The Sounding Body: Gills & Bellows

This workshop is for the physically attuned, sonically curious artist from any discipline. The practice has emerged over the past decade as a response to sensorial disconnects—between felt experiences of sound/music, and that of “movement.” Influenced by Emilie Conrad’s philosophical writing on paralysis and fluid resonance, this workshop aims to integrate the voice into a new, physical practice through sonic vibration. This framework regards each body as its own expert, with the breath at the center of physical practice. Working both alone and with touch from a partner, we will investigate how vibration moves through our muscles, fascia, bones and ligaments. How can this movement of the diaphragm orchestrate our bodies for a richer experience?  How can sound be harnessed as a physical force in order to propel momentum, tone, rhythm and form? We will investigate pitch, timbre and resonance as felt experiences, bringing this awareness to small, interactive scores. We will process our research along the way, making room for doubt and interrogation. The practice I will share has been influenced by teaching practices and methodologies of Jonathan Hart Makwaia (Experimental Voice), Nancy Stark Smith (Contact Improvisation), Daria Faïn (Coremotion), and the writing of Emilie Conrad (Continuum Movement), along with input from my collaborators (2011-present). No experience with the voice is required.

No class on March 21 due to inclement weather.