, can these implications teach us abstractly about internal and external domesticity?
Anthony R. Green (he/they, b. 1984) is a composer, performer, and social justice artist. His projects have been presented in over 25 countries across 6 continents by various soloists and ensembles including Alarm Will Sound, ensemble dal niente, and the International Contemporary Ensemble. Green is the co-founder of Castle of our Skins, co-artistic director of the Cortona Sessions, and a visiting professor at the Royal Conservatoire of Scotland in Glasgow.
It Runs in the Family AJ Francisco
It Runs in the Family is a work for fixed electronics and dance, and was created for Contemporary Art Music Project’s 2026 House Installation project, “A Little House Music”. This work explores the feelings and emotions associated with the effects of living in a house one does not consider home and the experience of interacting with a family one does not feel comfortable being themselves around.
The work follows two siblings who live at home, where they try their best to avoid
confrontation with a parent. The siblings begrudgingly prepare themselves for a house party later in the day, though once guests arrive, they are bombarded with more confrontational and invasive questions and comments from the guests, which gradually chip away at their mental stability in different ways as the party goes on.
Uncomfortable but relatable, It Runs in the Family aims to give a voice to those who have struggled with reconciling their past or current circumstances with their familial or cultural background.
Thank you to the following people, who recorded various voice lines for the fixed electronics: Cristina Loyola, Claudia Beroukhim, Kai Berry, Bea Carr, Mary Catafago, Morgan Harrington, Kristine Kemmer, Sean MacCarthy-Grant, Matthew Shreve, and Kailyn Wynn.
AJ Francisco is a Filipino-American composer based in New York City who fuses the styles and concepts of traditional Filipino and Western music and creates narratives that engage audiences in new perspectives. She uses composition as an avenue to spotlight experiences that are meaningful to her and the communities she is a part of, from aspects of her Filipino heritage to personal subject matter that challenges audiences to reflect on themselves and the world around them. Francisco is a recipient of the ASCAP Foundation Bart Howard Fund honorarium, and has had works performed by several ensembles across the United States, including the Rhythm Method, Contemporaneous, Hub New Music, and NYU Percussion Ensemble. She is pursuing a Master’s in Music Theory and Composition at New York University. Her composition mentors include Julia Wolfe, Shelley Washington, Stephen Coxe, and Adolphus Hailstork.
Still Life Joseph Bourdeau
Created for Eunmi Ko and Bailey Grayson, Still Life is a site-specific audiovisual performance which celebrates houses and dwelling places as collections of sights, sounds, and behaviors which make up the fabric of our lives. The work presents these daily experiences in ways that range from mundane to surreal, at times blurring the distinction between performative and non-performative action. In doing this, Still Life explores the ways in which behaviors cultivated in private performances can come to feel incidental, while physically embodying aspects of our conscious experience. Similarly, the audiovisual landscape of a home can form a baseline of familiar “background noise” with components both cultivated and incidental existing together to create a highly personal environment. In Still Life, a collection of these sounds and actions is explored through live music and dance, with audiovisual components that aim to take advantage of space and synchronicity as a way to experiment with our experiences of familiar sounds and images.
Joseph Bourdeau is a composer, educator, and performer currently based in Los Angeles, California. Influenced by diverse interests, his work often blends music, theater, and visual elements as a way to manipulate familiar sounds and situations in the pursuit of surreal new experiences. Working in mediums including notated concert-music, free improvisation, and electroacoustic performance, he has presented music and given workshops across the U.S. and internationally. Joseph holds bachelor’s degrees in music education and composition from the University of South Florida, as well as master’s and PhD degrees in composition from the University of California, San Diego.
Consume Robert Voisey
Consume is a site-specific performance installation that transforms CAMPGround’s kitchen and living area into an immersive ritual of sonic preparation, shared silence, and sensual reward. Focused on indulgence, transformation, and communion, the work invites audiences to reconsider their perceptions of noise, food, and ceremony, rewarding them with sweetness in both sound and taste. Consume reflects composer Robert Voisey’s ongoing interest in performance as experience, sound as ritual, and the playful reimagining of how music is made and shared.
Robert Voisey makes music, breaks rules, and occasionally explains why noise is intentional. A composer and instigator of contemporary sound, his work has appeared worldwide, including Carnegie Hall, NYC street windows, public parks, and atriums. His collaboration with Composer Concordance, DWI: Drinking With Instruments, caught the attention of The New York Times, which noted that “where the performer is granted more agency, loosening inhibition can free a flicker of Dionysian inspiration.” His graphic score Knots puts that idea into action, with looping lines, shifting control, and performers navigating the edge between precision and impulse. In this performance, Voisey invites you into a sensory and culinary experience where sound, taste, and spontaneity collide.
CAMPGround26 People
Board: Eunmi Ko, Kevin von Kampen, Katherine Weintraub, Zach Hale
Technical Director: Zach Hale
Live Streaming/Video: Robert Voisey
Photo: Patrick Chin Ting Chan
Intern: Wren Whalen, YoungJun Lee, James Larkins
Head Usher/Volunteer: Hannah Lanese
Volunteer: Sean Mcbride, Demetrius Galindez