Body as method

When asked about how the movement from function towards art had been done I realised that bodily experiments had been an important part in the process. In general there has been a synergy between several different processes that has worked paralell, all involved with breaking my learned patterns and expanding my action space within music, expanding my personal stage. A lot of this took part during the semester in Helsinki, even if it had been started during the preceding semesters in Stockholm and Odense.

I started to play [include hyperlink to text about playing] with the instrument, experimenting with what sounds I could get out of it but I also started to play with my body and with my voice. And I think it was very important as an opener for me, that I got bodified experiences of my increased personal stage to aid me in using that also when I was playing the fiddle.

A lot of it started in Kunkkula and the Kandiakatemia week we had there, quite early in the semester.

The week provided musical-physical inspiration in many ways

  • Starting every day with yoga-like excercises, creating a physical state of being that very obviously improved my ability to work, create and develop.

  • Doing contact improvisation – which is also something I had been doing a bit of before, but not in a context that created such an obvious connection with musical activities.

  • Doing various forms of physical/body/dance-improvisation, that always showed very clear paralells to different aspects of music.

  • Doing voice/body-sound improvisation.

  • Just being surrounded by other people who did ‘weird’ stuff with their bodies and voices also served as an inspiration.

Among other things, that week resulted in the physical experiment described shortly here.

I also got further input (lessons) the that gave a lot of physical experience, especially within the masteriakatemia course. We had quite a few hours with a dancer (Giorgio Convertito) who provided the idea that dancing/movement and music/sound is different aspects of the same thing. Where musicians are concerned about organizing and making impact on time, dancers are concerned with space, but in the end it is the same thing. Phrases in space and phrases in time are different expressions of the same thing, and time and space is the same thing. These lessons provided a very interesting perspective on how the body can be used to develop various aspects of music (e.g. phrases) without using the instrument.

After the week in Kunkkula, and spurred further by the Masteriakatemia lessons, I continued using my body as a tool for development on my own. I gave time to starting the days with various forms of body warm up and I used body/movement-improvisation as a way of opening up body and mind. All this ended up with the idea that by challenging my body’s habits, I can move outside my normal boundaries, my comfort zone, and this gives experience that I can use in my playing as well. For me this became a method of approaching the Art. This is also something I intend to explore more, and definitely something I will make use of more in my future musicianship.

6 thoughts on “Body as method

  1. Pingback: Embodying Knowledge – the Power of Experience | Folk as Art

  2. Reblogged this on Global Citizens Art and commented:
    Here is a great post that talks about the basics of synergy between body, movement, dance and music. (Among other elements) This writer has put his or her entire Masters online. I have already found great resources such as a Video on Silence by John Cage. I am interested to read all of this Masters. The work is hypertext so you can kind of jump in and out of the writing rather than read chronologically.

  3. Pingback: Method for my artistic research (method for development) | Folk as Art

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