In our reseach artists from dance and music diciplines are working together exploring creative live interaction between movement and sound and how these practeses can be transfered into performance. The key question is; can ones body manifest itself in an instrumental form within contemporary performance?
We look at the research from two different observation points. 1) How to enable a body to act as an instrument? 2) How does the project of moving alter when body is treated as an insrument? How the experience of the mover alters between musical and movement assignments?
We approach the instrumentality of the body through different technical sound devices that enable us to produce sound in a reactive manner. We start with direct microphone amplification and move towards sensor technology attached to body and garments.
The intertwined tasks of moving and playing are viewed from very practical grounds focusing on the experience of the mover. The scientific approach of the research views these questions based on Martin Heideggers writing in Sein und Zeit, where he approaches the ontology of existance through concepts of actual (eigentlich) and unactual (uneigentlich) being. We ask how projects of producing sound and movement are different and how alteration of focus in specific tasks changes the experience and preception of the mover. We also look at what part training and practice play in the execution and pursuite of actual being.
As this research is directed towards a performance result a work called Poimintoja we also study the preception and audience interpretation. Through prepared work-in-progress performances we will engage the audience in a reflective conversation on how the interplay of sound and movement (creation) influence the observers preception.
Choreographer – dancer; Hanna Pajala-Assefa, Choreographic assistant – dancer; Karolina Ginman, Musician – sound wisard; Abdissa Assefa, Musician – sound disegner; Aki Päivärinne