Something I really enjoy doing as part of my job is composing live sound design for dance classes and workshops. I have experience of this in a number of difference settings. Some of the individuals and organisations I have worked alongside in Scotland;
Out of Class at Dance base in Edinburgh with Luke Sutherland and Christine Devaney
Gathered Together Festival at The Tramway in Glasgow in assosiation with the Glasgow Jam
Independance with workshop led by Aya Kobayashi
Barrowland Ballet who I most recently composed a 30min dance class score for accompanying Aya Kobayashi's pre recorded online class.
Currently available here
I enjoy this work because of the connection between sound, facilitator and participants. If required I talk before the session with the facilitator and we discuss tone, texture and the sonic and physical arc of the session and any particular desires of the facilitator that I can support. However, often there is no discussion pre session which means using my senstivity to listen to the needs of the facilitator and to sense what will serve the room at that moment sonically.
I find this work deeply satisfying, I believe live and responsive sound scores for a movement sessions deepen the learning and engagement for the participants. As a trained dancer myself I know the difference between a class with live music and a class with pre recorded sound, however well the session is planned it is never the same. The mover has more information to play with and if supported by a trained musician who understands the body it can be a very transformative experience. I am particularly interested in working with performers and dancers around listening and responding to sound and have previously facilated workshop sessions around this work.
One of our main jobs as performers is to listen using all of our facilities, in a world where we sometimes need to turn down the listening in order to process the amount of new data coming in I believe the art of listening needs to be given time and practice.