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1:30This is it.

4:00Just focus in the middle of your chest. Imagine there is an opening in the middle of your chest. And that even though you are breathing in and out of your nose, your mouth,

5:01necessary oxygen, etc. With each in-breath, in through this hole in your chest, you are drawing something very subtle, not even on the physical plane. It's been called psalma. It's been called elixir. It's been called embrosia. It's been called pran. It's been called living spirit. Think of it as a very fine mist. With each breath, draw it into the middle of your chest and let it pour through your body to the extremities, to the tips of your fingers, to the tips of your toes, through your torso, your head. And then in the out breath, when you're breathing out through the center of your chest,

6:04any stuff in you that is keeping you from being with the universe, the tensions, the fears, the negativity, the doubt, it grudges the anger, the loneliness, the self-pity, breathe it out, just breathe it out, let it go on the out breath. And then fill once again with this feeling very fine for your body. And let the, as it pours through your body, let it dislodge the tensions that may have settled in your back or in your stomach. The heavy thoughts, thoughts of paranoia, the feelings of inadequacy of doubt, the judging mind, just let it all be loosened, dislodged, and on the out breath, breathe it out.

7:09Let it slow and deep. And keep that imagery very strongly in mind that you're drawing in a feeling you're being and then releasing all of the stuff you don't need to be in the spirit. The camera man, the source of something, what is that? The light. The light. I'm going to sit here. No post you'll see. Sorry. It was fine for us. I was at peace. Okay. And I'm going to let you have a beautiful, beautiful forest, where you really have a lot of time to come back.

8:12So welcome, not all the time. But, yes, there's less time to start. There are mountains in the mountains. And yes, there are more mountains in the mountains. And there's a lot of snow in the mountains. So I'm all on the ground. And it's going to take a long time. And I'm actually also going to stock a spack of oak on it, the Eingelik Adma. Yes, there is welcome. What kind of luck can you make for this guy? Yeah, either he is welcome. What's that? If there's a great sadness in you, just let it go, breathe it out, you don't need it. If there's anger, hurt, if you've been hurt, if you have pain.

9:14Hello, I'm from the radio station. Don't demand that it go away, you might breathe it out, you'll still feel sadness. It may be such a deep reservoir of sadness, but just what you can let go of. You're young and young and you're very active, and you're very young. So we're going to do it all the time. How long can I do this? I don't know. If there's a phone, I'll do it. How do you want it? I want it. I want it. Are you sure? We're going to take a walk. We're going to take a walk. It's over there, from the other side. It's about 5 years old, and it's over there. It's old, it's great. It's beautiful.

10:16And the fish is coming. Now rest quietly with your eyes closed and just listen to me for a moment. Imagine now that out before you is all of the universe of form.

11:19All of the world, as you hear it, see it, smell it, taste it, and smell it, including yourself. And now imagine that at the top of the head you also have a hole in opening. And that above your head is the formless out of which form comes. There is no form. It's God unmanageable. It's the unspoken, it's the void, it's the one. Now, you will breathe in through your chest when I tell you, suggest you do, just listen now. Drawing the universe into your heart, the middle of your chest.

12:25And you will breathe out through the top of your head, going out with your breath. Go up with your breath and go back into the formless. And then on the next in breath draw the formless down into your heart. And then with the out breath breathe it out through your heart and recreate the forms which are spirit made manifest. Then with the in breath, draw it back into your heart. Breathe out through the top of your head, going up to your resting above your head. Then draw the breath in, come back down into your heart and then manifest out into the world. So it's in, up, out, down, in, out.

13:29Do that for a few minutes now. Start very slow, deep breathing. So you keep going between form and formless, between the one and the many. And then with the out breath breathe out through the top of your chest. And then with the out breath breathe out through the top of your chest. And then with the out breath breathe out through the top of your chest.

14:29And then with the out breath breathe out through the top of your chest. And then with the out breath breathe out through the top of your chest. And then with the out breath breathe out through the top of your chest. And then with the out breath breathe out through the top of your chest.

15:29Keep it keeping your eyes closed, remain resting in the middle of your chest. And listen to me for one moment longer. Okay, I'm taking you on a musical journey, an emotional musical journey. Oh boy, here we go. I'm waiting for.

16:37I'm waiting for. Superstar. I don't know what I'm talking about. I'm waiting for. Superstar. Waiting for the stars, waiting for the sun, waiting for the star to come. Swinging up the earth, tracking down stars, waiting for the moon to come.

17:38Got into the universe, because it seems so wrong. Setting up the chart, facing your targets, believing in the depths tonight. Superstar. Superstar. Superstar. Superstar. Superstar. Superstar.

18:38Superstar. I am. Superstar. I am waiting for the stars, waiting for the sun, waiting for the star to come. Swinging up the earth, tracking down stars, waiting for the star to come. Got into the universe, because it seems so wrong. We're getting in front of you, facing our enemies. I am.

19:38Superstar. I am. Superstar. I am. I wouldn't ever fail this time.

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23:24. . . . . . All right. And just after this jingle, I can say that you are listening to the lake radio.

24:27We are broadcasting now from Roskele Festival for the third day in a row. My name is William Kudal and I'm sitting here together with Louise Tantrop. Hello to everybody listening right now. We will be your host for the next two hours and we have a long list of good things lined up for you. This afternoon by interviews, tracks from artists who are playing at Roskele Festival today and tonight. So, stick around and keep tuning in. And before we continue with more content, I think we should just listen to a little song from an artist who is playing tonight. Yes. .

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37:51. . . . . . . . . . . . . . . . King Dress, Lippert, King Dress, and a big hat outside the window. Yes, I saw it, and I actually noticed since I've been here since Sunday that Lippert is a thing. I saw people having, like, hair dyed in Lippert, yeah. Texture.

38:52Texture, yeah. Wow. And also saw that the skater trousers is back. Oh, the one with the logos and the writings and the stuff. Exactly. So I think they've been back for a while, actually. They did, but like, very like, yeah, anyway. What do we know about fashion? What do we know about fashion? We know stuff about music and art. And something I think we should maybe just listen to before we have Cassie as a guest here in the studio. That's a little fan letter that we received. We'll take that later. Yeah, I can see on our technician that that's maybe something we will take later. But instead, I think we should listen to a little track by the artist's summa. What does technician think about that?

39:54Yeah. You can say that summa played a concert earlier this week at Roskilde Festival. So yeah. Summa played it. Yeah. This is a song called Moon song that's listened to it by Summa.

41:24Oh, oh, oh, oh, oh, I don't want to call. I don't want to call. Oh, oh, oh, oh, oh, oh, oh, oh, oh, oh. I'm just like a tiger, I'm just like a tiger I'm just like a tiger, I'm just like a tiger No, I don't wanna come No, I don't wanna come No, I don't wanna come

42:28No, I don't wanna come I'm just like a tiger, I'm just like a tiger No, I don't wanna come No, I don't wanna come No, I don't wanna come

43:52Oh, I, I, I, I, oh, I, oh, oh, oh Ha, I'll be home Hello, this is Summa and I want to give a fan letter to Pink Panthers. Because I think you are really awesome, I just love how you just chased your dream of becoming a singer and you just posted a lot of videos of your really good music on TikTok and you continuously posted videos of your music on TikTok.

45:16And I found your music on TikTok and then I've been listening a lot to it and I just also love how you worked a lot with samples. It's inspired me to also, when I first started producing, to work with samples instead of making like every little sound from scratch and that you can also be creative and produce in many different ways. Yeah, I just really admire your talent and you just seem like a really sweet person and yeah. I'm so excited for your concert. That was my fan letter from Summa. Bye. And here was the little fan letter by the artist Summa and before that we heard the track by a summa called Moon Song and Summa played early on in this year's Roskilde Festival. So if you just tuned in, you're listening to the Lake Radio and we are streaming live here from Roskilde Festival on the third day and we will broadcast every day here from Roskilde at two o'clock.

46:24Until four o'clock so please tune in. Right now it just started raining a lot here in our container and while it rained and while we listened to this song we got a guest in the studio. Welcome Cassie Augusta Janssen. Thank you. You are a visual artist and you work with video and performance, sculpture, among other things. And at this year's Roskilde Festival you will have been making a performance that's playing yesterday and that's been performed today later in the afternoon and again tomorrow. First of all, how did it go last night? You were performing in the platform stage, I can tell. Yeah, at nine in the evening and it went quite well.

47:26Yeah, we arrived by car in this performance and then we get on stage and everything was good and then there was quite a lot of rain. I guess somewhere in the middle but it somehow seemed to work for the also for the purpose of the performance which is titled the right of nothing. So right as in ritual and then ride also to some extent as a ride as a car ride. I was hearing about this big car like the performing starting with this big white car coming to the platform stage and I also heard from the people who watched this performance because I arrived today so I haven't watched it yet and I'll watch it later. But the wonder of where did this car come from?

48:28I'm curious about where did the car come from. How did you get into the center of the stage with the white car? Well in my fiction the car came from the pagan hills of Roskilde and that was my like I guess like when I tried to make something for a stage and performing I always think about how to kind of stay in some kind of fiction. In the imaginary in like you create a world and so in my idea firstly was that we came we were these three like brights that are performing and or like which which he brights that arrive. And so I thought to keep it spectacular that I wanted a car and yeah but in reality just came from like around the corner.

49:31Yeah because you know there's tons of people here and they were all congratulating us on the way. This is like revealing a like like what is twirly constant called in addition revealing a magician's trick like the car didn't come from. It just came from around the corner. Yeah yeah but it was very cinematic I felt like it made sense. The image of it is very cinematic. If you want to like take the listener through what happened on the stage do you want to just briefly sort of say what what people saw. Yes so it's yeah it's this trailer this entrance with the car and then it's performance in three acts one two and three. And the first act kind of focuses on setting up this space kind of both with the music the sound that's created by a Danish artist.

50:38Ruyang and she made the music for or the soundscape for it. And in the beginning it's like the sound of a motor that just repeats and it also the sound of the car and kind of combines those elements. Yeah like a motor sound. And then we set up the space and we we do we draw with chalk around the space we kind of define the space somehow like where is this ritual going to happen. And we write different things we wipe them out again we keep and so it has this kind of the first act has this like setting up for what's about to happen feeling. Yeah setting the stage yeah setting up the stage and then the second act is a bit more both like there's two monologues and a little bit of singing and Polish and my boyfriend is performing also in the piece and he's Polish so I thought it was fitting to have him say something.

51:52And he reads the obituaries from the newspaper like the daily deaths baby or a few narrows of the day and yeah I guess the piece is a lot about like yeah the closeness of birth and death and what happens in between. And we are reciting these names like of Danish people that have been killed in or that has died from illness and yeah that's roughly like the second part and we also dancing here and I give birth. So there's both this like yeah there's this element of sadness and death and you give birth. Yeah I give birth to my boyfriend actually Oscar who is also on the stage and I mean like I carry him like on my stomach and then he kind of jumps out it's like a I don't know if you yeah I mean you'll have to come and see it.

53:08But yeah then there's a birth and then in the last act we kind of do this dance of death basically like because it's based on a very famous ballet from the 1920s where the music was made by Igor Stravinsky. Yeah so the right of spring is a story about an offering to the spirits basically into to the seasons and they sacrifice a virgin a female. Yeah so in the end we kind of and some of the the moves the choreography is also inspired off from the original choreography that was made by Najinski who is like a Russian dancer and choreographer. This is like so you've taken you've taken a note piece from the 18th century like a very famous piece and then sort of not remade it but sort of made a comment to it with a new work with a similar title.

54:20Like is it for you a way of changing the original or like looking at how could it have been? Yeah possibly so I think I use it as like a skeleton to kind of create something new which is very common I guess idea. I think also just being an artist and kind of trying to find purpose with what with the world at the moment and how to create stuff in a time like this which is quite challenging and if everything feels unnecessary. And I think that going into a ritual and something unexplainable and unknown was kind of how I felt to make something and I knew that this one ballet was dealing with these kind of topics so there was kind of an entryway for me to to make something.

55:24I guess on top of the already existing thing and you know so many choreographers have like made their reiteration of that piece because it's so I mean it's like when it was shown in the 1920s in Paris the audience was freaking out and they hated it because the music was so passive and so stressful and the gynski the choreographer was masturbating on stage with a piece of fabric and it was so scandalous. I mean which is also funny to think about because today like that's not very scandalous at all but I mean it's interesting to see how these things evolve. Yeah so I think I'm also very drawn to always looking back at the work that's already been done anyway.

56:25Yeah it's a very like a direct way of building on what's already there. Yeah I mean there are other choreographers like Pina Bausch you know from Germany who made her version of the right of spring I mean so many different people have done that. I mean in the ballet tradition and the upper tradition that's sort of how you do right you take a very old piece and then you sort of make a new edition of it where you try to put it into the contemporary time to see how would how would display out today. Yeah exactly and I was thinking a lot about sacrifices on a broader and like a broader range of things and I mean it's always like how femininity is kind of in connection with sacrifice and to me. I also was like I've been working a lot with like the question of transness and being trans and trans woman and all these things and.

57:31Sometimes it's nice to have a break to not have to deal with those topics that are so close to the heart in a way and so sometimes when we make work it's nice to have those like kind of skeletons like I was talking about before like they already narrated stuff so you don't always have to defend your your right to do something you know. And so yeah I was I was thinking in a way to like not mention anything about that in this and also just I'm a dancer and an artist and a character friend worked a lot and I wanted to show that part of my kind of crafting away. I mean I'm not mentioning anything about transness in this work. Yeah or like not in this very outspoken way. I mean I think it's like the sacrifices we make are are on a broader spectrum like in terms of I mean you see like in like there's a lot of what's it called.

58:41Like in the last maybe 10 years trans people and the question of gender and all these things have been so in the media and getting a lot of spotlight attention but really what happens is you pull put something out of the dark and into the light and then it makes it possible to also kind of fight that and now what we're seeing in many campaigns like political campaigns around the world. Even in England like how health care is being cut from so many health care systems like yeah hormone treatment and so on and just in general treatment I'm also talking about like psychological treatment for people who decide to you know sacrifice I was thinking a lot about sacrifices also when I made this is like the sacred I sacrificed something. To be like to in order to be female you have to sacrifice so much of yourself to be seen that way and that was it's always such a struggle or like you juggle with that all the time and we all juggle with that in a sense and so I was thinking.

59:59In the old right of spring the sacred.