Tape-estry - A music instrument at a performance. This project started as a collaboration with Verena Barie a graduate from the electronic composition department at the Conservatorium. Our intentions for this piece is for the audience to experience a the performance which is correlating with the construction and deconstruction of a predefined sonic instrument. The theatricality of the piece is the aspect of producing different sonic elements within a given space( constructed instrument, walls, speakers, wires, body). These sounds are produced through how the performers choose to exist in the space. Considering the entire space is tuned to pick up sound waves. The sensitivity of the performers needs to be adaptive to the conditions that vary with the intensity, frequency, how, and where one is interacting with the instrument. With the variability of the instrument. The performance is primarily the presentation of the de-constructed image of an instrument which is built with an unconventional material. Every material which part of the instrument projects certain roles and theatricality. Every gesture and every movement in the space is a result of resonating sounds. The use of the performing body in the piece is an integral method of existing, playing(musical) and creating various sound-scapes. This intention with this piece is to create/facilitate the performance to be experienced through Synesthesia (triggering different senses through the memories of sound in the body's). This would be achieved using sound (singular and in combination) as a medium to relay actions, images, and associations relative to each member of the audience. This use of sonology and emotion is in relation to the history of the Indian scale system which is designed by the emotions that are triggered by the combination of certain notes. My personal need and curiosity on how performance can be experienced in different ways for an audience who come from diverse artistic sensitivities. Sounds/music being such an integral part of any performances, I was curious to bring the source of these sounds into a performing space. My interest grew when research started with the study of the construction of different instruments from classical to new electronic instruments.
The instrument in its process had to exist as enormous as wrapping the space with its presence. Becoming the body of the body. Staying with the questions on how one can revisit the movement- the affect of sound in performance. Sound - hearing - listening is one of the most accessed and effective forms of medium one chooses to engage with. How will this sound be influenced when the source of sound is made visible. How many characters can we give to the source from which the sound is created? A constant state of hearing and listening to the feedback of ones performing.
it is a performance-based piece that is dedicated to playing/composing different soundtracks in the alive-space. space becomes like a magic sonic box revealing itself through different shapes, sounds, in silence, voice, and through the moving bodies.
Choreography and concept development- Keerthi Basavarajaiah and Verena Barie
Credits: SNDO- School for new dance development
Musical assistance - David Krooshof
Advised by - Erin Manning, Olga Tsvetkova.