My Ship Sails by iServalan for Tale Teller Club Book of Immersion

 My ship sailed forth

In shark infested seas

That brought my sisters 

To their knees

Trouble waters wet my stern

High waves at every turn

My ship sailed forth

In monsoon rains

And lost the memories 

Of Mother's gains

Pirates raped my body

Of its pride 

And youthful glory

(Just to know you, just to see them, just to know them)

My ship sailed forth

Into the Four Winds

Who fought all ways

To clip my wings

To blind mine eyes

Leave souls behind

(Just to know you, just to be there, just to know you, just to feel them, just to want them)

My ship sailed forth

My bow went down

A darkened Hell 

Beneath the swell

Starboard toughed the sky

In waves that high

(Just to know you, just to have them, just to want them, just to feel them, just to have them, just to see them , just to want them)

But now

Where sun meets moon

And swallows dancing

Swoon

Where dreams compete

One's hopes to meet

My ship sails forth

In stiller waters

The ripples left

by mothers, daughters

To guide a fate

To end the wait

My ship still sails

(Just to know them, just to be them, just to see them, just to have them, just to feel them, just to want them, just to have them)

🌊 Ship of Sirens – A Tale Teller Club Release

When a ship sets sail in storm seas, it carries more than wood, rope, and sailcloth. It carries memory. It carries ghosts. It carries the voices of mothers and daughters who whisper across centuries. Ship of Sirens is that vessel.

The lyrics speak in three tongues:

• The spoken word, steady and unflinching, tells the raw story of disempowerment. Girls brought to their knees, bodies raided of pride, storms that take more than they give. These lines are the timber and hull — battered, scarred, but still afloat.

• The dreamlike whispers, half-heard and hidden in brackets, drift through the song like spectres. They are the unspoken inheritance of women: the quiet strength that slips down the generations like saltwater in the veins. Ghosts of grandmothers and unborn daughters weaving their force into the living.

• The wailing, rising and falling, is the sea itself — a haunting wave that comes and goes, like equality itself: sometimes thundering, sometimes receding, but always returning.

And beneath it all, the drums stamp heavy and insistent, echoing the march of the Cadre Women from The Book of Immersion. In the lore of Immersion, the Ship of Sirens was theirs to command: an ark of resistance, a vessel that stamped against silence. Each beat here is both storm and footfall, rebellion and heartbeat.

Ship of Sirens is more than a track. It is a ritual of resilience.
It sings of seas that try to drown us, yet reminds us: the feminine force does not sink. It whispers through ghosts, it stamps through storms, it sails forth — always.

My Ship Sales

Mr Capricious

Minor Matter

Birth of Adom

iServalan, Tale Teller Club

The Chase

Black Flute

Vapor Punk Jazz

Adelaide

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The Future of Fusion, Where Multi Media Performance Art Can Go (Part 4)

Blog 4: The Future of Fusion

Series Introduction

This is part of my ongoing series exploring a new experimental art form that fuses music, dance, and 360° landscapes. Drawing on my training with the Rambert Dance Company and my background in music composition, I’m investigating how different disciplines can interweave into what I call fusion practice.

Over four blogs, I’ll share not only the artistic vision but also the practical challenges, questions of accessibility, and possibilities for the future. Each part stands alone, but together they trace the first chapter of a journey into immersive, inclusive art.

---

📌 Part 1: Entering the World of 360 Art
📌 Part 2: When 2D Dance Meets 360° Landscapes
📌 Part 3: Making 360 Art Accessible
📌 Part 4: The Future of Fusion

When I began this journey into 360° art, my focus was simple: bring together music, dance, and landscape in a way that feels alive. Along the way, I’ve discovered that the real subject is bigger — it’s about how art adapts, how limitations spark invention, and how audiences can shape their own experiences.

---

The Fusion at the Core

In my practice, music, dance, and landscapes aren’t separate strands. They are threads of one tapestry:

• Music provides the structure and the emotional tone.

• Dance embodies rhythm and expression, turning sound into gesture.

• 360° Landscapes offer immersion, a stage without edges.

• Audience brings agency: choosing where to look, how to listen, and when to move inside the work.

Together, they create something I’ve begun to call fusion practice. Not just multidisciplinary, but truly interwoven.

---

Technology as a Partner

Right now, technology gives us both opportunities and constraints:

• Dance remains 2D on screen, even when placed in a 360° world.

• Music can be spatialised, but rarely matches the nuance of a live performance.

• Audiences can look around, but not yet step inside with full presence.

And yet, these limitations are inspiring. Each barrier becomes a prompt for invention. I find myself asking: What can I do with the tools I have now? That is the artist’s eternal question.

---

Imagining the Next Steps

Looking forward, I see several possibilities for how this fusion might grow:

🌐 Volumetric dance — one day, dancers could be captured as three-dimensional forms and placed directly into 360° spaces.

🔊 Interactive soundscapes — music that changes as the audience moves, creating unique compositions for each journey.

👥 Shared immersion — groups experiencing 360° art together, whether in a VR gallery, a museum, or a live hybrid performance.

🎭 Hybrid stages — combining projection, headset, and screen so dance, landscape, and audience exist across multiple realities at once.

---

Why It Matters

For me, this isn’t about chasing technology for its own sake. It’s about keeping art alive, adapting to new canvases. The same discipline that drives a ballet class or a cello étude is the discipline that drives experimentation with immersive media.

Art has always been about the dialogue between form and possibility. Today, the forms are shifting — from canvas to headset, from stage to landscape, from audience to participant. And the possibilities are only beginning to unfold.

---

Closing the First Chapter

This four-part series has been my attempt to open that dialogue with you. To show that 360° art doesn’t have to be intimidating or exclusive, but can be as approachable as a dance step, a piece of music, or a walk through a landscape.

The future of fusion is not just in the technology. It is in the way we choose to connect — as artists, as audiences, as collaborators.

And this is only the beginning.

---

👉 This is Part 4 of my experimental art journey in 360. Read Part 1 https://www.iservalan.com/2025/08/dancing-with-landscapes-my-first-steps.html, Part 2 https://www.iservalan.com/2025/08/when-2d-dance-meets-360-landscapes-part.html, and Part 3 https://www.iservalan.com/2025/08/making-360-art-accessible-for-all-and.html. Thank you for walking with me through these first steps into a new kind of art form.

---

Making 360 Art Accessible for all and using tech in multi media experiences (Part 3)

Blog 3: Making 360 Art Accessible

When people hear about 360° video, they often imagine high-end VR headsets and gaming setups. That can feel intimidating, as though immersive art is only for those with the latest technology. But accessibility is at the heart of my practice. I want this work to be open to anyone — whether you’re a dancer with a phone, a listener with headphones, or a curious viewer with nothing more than a laptop.

---

Beyond the Headset

Yes, VR headsets are incredible. They give you the sensation of standing inside a landscape, of turning your head and stepping into another world. But they’re not the only way:

📱 On your phone — YouTube and other platforms let you swipe and drag across 360° videos with a fingertip. Tilt your phone, and the view tilts with you.

💻 On a laptop or desktop — You can click and drag to explore, like holding a digital camera that looks around.

📺 On a flat 2D screen — Even without interactivity, 360° content can be framed in traditional video form, so you still experience the art, if not the full immersion.

The point is: no one is excluded.

---

Layering the Experience

My dance sequences are filmed in 2D, which means they can be enjoyed on any screen. The 360° landscapes provide another layer — immersive for those who want to step inside, but not required.

Think of it like music: you can listen to a symphony on a concert stage, or you can play it on your headphones while walking to work. The music doesn’t lose its power — it simply adapts to the context.

---

Why Accessibility Matters

Art should not be a gated garden. In dance, music, and immersive landscapes, accessibility isn’t just about devices — it’s about philosophy. It’s about keeping doors open, not closed.

By designing my practice for multiple platforms, I’m not diluting the work. I’m enriching it, creating multiple ways in. Each audience member chooses their own level of immersion:

• The full headset experience.

• The interactive phone or desktop version.

• The traditional 2D dance films.

All of them valid. All of them part of the art.

---

What’s Next?

In my final post of this series, I’ll look ahead to the future of experimental fusion: how dance, music, and 360° landscapes might evolve as technology changes, and how limitations today could spark whole new art forms tomorrow.

---

👉 This is Part 3 of my experimental art journey in 360. Read Part 1 https://www.iservalan.com/2025/08/dancing-with-landscapes-my-first-steps.html and Part 2 https://www.iservalan.com/2025/08/when-2d-dance-meets-360-landscapes-part.html. Stay tuned for Part 4: The Future of Fusion. https://www.iservalan.com/2025/08/the-future-of-fusion-where-multi-media.html

When 2D Dance Meets 360° Landscapes (Part 2)

Dance, Music, Visual, and Sound Fusion, Blog 2: When 2D Dance Meets 360° Landscapes

In my last post, I introduced my experimental journey into 360 art — a fusion of music, immersive landscapes, and dance. Today I want to dig into one of the key creative questions:

👉 How can a 2D dance performance live inside a 360° world?

---

The Challenge of Two Dimensions in a Spherical World

When we watch a dance on stage or on film, we are used to a framed experience. The proscenium arch, the cinema screen, or even a YouTube window all tell us: this is the space of performance.

But in 360, there is no frame. The audience is surrounded, free to look wherever they like. This raises an intriguing puzzle:

• How do you present choreography that relies on focus and direction inside an environment where attention can wander?

• How do you place a 2D filmed dancer inside a 360° world without breaking the illusion?

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Creative Possibilities

Rather than seeing this as a problem, I’ve started to view it as a new stagecraft. Some possibilities include:

🎥 Overlay projection — placing a 2D dancer as if they are projected inside the spherical environment, much like a ghostly figure on a landscape.

📱 Dual-screen experience — one screen immerses you in the 360° environment, while another device shows the dance in 2D. You experience both simultaneously, almost like holding a choreography in your hands while standing inside its set.

🩰 Choreography as contrast — embracing the difference: the fixed rectangular frame of the dancer against the endless fluidity of the 360° world. Instead of hiding the seam, highlighting it.

🎶 Music as the bridge — sound unites the two worlds. My compositions can weave between the immersive environment and the 2D dance, so the audience feels continuity even when the visual space shifts.

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Lessons from Stage and Cinema

This isn’t entirely new. In theatre, directors have long experimented with staging that breaks the proscenium — actors appearing in aisles, or projections extending the set. In cinema, split screens and overlays play with perspective.

What 360 offers is the chance to take these ideas further, giving the audience agency to decide where to look, while the music and choreography guide their experience.

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Why Limitations Can Spark Creativity

If my dancers cannot yet exist in 360 space as volumetric figures, then the very tension between 2D and 360 becomes the art. Constraint is often the mother of invention.

Just as in ballet, where strict form produces beauty, or in music composition, where rules of harmony give structure, the limitations of 360 technology might lead to something original — a hybrid art form that wouldn’t exist otherwise.

---

What’s Next?

In my next post, I’ll explore the question of accessibility: how people without VR headsets or multiple screens can still experience this work, and why keeping the door open to all audiences matters so deeply to me.

---

👉 This is Part 2 of my experimental art journey in 360. Read Part 1 https://www.iservalan.com/2025/08/dancing-with-landscapes-my-first-steps.html and stay tuned for Part 3, where I’ll focus on accessibility and inclusivity in immersive art.

Part 3 https://www.iservalan.com/2025/08/making-360-art-accessible-for-all-and.html

Dancing with Landscapes: My First Steps into 360 Art (Part One)

Dancing with Landscapes: My First Steps into 360 Art

I’ve just taken my first classes with the Rambert Dance Company, exploring contemporary fusion, ballet, and even Bollywood movement. What surprised me most was how close this felt to my experience in music composition. Both disciplines start with structure, rhythm, and discipline — but it’s the moments of freedom, the unexpected improvisations, that create something alive.

Now I’m taking those ideas into a new experimental form: fusing dance, music, and immersive 360° landscapes.

Why 360?

Most people know 360 technology from gaming, VR headsets, or maybe museum tours. But at its heart, 360 isn’t about gadgets — it’s about perspective. Imagine standing inside a landscape rather than looking at it framed in a rectangle. You can turn your head and choose where to focus.

For me, this opens up new possibilities:

• My music can envelop the listener.

• My landscapes become immersive environments rather than backgrounds.

• My dance can be placed in dialogue with the space, sometimes framed in 2D, sometimes appearing inside the sphere.

---

Dance and Music as Parallel Practices

When I practice cello or piano, I often begin with small, repetitive movements — scales, exercises, fragments. In dance, it is much the same: a plié, a turn, a shift of weight. These fragments grow into phrases, which grow into complete works.

Whether I’m composing music, learning a ballet sequence, or improvising in a 360 landscape, I’m engaging with the same process:

• Structure (form, discipline, rhythm)

• Expression (tone, gesture, dynamics)

• Exploration (what happens if…?)

It feels like one continuous practice, expressed through different mediums.

---

Accessibility Matters

I don’t expect everyone to own a VR headset. That’s why my work will always have multiple entry points:

• On YouTube, you can explore 360 on your phone or computer by dragging the screen.

• The dance sequences will be presented in 2D as well, either as overlays or separate films.

• In future, I’m curious about two-screen experiences: imagine holding your phone for dance while being immersed in the 360 landscape on another device.

This way, the work remains open to all — a philosophy that feels important in a world where technology can sometimes exclude as much as it inspires.

---

What’s Next?

This is just the beginning. In my next post, I’ll explore the challenge of combining 2D dance with 360° landscapes — and why limitations can actually spark creativity.

For now, I invite you to think of 360 not as a tech gimmick, but as a new stage, a new canvas, and a new kind of instrument. One where dance, music, and environment can finally move as one.

---

👉 This is Part 1 of my experimental art journey in 360. Follow along for Part 2, where I’ll dive deeper into the fusion of 2D and immersive movement.

https://www.iservalan.com/2025/08/when-2d-dance-meets-360-landscapes-part.html

Part 3 https://www.iservalan.com/2025/08/making-360-art-accessible-for-all-and.html

Latest Bandcamp Movie Mr Capricious by Tale Teller Club ft iServalan, Flex, & Vapor Punk

I am gradually moving tracks and videos to Bandcamp

and would love to see you there!

Mr Capricious

Minor Matter

Birth of Adom

iServalan, Tale Teller Club

The Chase

Black Flute

Vapor Punk Jazz

Adelaide

🎹 Mindful Music Meets Nature: The Power of Piano in Eco Films

Nature has its own rhythms — the rustle of leaves, the call of a bird, the ripple of water. When music is added thoughtfully, it doesn’t overwhelm these sounds but deepens our connection to them. Few instruments achieve this as gracefully as the piano. Its tones mirror the pulse of rivers, the rise and fall of wind, the spaciousness of open skies.

Pairing piano with nature films has become a growing practice in mindful media. Short, quiet clips with improvised music can transform a passing moment into something almost meditative.

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🐞 Bug’s Eye View

Filmed in the East Sussex countryside, Bug’s Eye View is a weekly series of 60-second eco-aware shorts accompanied by improvised piano. From goats and chickens to damsel flies and froglets, each clip captures fleeting glimpses of rural life, designed as mindful “breathing spaces” for families and creatives worldwide.

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🎼 The Science of Sound and Calm

Studies show that slow, improvised piano can lower stress levels and support focus. Combined with natural imagery, it creates a layered sensory experience that works almost like guided meditation. For children, it can spark curiosity about both music and the natural world.

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🌍 Why Improvisation Matters

Unlike pre-written scores, improvised piano is reactive and alive. It mirrors the unpredictability of a frog leaping, a fly darting, or waves lapping against the shore. Each performance is unique, just as every moment in nature is unrepeatable.

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🎧 Listen & Explore

• 🐞 Watch Bug’s Eye View on YouTube: Bug’s Eye View Playlist

• 🎹 Discover more original piano music by iServalan: iServalan on Bandcamp

• 🌿 Join the Tale Teller Kids Fan Club for books, eco films, maths, handwriting & archives: www.taletellerkids.blogspot.com

“mindful music in eco films”

Bug’s Eye View by Tale Teller Kids™ #nature #animals #country

THE ART OF THE BOW ARM with Yizhak Schotten

Mr Capricious by Tale Teller Club featuring iServalan

Mr Capricious 

 I saw you in the light

A warm and velvet rush

You were poetry in flight

I don’t know where you came from

You lit the darkness bright

You were fire in the night

Somewhere in the future

I saw a memory in time

You were danger in plain sight

I’ll make a deal with you my friend

Heaven sublime until the very end

Chorus

They call you Mr Capricious 

But you’re delectable and 

Oh so delicious 

But you won’t hear crying in a wild wind

You won’t hear him lying in a wild wind

And we won’t hear you dying in the wild winds

©2024 Sarnia de la Maré

Mr Capricious: Sound, Storm, and Survival

The new track Mr Capricious from iServalan is a work that resists traditional boundaries. Conceived first at the piano as a raw improvisation, the piece flows like a storm—unpredictable, dangerous, and strangely beautiful.

The piano accompaniment, later transcribed from an unscored improvisation, reveals an artist who rejects rigid verse–chorus grids. Instead, the score drifts through arpeggiated figures, fluid harmonic shifts, and elastic pacing. The effect is one of emotional weather: the listener is pulled into surges, pauses, and sudden flashes, mirroring the unpredictable turbulence of domestic power and control that underpins the song’s narrative.

Vocals take on the structural role, guiding the listener through shifting imagery—light, velvet, fire, memory, storm. Against this, the piano accompaniment becomes an unstable landscape: sometimes tender, sometimes threatening, always restless.

Lyrically, Mr Capricious inhabits the ambiguous territory between love, danger, and survival. The titular figure is both seductive and destructive, framed by refrains of the “wild wind” — a metaphor for both elemental chaos and the silencing effect of abuse. The interplay between beauty and menace lies at the heart of the track, making it both a personal confession and a universal warning.

For iServalan, improvisation is not an accident but a manifesto. In their own words, “I reject traditional structure in favour of feelings, emotions, fluid sensory experiences.” This refusal of convention creates music that is at once experimental and deeply human, a reminder that art can capture truths which fixed forms cannot.

With its cinematic video montage in progress — stitched from AI-generated fragments of fire, fog, masks, and storm — Mr Capricious arrives not just as a song, but as an atmosphere: a warning whispered through velvet, a memory carried on the wild wind.