'~' is an album of incompetant singing. Three figures try to sing along to a contemporary pop album without having heard it before. The performers are exposed through this choreographic proposition, as they move between hesitation, awkwardness, pleasure and glee. The echo of sociality - the laughter, the enjoyment, a mocking edge - propose an ambiguous proximity and distance to the listener. Fionn, Rohanne and Paul will be continuing their research this summer in a collaborative residency in London.
Listen to the album below:
I feel it in the back of my head is a series of works for radio and the moving listener. Creators Madeleine Flynn and Tim Humphrey aim to choreograph your everyday listening, by tapping into the experiences of people who work with sound and space, professionally.
Dancers Paea Leach, Gregory Lorenzutti, and David Tyndall invite listeners into the creative process unfolding in a dance rehearsal room, and demonstrate how music and sound wrap around their creation and experience of contemporary dance.
Have a listen to episode 1 - made for listening at home.
Read more on ABC
Radio is Dance: Sunrise
In this solo radio improvisation I draw from a sunrise commitment I undertook last spring/summer; to wake up each day with the sunrise, to experience the sky's gradual shift from dark to light, to check my heartbeat, and to write about the state of my body in that waking moment. reading texts written about the state of my body in the wee hours of the morning. Here the sound of the spoken words, words dedicated to the experience of a morning shape-shifting body, dance. The energy of the voice recalling, my heartbeat, and some songs dedicated to the sun.
Radio is Dance is a series of live radio improvisations, hosted by Radio is Dead on Montreal's community radio station CKIUT 90.3FM
Our call out at the start of 2017 unearthed lots of thought-provoking ideas on what dance on the radio can be. We offered 5 projects an Award to support the development of their proposal, but sadly couldn't support them all. A number of artists were happy to share their ideas on our website, to , so here they are.
Such a diverse approach to the concept and we really hope more of these projects can make it into creation. If you are interested in supporting any of these ideas with resources, please get in touch and we can forward your details to the relevant artist.
Just as radio waves surround us becoming audible as we tune into different frequencies, Butoh dance creates a liminal relational space of bodily transformation between what exists and what may or may not appear. Butoh dances with Other-ness: Living, dead, human and non-human, attempting to sacrifice social habitus with meticulous bodily control and investigation of inner movement impulses. In the words of Butoh dancer Marie Gabrielle Rotie ‘a step in is a step out’ and this intimate radio piece asks the listener to explore their body as transmitter, disappearing into the sonic dance of Butoh.
I love the idea of using the radio as a medium to guide people through an improvisation that they could perform in their own home – and I use the word ‘perform’ in the very widest form I can. Some may choose to perform by sitting in a chair & having a purely internal experience where the dance takes place privately, maybe in their mind’s eye. Others may be wildly launching themselves off the sofa, swirling themselves into the curtains & gliding around the kitchen. And then there is everywhere in between…
No.Company. questions rehearsal processes and reveals the results of rehearsing alone. What happens when dancers instruct without physical practice and confirmations?
No.Company. aims to engage more people into the mystery world of contemporary dance by setting up non physical rehearsals that then become instructions to make a piece for performance. By offering participants creative freedom, expression through language becomes the pivotal part of the final creation.
“It’s all about collaboration that keeps the collaborators out of the room, a choreographic form like remote surgery with the haptic feedback coming from the performers. It’s an interesting creative paradigm...’ - Writing About Dance.
Desert Island Dances. Yes, a twist on the classic desert island discs where a celebrity is introduced and interviewed by the radio host and asked for their top dance sequences from any media such as theatre, film, music video, musical and so on. The show blends a mixture of personal questions about career etc. with the celebrity’s favourite dance routines. They should be so iconic that they can be visualised automatically by the audience and if not, at least offer an intrigue for the audience to go off and discover them. Imagine a celebrity discussing the choreography of:
Westside Story, Dirty Dancing, Footloose or Michael Jackson’s Thriller or Beat it?
My programme takes the subject of female desire and sexuality as its basis, and proposes an audio work that unfolds this infinitely-faceted state of being through the choreographic treatment of voice. The vocal material that forms the basis of the piece would be generated through a series of interviews with a range of different women, in which they speak about their thoughts and experiences of sex and desire. Through discussion, the inner complexities and sensations of desire for each woman would be uncovered, leading to frank, vulnerable and wide ranging ideas about the body and its relationship to the mind and imagination. This material would then be shaped into a collaged composition, using digital audio techniques of editing, alteration and processing as a choreographic approach.
MERI ERKILLA AND SEAN BURN
Meri and Sean have long discussed collaborating creatively - now is the right time as we are genuinely excited by what we could co-create with your support. location sound recordings made around embleton sands, northumbria will be combined to express in sound and words dance-as-survival - acts of genuine inclusion and acts of inclusive dance. we see our proposal as act of memory - celebrating differences & finding commonalities, dreams, hope at a time of increasing warring against us all. this dance (in poetry / sound) can build bridges instead of walls
In “The space surrounds me”, dance artist Nicholas Quinn, elucidates his experience of being present in a dance space. The space in question is the Grande Salle studio at Performing Arts Forum (PAF), in France. The space holds many memories of working for him from the Winter of 2006 until now and these memories form the basis for some of his reflections, as well as remarks about the transitory nature of choreography. These reflections and descriptions are interspersed with read out loud lyrics to particular songs which he finds musically striking and act as a reprieve from the reflections.
Contemporary performance, across many different genres, has a hierarchy of senses. No matter what, sight seems to come out on top. This pattern follows through into documentation, wherein a photograph or a video of a performance can easily be seen at the object-artifact of a visual history. However, the reduction of a live work to a contained visual medium brings sight even further into the foreground, leaving any other sense to be even more indistinguishable. To explore the idea of sound as a primary product of movement I intend to create entirely auditory recorded performance.
The concept for this programme would be a detailed description of the choreographies of my students at the NCBI, read by the students and aided by the individual soundscapes of music I have made for their choreographies playing gently in the background. The programme would start with the dancer describing the inspiration and concept for dance piece and then the dancer will set the scene. Then there will be a pre- recorded live version of the dancer performing in the space so that the listener can hear the movements on the hardwood floor and the sound of breath of the dancer and movement of clothes. There will be another recording over this of the dancer describing what they are doing in the choreography in time with the other sound pieces. In total there will be three sound pieces playing at the same time.
This show examines self-choreographed movement approaches such as: Authentic Movement, Process Work and 5 Rhythms. It will also be a course of guided interventions/meditations that support listeners to develop an awareness of their own physicality/movements, providing an opportunity for listeners to explore and create their own choreography. The listener is offered the space to follow themselves and create their own dance where choreography is programmed by the rich experiences of life, relationships and the movements made in response to the world. Possible inspirations/explorations include: movements occurring in the moment, dreams, relationships, body ticks/symptoms, mental health, images, music/sound, text.
TIM CASSON AND ALICE SANDERS
Tim heard Alice on a podcast trying to articulate the difficulties of audio describing dance in films.
Alice said she threatened to leave her job audio describing if her boss gave her another ‘Step Up’ movie to describe.
Tim thought... “challenge accepted”.
Bringing together Dance Artist, Tim Casson and Writer & Audio Describer, Alice Sanders; Parlez-vous dance?, is a performed conversation exploring and articulating the inherent difficulties of this process of translation. Providing listeners with an insight into the literal and physical ‘language of dance’, and creating a unique performance within the most intimate performance space of all - your mind.
Matt Cornell (along with Miranda Wheen) had a residency at Dance4...why/where I first came across him. He is a dance artist & one of his projects is Wombat Radio - a series of conversations with dance (largely) artists.
Here is the podcast with Heather Forknell (assistant producer at Dance4 and independent artist)
Not about dance really.
Most of the other artists are Australian (like Matt) though there are some other 'international'
Oh and me, but haven't actually listened all the way through, an hour long and day 2 with CP!
The ABOUT section of his website (or click the wombat) has some info about the what and why.
NUDOECRUDO TEATRO acts on stage since 2001.
Nudoecrudo Teatro is an Italian production open group that works in the field of vocal and sound artistic research, creating unconventional performances and producing site-specific interventions.
Artists from different disciplines join our work : sound-engineers, performers, scenographers, musicians, but even educationalist and social trainer are part of the group.
Together with the artistical research, nudoecrudo operates in the social and educational fields, achieving projects addressed to childhood, teens, adults and seniors.
Realistic soft silicone ears that simulate natural human ears. Rugged and compact for portable, professional, handheld binaural recording in any environment.
quite apart from the look,
so yes they look ridiculous, though I guess that could also be cool.
What I come back to is the idea of creating a different relationship to a body in time and space.
Is there a difference here with the on rather than the for?
I was reminded of Ligna’s Radio Ballet.
This description taken from their blog
A Radio Ballet is a radio play produced for the collective reception in certain public places. It gives the dispersed radio listeners the opportunity, to subvert the regulations of the space.
The Radio Ballet brought back these excluded gestures of deviant behavior into the main station. Around 500 participants - usual radio listeners, no dancers or actors – were invited to enter the station, equipped with cheap, portable radios and earphones. By means of these devices they could listen to a radio program consisting of a choreography suggesting permitted and forbidden gestures (to beg, to sit or lie down on the floor etc.). These suggestions were inter-rupted by reflections on the public space and on the Radio ballet itself.
Where is this dance taking place?
It is in public spaces in the listening to the radio transmission. The choreography is distributed through the radio but isn’t taking place there. You participate through the radio and you watch in specific locations (that used to be public space, but are now privately owned). Could you also listen to the dance taking place on the radio without engaging in some way with what is happening in the other ‘public’ (non-public) space? Leipzig, main railway station. Or Hamburg station for instance, as with the first performance.
I have mentioned it to dancers & choreographers and the first thing I have to report is that people didn’t universally consider me mad. Not for this conversation anyway. Yes I have chosen those I spoke to wisely, but I have also happened upon some people who have been thinking the same thing Karl Jay Lewin who announced at a Federation of Scottish Theatre’s pitching event his desire to made some dance for the radio, or Rita Marcalo delighting in telling me that she had met someone who wanted to made a collaborative dance/sound work for the radio (Robbie Coleman, based in Scotland. He constructs his own radio transmitters and has done some really cool work interfering with radio frequencies). And I am talking of course to Threshold – to Uzma and Barry who just got very excited about it.
Claire Hicks writes
a collection of thoughts about this project and what others are already doing