On auditory choreography: How walking anticipates sound and movement resonates | Intellect Skip to content
1981
Volume 10, Issue 2
  • ISSN: 2040-5669
  • E-ISSN: 2040-5677

Abstract

Abstract

Benjamin Vandewalle and Yoann Durant label their performance as an auditory choreography. Starting from an elaboration on the etymology of choreography I research what the auditory dimension adds and changes to choreography. Choreographing based on auditory decisions inverses sound and movement. This inversion has consequences from the process to the end result. Based on the sonic quality as main decision principle I unravel the creation process of in seven main action: to stand, to walk, to breathe, to look, to move, to disappear and to sound. This division reveals how the actual choreographing doesn't stop at the end of the creation process. In the second half of the paper, I turn to the experience of an auditory choreography, where the body of the audience functions as a resonance box. The discomfort of a blindfold during the experience, leads to the installation of a delicate intimacy and reveals the close connection between sound, touch and movement. The precariousness of the installed intimacy triggers and enforces the audience imagination. Through my own experience of Hear I discover how the audience in an auditory choreography becomes a co-creator.

Loading

Article metrics loading...

/content/journals/10.1386/chor_00003_1
2019-12-01
2024-05-21
Loading full text...

Full text loading...

References

  1. Alais, David, and Blake, Randolph. (eds) (2005), Binocular Rivalry, Cambridge:: The MIT-Press;.
    [Google Scholar]
  2. Bankoff, Greg,, Frerks, Georg, and Hilhorst, Dorothea. (red.) (2004), Mapping Vulnerability: Disasters, Development, and People, London:: Earthscan;.
    [Google Scholar]
  3. Burrows, Jonathan. (2010), A Choreographer's Handbook, London:: Routledge;.
    [Google Scholar]
  4. Caravan Productions (2016);, 'Hear'. , Caravan Productions, Premier 14 November, https://www.caravanproduction.be/artists/benjamin-vandewalle/hear. Accessed 17 November 2019 .
    [Google Scholar]
  5. Cjevic, Bojana. (2005);, 'Concept, theory and ideology of performance and performativity in XX century music'. , http://www.newsound.org.rs/pdf/en/ns27/19. B. Cvejic, M.A. Thesis.pdf. Accessed 12 December 2019 .
  6. Cjevic, Bojana. (2015), Choreographing Problems: Expressive Concepts in European Contemporary Dance and Performance, New York:: Palgrave Macmillan;.
    [Google Scholar]
  7. Douglas, Harper. (2019), https://www.etymonline.com/word/choreography. Accessed 12 December 2019 .
  8. Erlmann, Veit. (2015), Keywords in Sound (eds D. Novak, and M. Sakakeeny.), USA:: Duke University Press;.
    [Google Scholar]
  9. Flush, Thomas,, Koch, Sabine C., and Summa, Michela., et al. (eds) (2012), Body Memory, Metaphor and Movement, Amsterdam:: John Benjamin Publishing;.
    [Google Scholar]
  10. Hatuka, Tali. (2010), Violent Acts and Urban Space in Contemporary Tel Aviv: Revisioning Moments, Austin:: University of Texas Press;.
    [Google Scholar]
  11. Ihde, Don. ([1934] 2007), Listening and Voice: Phenomenologies of Sound: Second Edition, New York:: State University Press;.
    [Google Scholar]
  12. Kasulis, Thomas P.. (2002), Intimacy of Integrity: Philosophy and Cultural Difference, Hawaï:: University of Hawaï's Press;.
    [Google Scholar]
  13. Labelle, Brandon. (2010), Acoustic Territories: Sound Culture and Everyday Life, London:: Bloomsbury;.
    [Google Scholar]
  14. Labelle, Brandon. (2014), Lexicon of the Mouth: Poetics and Politics of Voice and the Oral Imaginary, London:: Bloomsbury;.
    [Google Scholar]
  15. Lepecki, Andre. (2017), Post-Dance (eds D. Anderson,, M. Edvardsen, and M. Spanberg.), Stockholm:: MDT;.
    [Google Scholar]
  16. Louppe, Laurence. ([1997]: 2010), Poetics of Contemporary Dance, (trans. by Sally Gardner.), Hampshire:: Dance Books Ltd;.
    [Google Scholar]
  17. MacCaw, Dick.. (ed) (2011), The Laban Sourcebook, Oxon:: Taylor & Francis, Ltd;.
    [Google Scholar]
  18. Marian, Jean-Luc. (2002), Being Given: Toward a Phenomenology of Givenness (trans. J. L. Kosky.), Stanford:: Stanford University Press;.
    [Google Scholar]
  19. Pavis, Patrice. (1998), Dictionary of Theatre: Terms, Concepts and Analysis (trans. C. Shantz.), Toronto:: University of Toronto Press;.
    [Google Scholar]
  20. Portanova, Stamatia. (2013), Moving without a Body: Digital Philosophy and Choreographing Thoughts, Cambridge:: The MIT Press;.
    [Google Scholar]
  21. Raichel, Daniel R.. (2006), The Science and Application of Acoustics, New York:: Springer;.
    [Google Scholar]
  22. Rhoades, Rodney A., and Bell, David R.. (2013), Medical Physiology: Principles for Clinical Medicine, Philadelphia:: Lippincott Williams & Wolters;.
    [Google Scholar]
  23. Riddoch, Malcom. (2019);, 'Imagining the sounds themselves'. , in Mark, Grimshaw-Aagaard,; Mads Hansen, and Martin Knakkergaard. (eds), The Oxford Handbook of Sound and Imagination, vol. 1, Oxford:: Oxford University Press;, pp. 55-78.
    [Google Scholar]
  24. Solnit, Rebecca. (2001), Wanderlust: A History of Walking, London:: Verso;.
    [Google Scholar]
  25. Solnit, Rebecca. (2005), A Fieldguide to Getting Lost, New York:: Penguin Group;.
    [Google Scholar]
  26. Team USA (2013);, 'Understanding neutral spine position and the core muscles'. , Team USA, https://www.teamusa.org/USA-Synchronized-Swimming/Features/2013/July/24/Under-standing-Neutral-Spine-Position-and-the-Core-Muscles. Accessed 17 November 2019 .
    [Google Scholar]
  27. Truax, Barry. (2019);, 'Imagining acoustic spaces through listening and acoustic ecology'. , in Mark Grimshaw-Aagaard,, Mads Hansen, and Martin Knakkergaard. (eds), The Oxford Handbook of Sound and Imagination, vol. 1, Oxford:: Oxford University Press;, pp. 653-69.
    [Google Scholar]
  28. Voegelin, Salome. (2014), Sonic Possible Worlds: Hearing the Continuum of Sound, London:: Bloomsbury Academic;.
    [Google Scholar]
  29. Persyn, Leonie. (2019);, 'On auditory choreography: How walking anticipates sound and movement resonates'. , Choreographic Practices, 10:2, pp. 197-212, doi: https://doi.org/10.1386/chor_00003_1
    [Google Scholar]
http://instance.metastore.ingenta.com/content/journals/10.1386/chor_00003_1
Loading
This is a required field
Please enter a valid email address
Approval was a success
Invalid data
An error occurred
Approval was partially successful, following selected items could not be processed due to error