It encouraged us to deepen an exploration of ways to articulate our thought and practices, searching for how music and dance relate and interact.
This interaction appeared clearer when we found McMains and Thomas’ article, ‘Translating from Pitch to Plié: Music Theory for Dance Scholars and Close Movement Analysis for Music Scholars,’ which finds a common language between music and dance. This and other experiences united us as artists/researchers and, along our search for a fusion of horizons 1that come from each of our disciplines, we discovered the ways music and dance intertwine. As the dancer interacts with the sculpture, the connection between the disciplines is enhanced through explorations of how the physical presence of the dancer is sensed through sounds and how the sounds are influenced by the varied movements of the dancer. The piece was created around a sound sculpture made out of metal fragments that can be added, taken away, and attached together in different ways. What do performers think about during performances and rehearsals?Īs artists in the disciplines of music and contemporary dance, we, the authors of this research, were lucky enough to explore this question having already created a piece together ( Lurking Creature, London 2018, Reykjavik 2019) in which we shared a collaborative experience where movement would only occur with sound and sound would only exist through movement manipulation. Overcoming internal difficulties and external constraints through inner conversations Parasitic inner conversations (undesirable intruding inner conversations, distracting thoughts, self-hypercritical speech, choreographer’s demands)ģ.4. Altered states of awareness (trance, state of grace, mystic experience, altered time)ģ.3. Variation in awareness of inner conversationsģ.2. Trends of Dancers’ and Musicians’ accountsģ.1.Content analysis’ principles and procedures The interview’s context and challengesĢ.2. Looking at the dancers’ and musicians’ accounts together raised the question: How is the awareness of ‘inner conversations’ developed during performers’ initial education and training?Ģ.1. Overcoming internal difficulties and external constraints through inner conversations. Variation in awareness of inner conversations 2. From the performers’ accounts, we extrapolated four trends: 1. Within a phenomenological orientation, we developed a descriptive and interpretative study of a phenomenon (inner conversations) which gives itself to conscience, a pre-reflective consciousness. Abstract: This article aims to describe and understand what performers think about during performances and rehearsals while searching for a common language between music and dance.ĭeparting from our own experiences as performers (a dancer and a musician), we ask the question what do we think about when we are dancing/playing? We assume that this awareness of what we think while performing is not obvious and decided to explore this by interviewing six dancers and six musicians about what we named performers’ ‘inner conversations.’
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