Smith and Navarro name these small group activities carried out collectively and collaboratively as Konantü. The artists “imagine an art that can only be fully realized by its public participants, an art that is simultaneously created and consumed by its willing constituents.” Their engagement with sound poetry arises from their shared experiences of how Konantü's crowdsourced practice elicits spontaneous behavior and, in doing so, challenges conventional boundaries between language, music, and sound, equally for listeners, performers and musician, who will emphasize the dramatic, atmospheric dimension of the accordion, through wind sounds and sustained chords.

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For La Capilla Azul, each collaborative performance was performed with the participation of eight vocalists. It was not a requirement, or even a preference, that any of the vocalists have training or experience in music, poetry or art. Each briefly rehearsed alongside the others and was then randomly assigned a personalized score, consisting of a detailed set of words from the dictionary of the Real Academia Española, many of which were obsolete or fallen into disuse. All Vid Vida Vidajena scores differ from each other, and the composition took the form of a ronda that moved clockwise from one participant to the next, with occasional interim passages by guest artist Enrique Millán on accordion.