A workshop focused on sound for dancers and other sonic tools on the stage in collaboration with Jone San Martín. During the workshop we will use some tools that William Forsythe develop during his career as a choreographer. Those tools will be teached by Jone San Martin, dancer and choreographer who has being working with him in the Ballet Frankfurt and after in The Forsythe Company.
This workshop has being conceived in collaboration with Mikel R. Nieto, sound artist and researcher, who will take care of the sound in the workshop and propose some exercises with sounds to develop a deeper and more attentive listening.
Review: Cristina Morales wrote kindly this article “Cíborg pobre” → (in Spanish) about this workshop in Barcelona (June, 2019)
The main difference between dance and music is gravity: meanwhile dancers have do deal with it through their bodies, music does not. How many times you ever seen a sound falling? How many times dancers fall? From this perspective the weakest point of a dancer could be that fact, but it is not. The more common weakest point in dancers is sound, more specifically the listening act and their voices. In that sense, the less used part of a their body is their own voice. The most of the times dancers don’t know how to use it and enjoy it on the stage.
Usually music in dance is understood as a trigger for movements or as a background noise or soundscape. Both of them are a reduced way to understand the relationship between dancers and composers. This workshop is focused in this gap proposing another approach in dance through a different way of using music and listening by dancers. What is dance without music? Can silence be danced?