A recap to start with:
My proposal to MAP details a research plan that explores ideas about voice and speaking in a dance context, perhaps moving toward vocabulary and syntax, and perhaps thinking a bit more about sociolinguistics. More about that later.
If you have managed to watch my video blog you might hear sean Curham mention the propriety of floundering. What value is there in pursuing territory that I’m not particularly skilled in ?
Here is the start of an answer:
Some of you may have attended Violetta Luna’s workshop in Wellington in 2014. Luna spoke a lot of borders as being fundamental to her practice and as a metaphor to facilitate aspects of the workshop such as taking a risk, looking deeper and challenging one's limitations. Crossing Borders is fundamental to Luna’s Art; Geographically because of the socio-political tension of being a Latina
living in the United States, practically because of the subject matter and methodologies employed in her praxis and perhaps literally if we think about the parameters of the body as a physical border. The crossing these borders could also be a metaphor for undoing thinking, for breaking mirrors for seeing through smoke screens, for cutting through the bullshit. I want to embrace this idea.
So with the idea of crossing personal and professional borders my research approach this week is to push nonviolently at the edge of what I understand and am able to do and hopefully, find that by the end of the series, I am in unfamiliar territory. Ironically the results of initial experiments look a lot like things I have seen and done before. I am not so concerned about this as yet.
Some discoveries from week 1:
Our initial enquiry is with the voice, because where that comes from, how it moves within the body, and how we give and receive it are of primary importance.
In the spirit being mortified by making funny sounds in front of other people, this week we are sounding. Making vocal sound using extended vocal techniques.
The main point of initial exploration is identifying where resonance sits in the body and the gentle sliding of the voice across those resonant spaces ( primarily in the throat , neck, soft palate, cheeks lips, and nose ) foregrounding the position and not the quality, direction or volume of the sound.
Taking a step by step approach we begin with basic everyday sounds, which is basically such as, and it sounds terrible, moaning and groaning.
•The last version experiments with working to a directional spatial image as shown in the video Soundings #2:
We ( the collaborators and I ) are spending some time observing and tutu-ing with these spaces and techniques and observing, responding perhaps then discussing.
Some observations are:
We will be looking continuing this line of enquiry to better equip our voice for other experiments.
I will be looking at areas of sociolinguistics such as vocal code switching and audience design while continuing to relate them to primary dance concerns of the body, time, and space.
I will think a little about the choreographic potential of conversation.
It seems an unlikely amount of territory to cover but as Sean said at the start of the week ‘If you find out what you are not interested in, that’s a good outcome’. I agree and look forward to that and other possibilities.
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