FUSE#1

Scope #1
Voice and movement in instant
composition
Approach
by Joao Gouveia and Petra Vossenberg
Sharing our practice. Guidance and facilitation in exercises.
Doing. Then breaking it down. Time and space for reflection.
Repeating (with different partners). Watching.
Working in pairs on connecting breath and movement. One
mover. One toucher, placing the hands on different parts of the
body. Connecting to each other’s breath. The mover using the
touch to breathe into, expanding the volume in between the two
hands, connecting the two hands with the breath, using the
point of contact as the initiation for the movement path.
The exercise expands the volume of the body. The touch helps
to find the natural paths of the body. Different paths. You are not
alone. Someone is continuously supporting you and you are
supporting yourself with your breath. It gives importance to the
movement.
Sound bringing awareness to the back of the body, the
space around the body.
Voicing the movement of the other. How close can you
stay to the movement itself? Or do you sound the image
you have of movement? The mover should be aware of
the sounder. Take them along in your movement. Be clear
in your trajectory. The partners are mirrors to each other.
Is the movement readable, clear and given to space? Can
you commit yourself to the other? Be there with them,
otherwise your sound is continuously too late.
Voicing the movement of the other with the permission to
go beyond the body. The spaces around the body.
Sounding the wider context. From the body, into space,
back to the body. A figure ‘8.’ Voicing the space instead
of the body can be very powerful. Giving the body more
space to move and tap into the imagination. The partners
meeting in space and riding the different images that
appear.
Observations
Through sound people start to see space, different spaces.
Both as a mover and watcher.
More clarity in movement
Dialogue between the dancers
Less ‘people’, more bodies
Movement and sound travelling through the dancers like a
wave and continuously transforming
Developing a theme
Playing with the placement and meaning of sound phrases.
Sounding our own movement. Different lengths of movement
phrases. Articulation and rhythmicality. What is first? The
sound or movement? Playing with this dialogue. Sound and
movement affecting each other in the doing.
Listening to sound in space. Receiving. Giving sound to
space. Making the sound available for others to use. Giving
direction to the sound. Creating structures with sound in
space. With sound being able to focus the attention on an
object or body in space. With sound being able to dissipate
away the focus.
The sound quality and depth in space relating to the quality
and depth of the glare and focus of the eyes.
Do different roles, i.e. sounder and mover, give clarity? How
much do you play in the box? Finding your freedom within.
From careful listening with the ears to a complete listening of
the body in instant composition. Listening to sounds and
movement. Quietness within. Listening to what is given to
space, receive, and give to space yourself. Building together.
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