DANCE / MUSIC COLLABORATION - VICTORIA HARPER & FELIPE OTONDO

The initial goal of this collaboration is to explore the relationship between body movement and spatialised sound, trying to understand common eatures of the creative process involved in dance and music.

Rehearsal 110810

We started exploring simple relationships between movement and sound. Using a simple soundtrack spatialised in using a four-channel system in the hall as a way to get started generating movement material. Different layers of the mix were spatialised independently using different types of simple spatialisation techniques (level& panning, front/back contrast, independent solo tracks, panning rhythms & EQ).

Rehearsal 250810

We explored the relationship between different types of spatialisation setups and the choreography. The use of active diffusion in relation to the development of movement material probed to be a very effective tool to develop a clear and straightforward relation between the two. The sound is based on layers of continuous sounds that are distributed between different pairs of loudspeakers and also solo speakers close to the position of the performer. The performer worked with ideas for movement material that were affected by her position in the performance space.

 

Rehearsal 020910

 

The rehearsal was based on working on two different aspects of performance:

1. explore relationships between choreographic and compositional processes.  

 

2. look at the relationship between the mapping of physical movement in the space and the distribution of sound in the hall using a particular sound system structure.

 

Composition: the use separated layers of sounds in the composition routed to specific pairs of loudspeakers allows the possibility of interacting with the movements of the dancer live in performance working using a structured framework.

 

Examples of layers used in the composition:

 

Layer 1 & 2: impulsive bass synthesised sounds 

Layer 3 & 4: continuous convolved sounds

Layer 5 & 6: high-pitch convolved sounds of bells

 

Rehearsal 290910

Different sounds in the mix are distributed in different stereo pairs in the room to create different kinds of relationships between the movement of the dancer and different sonic planes (perspectives).

 

Tracks 1 & 2: bass material (wide K&F)

 

Track 3 & 4: continuous material and synth noise (Mackie at the back of stage)

 

Tracks 5 & 6: high-pitched sounds and continuous  

The mapping of the physical space with sound devices in specific positions allows the dancer to develop movement material in relation to sounds that she hears when moving across the space. The spectral fragmentation of the mixed sound in the space allow the performer to 'explore' the space through mapped sonic areas and to relate to particular sounds in regions of the spectrum. This seems to be quite obvious with high-pitch sounds and small speakers in the front of the stage (see attached picture).

 

 

The choreography is currently being developed by Vicky as sequences of movements that are fixed but constantly adapted to the the distribution of the sound material in the space.

 

 

There are interesting ideas that start to emerge from the interaction between the sharing of the physical space between the movements of the performer and the spatial distribution of sounds. The sounds are somehow fixed but when distributed in the room using spectral distribution it emphasises the exploration of the space by the performer. Can this piece be created as a flexible choreography that can be adapted and changed. 

 

 

 

 

 

Cllick here to see short video of work-in-progress piece recorded on 29/09/10.

 

Prototype tests with Greenlight AV 061010

Several tests were performed by Vicky Harper wearing the prototypes of body-worn speakers designed by the engineer Peter Hawken from Greenlight AV. The intensity and frequency response of the models were tried in the room considering different kinds of movements. The opinion of the Vicky was also taken into account in relation to the suitability of the models for particular models and also the confort of the dancer during the performance. The quality of the speakers in the middle and high-frequency range proved to be remarkable. Small adjustments to the cabinet of the speakers will be done to try to compensate for undesired resonances. The pictures below show some of the activities carried out during the tests at the Jack Hylton Room at Lancaster University.

 

 

 

 

 

 

Current developments

Current developmens of the project include anatomical studies to find the most suitable size and shape of the speaker cabinet design considering the performer's views as well as the quality and power of the individual units. Initial tests with the prototypes show a good frequency response of the speakers which is clearly improved when tried on the body of the performer. Small adjustments to the cabinet enclosures will be done in order to compensate for undesired resonances. 

Prototype tests with Greenlight AV 091210