As part of the practice-as-research on Vibrating Materials I am looking at how unedited communication, vibrating sonic aurality influence dance composition and audience participation.
The practice-as-research includes Podcast interviews, workshops, residencies, performances that will be documented to be included in the final research project of the MFA Creative Practice Dance Professional Pathway in July 2021.
The MFA research questions the problematics around the resonances and effects that the attention to aurality carry to the performer in the act of creation and on the spectator’s experience. It is essential for the PaR to question, in the context of “expanded choreography,” the nature of participation and spectatorship in the current pandemic and post-pandemic landscape, through performative platforms, seminars and engagement with organizations. The perspective research aims to push the boundaries of dance, sonic practices, and audience participation.
The concept of spheres within spheres as a modality for creation: the sphere of the kinesthetic, the sphere of the auditory, the relational sphere in the act of co-creation with the spectators. The sphere of the kinesthetic involves somatic perceptivity, choreographic creation and performance practice, the auditory sphere includes use of field soundscape, musical landscape and vocality, the relational sphere questions the notion of audience participation in this specific historical time. The spectators are challenged in the act of Epopteia (from the Greek word εποπτεία), which entangles the act of “looking over/through”, as the artist leaves the place for the spectator to fill the space with its own visions.