ANKA UJMA
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Anka UJMA est une chanteuse, autrice et compositrice polonaise résidant en France depuis 2005. Un goût précoce pour les expérimentations musicales l’amène à développer de nombreux projets scéniques aux instrumentations atypiques. Organic, par exemple, premier projet personnel conçu pour chant, accordéon, vibraphone, cordes et batterie, s’inspire autant de Steve Reich et Arvo Pärt que de Kate Bush et des musiques slaves traditionnelles. Depuis 2012, elle tourne avec Loa Frida, une formation réduite à géométrie variable associant chant, claviers, machines, guitare, vibraphone ou batterie, et explore, dans un registre pop-indé, des sonorités électroniques aventureuses. Anka porte également sur scène de nombreux projets mobilisant la vidéo ou le texte, par exemple un "Concert-Animé" sur des films de la jeune réalisatrice Melinda Kádár (avec Loa Frida), un ciné-concert sur des films d’animation de Youri Norstein (pour claviers et vibraphone) ou une lecture musicale sur des textes d’Olga Tokarczuk (pour lectrice, électronique, clarinette et percussions). En parallèle de la scène, Anka développe une voix et voie très personnelles dans le domaine de la musique à l’image : son goût pour la mélodie et les textures organiques se manifeste dans des pièces qui oscillent entre climats méditatifs ou oniriques - sombres, abstraits ou doucement nostalgiques – et esthétiques plus "pop" à la Stranger Things, floutant constamment les frontières entre la recherche d’une émotion simple et directe, sans pathos, et des expérimentations plus exigeantes sur les formes et les textures sonores. En 2019, elle compose ainsi la musique du court métrage en réalité virtuelle Whispers, sélection VR de la Biennale de Venise 2019 et qui obtient de nombreux prix prestigieux (VR Days Europe à Amsterdam, Listapad à Minsk, Lublin Film Festival, Stereopsia à Bruxelles, goEast Film Festival à Wiesbaden... etc). Ce film immersif, entre fiction et documentaire, et qui plonge au coeur d’un rituel de guérison traditionnel à la frontière entre la Pologne et l’Ukraine, inspire à Anka une partition remarquée pour cordes et électronique qui explore les thématiques de la transe, du mystère et du rapport à la nature. Elle travaille également sur la bande-son de plusieurs projets de jeux vidéo en pré-production qui lui permettent de jouer avec des climats et des contraintes variées sans jamais perdre une étrangeté toute personnelle: musique enfantine et enjouée pour Bumpkin & Sprout, sombre et climatique pour Lifelong, inspirée par la Rome antique pour Fortuna Maris (tous en phase de pré-production)... A la fois singulier et protéiforme, le travail d’Anka s’accorde particulièrement aux genres de la science-fiction, du thriller ou du fantastique contemporain, tout en épousant au besoin un plus large spectre de formes narratives et visuelles. |
Anka UJMA is a Polish singer, author, and composer. She has been living in France since 2005.
An early taste for musical experimentation led her to develop numerous stage projects with atypical instrumentation. This is notably the case with Organic, her first personal project designed for vocals, accordion, vibraphone, strings, and drums, inspired as much by Steve Reich and Arvo Pärt as by Kate Bush and traditional Slavic music. Or Loa Frida, a smaller ensemble with a flexible lineup, combining vocals, keyboards, machines, guitar, vibraphone or drums, which has been her main artistic activity since 2012 and with which she explores adventurous electronic sounds in an indie-pop register...
She also carries numerous projects involving video or text, for example an "Animated Concert" on animation films by young director Melinda Kádár (with Loa Frida), a cine-concert on animation films by Youri Norstein (for keyboards and vibraphone) or a musical reading on texts by Olga Tokarczuk (for reader, electronics, clarinet and percussion).
Alongside the stage, Anka develops a very personal aesthetic in the field of music for visual media: her taste for melody and organic textures manifests in pieces that oscillate between meditative or dreamlike atmospheres - dark, abstract or gently nostalgic - and more "pop" aesthetics à la Stranger Things, constantly blurring the lines between the search for simple and direct emotion, without pathos, and more demanding experiments on sonic forms and textures.
In 2019, she created the music for the virtual reality short film Whispers, which was part of the VR selection at the 2019 Venice Biennale and won numerous awards (VR Days Europe in Amsterdam, Listapad in Minsk, Lublin Film Festival, Stereopsia in Brussels, goEast Film Festival in Wiesbaden... etc). For this immersive film between fiction and documentary, which plunges us into the heart of a traditional healing ritual at the border between Poland and Ukraine, she composed a score for strings and electronics that explores the themes of trance, mystery, and communion with nature.
Lately, she has also been involved in creating soundtracks for multiple video game projects, exploring a range of atmospheres and creative briefs: childlike and playful music for Bumpkin & Sprout, dark and atmospheric for Lifelong, inspired by ancient Rome for Fortuna Maris (all in pre-production)...
With strong singularity, Anka's work is particularly well-suited to the genres of science fiction, thriller or speculative fiction, and with all narratives that give prominence to mystery or narrative tension. To situate her nonetheless, her music explores emotional geographies where one can find soundtracks as diverse as those of the series Mindhunter (by Jason Hill), the mini-series Chernobyl (by Hildur Guðnadóttir), Spike Jonze's film Her (by the band Arcade Fire), the film Social Network (by the duo Trent Reznor/Atticus Ross), the series Stranger Things (by the duo Michael Stein/Kyle Dixon) or Sebastian Lelio's film The Wonder (by Matthew Herbert).
An early taste for musical experimentation led her to develop numerous stage projects with atypical instrumentation. This is notably the case with Organic, her first personal project designed for vocals, accordion, vibraphone, strings, and drums, inspired as much by Steve Reich and Arvo Pärt as by Kate Bush and traditional Slavic music. Or Loa Frida, a smaller ensemble with a flexible lineup, combining vocals, keyboards, machines, guitar, vibraphone or drums, which has been her main artistic activity since 2012 and with which she explores adventurous electronic sounds in an indie-pop register...
She also carries numerous projects involving video or text, for example an "Animated Concert" on animation films by young director Melinda Kádár (with Loa Frida), a cine-concert on animation films by Youri Norstein (for keyboards and vibraphone) or a musical reading on texts by Olga Tokarczuk (for reader, electronics, clarinet and percussion).
Alongside the stage, Anka develops a very personal aesthetic in the field of music for visual media: her taste for melody and organic textures manifests in pieces that oscillate between meditative or dreamlike atmospheres - dark, abstract or gently nostalgic - and more "pop" aesthetics à la Stranger Things, constantly blurring the lines between the search for simple and direct emotion, without pathos, and more demanding experiments on sonic forms and textures.
In 2019, she created the music for the virtual reality short film Whispers, which was part of the VR selection at the 2019 Venice Biennale and won numerous awards (VR Days Europe in Amsterdam, Listapad in Minsk, Lublin Film Festival, Stereopsia in Brussels, goEast Film Festival in Wiesbaden... etc). For this immersive film between fiction and documentary, which plunges us into the heart of a traditional healing ritual at the border between Poland and Ukraine, she composed a score for strings and electronics that explores the themes of trance, mystery, and communion with nature.
Lately, she has also been involved in creating soundtracks for multiple video game projects, exploring a range of atmospheres and creative briefs: childlike and playful music for Bumpkin & Sprout, dark and atmospheric for Lifelong, inspired by ancient Rome for Fortuna Maris (all in pre-production)...
With strong singularity, Anka's work is particularly well-suited to the genres of science fiction, thriller or speculative fiction, and with all narratives that give prominence to mystery or narrative tension. To situate her nonetheless, her music explores emotional geographies where one can find soundtracks as diverse as those of the series Mindhunter (by Jason Hill), the mini-series Chernobyl (by Hildur Guðnadóttir), Spike Jonze's film Her (by the band Arcade Fire), the film Social Network (by the duo Trent Reznor/Atticus Ross), the series Stranger Things (by the duo Michael Stein/Kyle Dixon) or Sebastian Lelio's film The Wonder (by Matthew Herbert).
