1. Ingo raw interview about music and dance
Ingo Reulecke and Trinidad Martínez
1bis. when I’m looking for silence, I seek a state that my eyes look to the inside, where there is no time, I stop listening outside to feel the noise under my skin, I detect the sound of my organs, my thoughts. . . and take them to nothing. For a few seconds I can silence the sound outside, I don’t listen to the clon-clon of the bells every quarter of an hour, the unit of time is balloon, I get out of the map, I’m not.
Dark reflection, I look at a point at infinity, falls dead skin, a fall upwards, all order disappears.
In the loss, I frame my own deviation, the walls have life, streets speak about me. Seeking to silence. I float in air. . . But I don’t get lost: sound thoughts, the runrún of neurons, the pumpum of my heart , the flow of blood. . .
If the silence does not exist, then. . . what I’m looking for?
I seek to transform air into solid, shaping the invisible, distill my soul, dynamic process in which all is removed. Search in depth, to find in a vacuum the resonance of what I am not.
2. Real time composition: We figured out that the listening is an extremely important part of being in relation to our own means of expression. In this sense we´ll open the awareness by taking time to listen to the inner and outer soundscape and to allow it to influence our way of moving. We will look for textures, qualities and the physicality of sound in the body. we´ll offer tasks and scores to get more into an idiosyncratic material with the support of the conscious listening.
Biliana Voutchkova and Ingo Reulecke
3. To experiment takes away the judgment of right / wrong done. Our motivation is simply curiosity about what will happen. This approach to the artistic practice gives us a wider freedom where the results connected to the process are awesome.
We agree to a set of guidelines, we create a frame to experience and we start the game! There is no good or bad done, all we have is the curiosity towards the sound and what we think is silent. read more
4. I like this verb: “to listen.” It implies close attention, focus. When we dance we say “listen to your partner”; when we make decisions we say “listen to your intuition”; when we want others to focus on us we say “listen to me.” And naturally, when in the presence of music, we listen.
I am also fascinated by the relationship between spaciousness and stillness and spaciousness and silence. . How much space between movements equals stillness? How much space between notes equates with silence? What impact do stillnesses and silences have on the dancers? Musicians? Viewers?
Finally, I am thinking about the permeability of the dancer – how much does music enter us or not enter us? Can a dancer vary her permeability to music? What sounds go straight into us? What sounds dictate to us? What sounds support us?
5. Making the gaze silent in order to listen beyond: When we close the eyes we immerse inside an ocean of sounds. When we close them it feels like its volume would rise up. It is a sonic-space sounding silence, a sonic band which accompany us wherever we go.
How does this silence talk to us? What does it tell us? How do we relate to it? What do we do with it? Do we have to do anything? What interest us? How do we make it obvious? How do we move with all this? How do we stop? How can we make the silence silent?
6. My interest in Music and dance/contactimprovisation is playing around timing and impulses. One focus is to play with the musicality of just movements. Like we hear music -imagine each movement creates a sound. How can we create music just with movements. Playing with timing. The other aspect is to get triggered and influenced by the music, to get energy and spirit/power by the music- but also to move independent of the music. As if we create a new instrument line. To play with the music we need to listen to the music -and also to be free in our creative interpretation/response.
An other focus will be to use music in contactimpro techniques. We will use our voice to deepen and connect contactimpro techniques with sounds and musicality. Creating supportive body structures, stability, in/out of balance, momentum and lift. They all can be approached by using our voice and musical awareness. You will see!!!
7. Music and dance share the aspect of time. Rhythm can be articulated by aural or visual means. This may sound banal but It is also a demonstration of structure transcending it´s carrier medium. Rhythm is a paradox phenomenon. Cutting the seamless flow of time into specific bits, only to reestablish an alternative flow, the rhythmical flow, consisting of the patterns made up by these very bits. Rhythm glues these bits together to a singular entity, a new whole, a continuous rhythm that exists on the precondition of breaking up time into discontinuous events. To explore this paradox offers the chance of a close look at how we humans perceive and conceptualize. This opportunity fills me with a deep joy.
8. Full and empty landscapes.
It could be that our attention travels to zones that seem habited, filled up with the echoes and vibrations if that taking place. We could also find ourselves in landscapes that sound mute, suspended in non temporal spaces, decorated only by the birthing prelude of something it is not jet. Improvisation suggests a transit between that perceivable and that to come, between the familiar noise and the unknown silence.
Silent is for me like a little utopic island in which we can forget that we know, surrounded by the immense sea, embracing and inviting us to dive into the rhythms from which we all come, to give into floating or sailing, following the direction of a dance.
Patricia Gracia Parra
9. In class I work a lot in silence, when I play music everything changes. The dance needs to open up for a new partner, a new dimension. How do I listen, how do I decide. I love playing with something as “simple” as dancing in silence and suddenly listening to just one song, and observe what happens. Yesterday, with “bombazos rockoleros”, it was like an explosion in the space. It needs decision taking, to compose emotions and our impulse to follow the rhythm, to watch ourselves, to listen from the outside, to not become “blind”, or maybe yes.
When I ride my bike, tracks are playing randomly. The world crosses an hecatomb under Arvo Pärt’s cords; when I listen to Ecuadorian music talking of love and heartbreaking a smile arises on my face; or a philosophical state of being overtakes me while listening to contemporary poems; in between there are some recordings of my own voice, I listen to myself…
It fascinates me to loosen up threats in this basic, naïf, instinctive relationship which moves us. And think about it.
10. In this path towards learning and creating through movement; images, sensations, emotions and ideas have accompanied me, almost like drops. It has been a creative process in constant change and evolution.
I am interested in movement as a way to cross our own limitations and to discover our hidden potential. The ability to move efficiently improves with our learning, but movement can be also just a way to cultivate sensitivity, thoughts, knowledge, creativity and communication. We can then taste all these incredible moments of stillness and movement that arises from the dance.
José Manuel Lozano