What is it about?
This paper explores the role of ‘sounding costumes’ and body-worn technologies for choreographic composition, with real-time interactional elements (such as microphones, speakers, sensors) potentially integrated into movement and expressive behaviour. Sounding garments explore the interactions between dancer/performer, the costume and the environment in the generation & manipulation of sonic textures. Briefly discussing historical precedents of integrated composition, the article will mainly refer to sounding prototypes in DAP-Lab’s production, 'for the time being' [Victory over the Sun] (2012-14), for which Danjoux designed the wearables.
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Why is it important?
It highlights methods for building sensual wearable electro-acoustic costumes to create kinaesonic choreographies. The paper analyses the multi-perspectival potentials of such conceptual garments/wearable artefacts to play a significant part in the creation process of a performance, focusing on how wearable design can influence and shape movement vocabularies through the impact of its physical material presence on the body, distinctive design aesthetics and sound generating capabilities. Choreographically, garments and bodyworn technologies act as amplifying instruments as well as sculptural constraints or conversely enablers of new movement and ways of sounding/listening that affect different kinetic and acoustic awareness (both in the performers and in the audience).
Perspectives
This paper forms and important part of the historic trajectory concerning wearables in digital performance and wearable performance design where multi-sensorial aspects are concerned.
Michele Danjoux
University of the Arts London
Read the Original
This page is a summary of: Choreography and sounding wearables, Scene, October 2014, Intellect,
DOI: 10.1386/scene.2.1-2.197_1.
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