I have found big interest in blended forms, hybrid spaces and if possible fused senses.
A studio exploration
within the Choreolab generates the start of this travel. It was the entering of
the first week exploration with Ana on “touch” and its layers. It was then a
task I shared with Anthi, where her words on my small improvised material
edited my movement in a way that it expanded, gave openness.
The words and the voice sit on a different chair and discourse with the movement within a new musical performance space.
Following tasks, lab
session with Kiriakos telling us about the sound as a methodology tool to
create movement, my connection to flamenco where rhythms, musical bodies, body
as percussion coexist, all these worked as lovely ingredients to vision an essence.
Plus and more.
Words from deaf
percussionist Evelyn Glennie “Hearing Essay”:
“Hearing is basically a specialized form of touch. Sound is simply vibrating air which the ear picks up and converts to electrical signals, which are then interpreted by the brain. The sense of hearing is not the only sense that can do this, touch can do this too.(…) With very low frequency vibration the ear starts becoming inefficient and the rest of the body's sense of touch starts to take over”.
Is language a real
tool of expression? What comes first? The thoughts? The space we allow for them
to breath? The inner ear? How can we see that?
We need to create the microscope of senses. Voice might be a
joined sense already…can be a hybrid tool of expression?
In dance we let the body to speak still towards the way to represent language and not to embody language. When one senses the subject, news sound, new rhythms arrive on skin. Words have already been a first touch. What if voice is a touch?
In dance we let the body to speak still towards the way to represent language and not to embody language. When one senses the subject, news sound, new rhythms arrive on skin. Words have already been a first touch. What if voice is a touch?
The sound of
touching or the touch of sound? /That
would do for a title/
Can you see the voice that comes from
the other body?
Can you touch its
sound?
What soundscape creates a joined
sensation?
Entering into the
microscopic condition of the senses and explore how porous my body is to the
sound. It is a meeting of two bodies where the words and the voice precede the
haptic. I wanted to create the same environment and travel within it. Therefore I needed words, a personal vocabulary to explore it
bodily. The words coming from the mouth of the moving body and not an external
stimuli like a song or an unknown sound, would give the desired material to
work with. So I wrote! a text appeared on my paper like rain where some thoughts found their way to connect and interact poetically. This text came as a starting point for the exploration in the studio. So I
actually had ‘the words’. I needed sound and/or voice to resonate bodily. I started by using different voices, ways of reciting and
rhythms. Thanks to Emmanuela and her ‘hum’ and Io and her whispering, I
approached different angles of the words.
Then came ‘the
listening’. Maybe though but my question is clearer now: the micro-touchings…
Different impulses from different voices enter the space. Micro_dialogues – was I close to micro_touchings? I
was hearing rhythms within these words and the travel found its main stop.!
I wrote more:
I wrote more:
With a voice I can changeThese words have impact on me
This voice is only rhythm sometimes, a rhythm,Words do not mean, only timbreThe sound of voice makes me moveIt pushes me through spaceIt is an energy, a wave?It is a touchTouching has a language?
Listening and not
just hearing a sound would make all the difference to the body. Listen with the whole body, beyond hear, feel the waves of
voices, open up all the senses. Observe this joined condition of senses is a
whole journey and very new to me and opens up a new environment to travel
within and a fused new space.
The methodology was clearer now:
- Use different tasks to create different processes on the text so as to change its density.
- Voice coming from other body, from recorded material, from my body, the body as sonorous source.
- Explore through different characteristic of sound: frequency, wavelength, volume, height, timbre, tonality, speed, slowness - and dimensions of touch: texture, temperature, hardness, weight.
- Observe the responses to voice and its rhythms, the porosity of the body, its sensitivity to sound, to ‘listening’. The ways we listen, we perceive, we translate into movement.
- Explore with eyes closed to deploy the auditive sense.
The auditive pair of hearing and listening are well opposed and synchronized
in “Listening” book of Jean-Luc Nancy:
“What does it mean for a being to be immersed entirely in listening, formed by listening or in listening, listening with all its being?”“What does it mean to exist according to listening, for it and through it?”“Is even listening itself sonorous?”
“Listening is musical when it is music that listens to itself”.
I would question and add my micro_touchings here. What happens at
pauses? Do they exist? Can I hear them? Can I touch them? “Silence (…) not a
privation but as an arrangement of resonance”.
Already a rain of questions and I might be looking for the ‘impossible’
of John-Paul Zaccarini. However, Ana’s session reflections on: Forming experience through the sense of touch; possibly the impossible builds up the stairway to the genuineness.
See where the ‘synasthetical’ reading will take me…
