Towards a poetics of restriction
Jung In Jung
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PhD in Music and Music Technology
Centre for Research in New Music
University of Huddersfield
jungin.j@gmail.com
2.4. Project Four
2.4.1. The Music Room
Video 2.31: The Music Room.
Figure 2.39: The kinesphere is cut into quarters.
The Music Room (Video 2.31) is a choreographic sound composition performed by solo dancer using Gametrak controllers in an unusual performance space. In order to capture the intimate relationship between the dancer and the restrictive conditions with my choreographic rules, I produced it as a dance film.
Inspired by Rudolf Laban’s notion of kinesphere (see here in Section 1.2), I wanted to create with my interactive system a work that dealt with the size and shape of the space of the kinesphere. In my previous works I used Gametrak controllers to make the dancers more aware of the space of the kinesphere. For example, when a dancer was no longer able to move one part of his or her tethered body, he or she was provoked to think about and move other body parts. In other words, the tethered parts of the kinesphere were restrained. As a consequence, how the dancers solved my choreographic tasks became the ways in which the sound compositions were triggered and manipulated. However, I wanted to create a new work that somehow more clearly demonstrated the invisible kinesphere around the body.
Figure 2.37: Photograph of Rudolf Laban’s pupil Lisa Ullmann working in a life-sized icosahedron during a summer school at Ashridge in 1955.
Based on his choreutic theory, Laban created life-sized icosahedral scaffoldings to demonstrate the kinesphere (Figure 2.37). Figure 2.38 shows how an icosahedral shape can elaborate in detail the points where the limbs can touch within the kinesphere and how it can be adapted to Laban’s dance notation. I looked at the possible movement trace-forms in the book Choreutics and planned how to map my sound composition using Laban’s dance notation. I also recreated the trace-forms in 3D space in vvvv (Video 2.32). However, the more I worked in this direction, the more I felt that it was a mere representation of Laban’s drawings of movement theory, rather than an attempt to contextualise Laban’s idea to create my own original work. I therefore ended up discarding this idea and sought another way, in which my collaborating dancers could physically practice moving within the space of kinesphere. Eventually, the space could organise a sound and dance composition.
Figure 2.38: The sphere around the body can be demonstrated with an icosahedron (Ullmann, 2011: 142–143).
When I composed Temporal, I liked the idea of having an object tether the Gametrak controllers. The chairs and controllers together had worked as a double enforcement for the dancers executing my choreographic tasks, and represented a new challenge to their performance. For my new composition, I decided to recreate this double enforcement by restricting the size of the performance space alongside the use of the Gametrak controllers. Since the kinesphere is a 360° space, I wondered how it would affect a dancer’s perspective when it was cut into quarters (Figure 2.39). This led me to create a piece that had to be performed at the corner of a room.
My concern is: what is its scale when prolonged, and what is the best method to arrive at it? My past experience was not to “meddle” with the material, but use my concentration as a guide to what might transpire. I mentioned this to Stockhausen once when he had asked me what my secret was. “I don’t push the sounds around.” (Feldman, 2000: 142–143).
I read Laban’s book A Life for Dance, which was originally published in 1935 in German. The book was consisted of his commentaries on his works, and each chapter was named after the titles of his works. I wanted to know his background so that I could understand why he created such a movement theory. In the chapters “The Fool’s Mirror” and “The Sorcerer’s Apprentice”, he wrote about how much he was against machines as he could see that human movement had changed to serve them. He was also afraid of the fact that movement could be captured as still images with a camera and lose its physical quality. He wrote about why he turned down the offer from someone in the film business in Hollywood:
Perhaps this was behind the basic idea of his choreutic theory as seeing movement as constant “flux” (see here in Section 1.2). However, when I looked at Laban’s movement theory only through cold and codified notation systems, it was hard to relate to such a background.
Now, the art of dance is unfortunately – or thank heaven – an art which cannot be caught and canned by a machine. The dancer has only to do a big jump and he has given the camera the slip; or a few rapid whirls and the stupid screen will register a shapeless cloud. Dancing needs the whole, living person and plenty of space into which he can project his happiness and sadness. He must also be able to control the element of time, for breath-taking speed may alternate with an almost unending stillness of reflection. For these reasons I have not let my Fool’s Mirror be filmed. (Laban, 1975: 3)
In the chapter “Illusions”, Laban wrote about how he had struggled to lead his dance troupe while they were moving from one inn to another during the post-war period without enough financial support and food. I was impressed by this episode below in particular:
Although Laban did not have a hall for rehearsals and had to use meadows instead, this was the period when he further developed the idea of pure movement art with his pupils by dancing in silence without music (see here in Section 1.3). While I was reading about choreutic theory, I often wondered why Laban had been obsessed with creating 'unity' or 'harmony' in movement, which sounded like another way of ‘controlling’ his dancers rather than freeing them from tradition. However, the more I got to know about his experience in the community with his pupils, the more I came to understand that his theory was not to teach a unified style of dance, but to introduce the most basic principles of human body movement. Therefore, anyone could perform with any kind of movement style. I find how Mark Jarecke introduced Laban’s movement theory in his lecture helps to understand this approach; Laban looked at dance outside traditions as Kandinsky and Schoenberg did to art and music (Jarecke, 2012).
I feel dance by looking primarily at the ‘effort’ of movement, not only its outline. As a consequence, that effort provokes or relates to certain emotions, which I find to be quite a different way of expression from acting. This is why Laban’s movement theory is interesting because it explores the quality of movement depending on how it flows within a kinesphere. [55] However, his notation system as it was, became outdated in terms of possible outcomes of movement styles, [56] so I tried to find a way to draw on the essence of his ideas. I came up with the idea of using the corner of a room to lead the dancer to make an effort to move within the altered size and shape of kinesphere by exploring possible movement materials evolved within this space.
[55] Similarly, Alwin Nikolais explained that he believed “motion” to be the art of dance, distinguishing motion from movement. In his own terms, movement is about something moved from one position to another, whereas the term motion implies the manner in which something occurred and the detailed itinerary of the movement (Nikolais, 1974).
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[56] Laban wrote about the theory in the early 1900s, just as modern dance started to established as a form. He thus used the centre of the body as the axis in his notation system which related to the traditional ballet principles. I wrote about an episode related to this issue while I was developing The Music Room with my collaborating dancer on here in this Section.
For The Music Room, I wanted to recreate a specific scene I had read in the chapter “The Earth” in A Life for Dance, not as a literal translation but trying to take an excerpt of the story. Laban’s story recounted joyful moments of his childhood as he adventured in the mountains, feeling the majestic earth, and how he incubated his creative ideas inspired by these adventures in the music room of his grandparents’ house. Laban described how he spent time playing a grand piano until his own melodies came to his mind. And then he almost felt a soft sound coming from the life-sized marble figure holding a lyre next to him. One day the soft sound turned into a roar like some animal sounds he heard while he was exploring the mountains. But when he looked at the marble figure again, he realised that it had not made any sound but silence. [57]
I was drawn to the story in particular because it reminded me of childhood vacations at my own grandparents’ house in the mountains. There was a stream right next to my grandparents’ house, and I swam every summer with my cousins. My grandfather would make a temporary shower by piercing some holes in a hose at the entrance of the house so that we could wash off the stream water and soil before getting into the house. We would be so excited about the shower that we wouldn’t be sad to stop playing in the stream. I remember the winter when I walked over the frozen stream with my favourite cousin and followed it upstream to find where it started. Later, when the day got darker, we realised that the surrounding scenery was no longer familiar to us. We had come too far from the house. Then we suddenly got so scared and rushed back home. Visiting my grandparents’ house and playing in nature was definitely one of the most joyful memories from my childhood. It may sound banal or primitive, but it was no doubt simple and true happiness. In The Music Room, therefore, I wanted to create a piece with the most basic principles for creating sound and movement of all my works so far.
One autumn evening, returning from my rounds at dusk, I noticed some strange large birds sitting in the tree-tops of an orchard. They did not stir. As I drew nearer I had a suspicion that they were one of my dance-groups, out on a fruit-raid. I always wondered at these young people who, having grown up in war-time, had lost all respect for property. After getting them down and giving them a piece of my mind there was an imposition of extra training in the damp meadows. Then we assessed the amount of fruit eaten and reimbursed the owner for a good hundredweight. On many of my lonely walks over the bleak rain-drenched countryside I kept on thinking how to give stability and form to my pupils’ youthful enthusiasm for movement. (Laban, 1975: 100)
I used a piano sound because of the story from Laban, although I do not usually use musical instruments in my sound compositions. I do not feel it is right for me to mess around with musical instruments since I am not a player. I did at least learn the piano when I was very young, but that did not last that long. I liked the sound of the instrument but I got bored of practicing Czerny after the introductory level. While hesitating to use piano, I remembered what Morton Feldman said:
I set up four Gametrak controllers – two on the ceiling and two on the floor (Figure 2.40). I then loaded the recorded piano notes in Max using poly~ objects to be triggered randomly. In my previous work Temporal, I also mapped the sound files to trigger in a random order at various lengths of the pulled cables for the third part of the composition (see here in Section 2.3.2). In that composition, the dancers had to move around the space to find spots in which to trigger random sounds and immediately respond to them. Although there were some interesting moments in which the dancers moved around the space and interacted with the sound by continuously building up the dramaturgy, most of times the dancers were rather confused by my technical setting and became too busy finding the spots where they could trigger sounds. However, in The Music Room the relationship between the random piano notes and the dancer was very different. The dancer was not attempting to respond emotionally, but had to think about creating stillness until the note decayed. Here, the sound composition also worked as another restriction for the dancer. As a consequence, this relationship evolved the dramaturgy through a tension between the dancer and the piano notes.
Figure 2.40: The technical set-up for The Music Room.
[57] Most of stories in Laban’s autobiography are very poetic and it is sometimes hard to know exact time and place where all the episodes happened without the annotations of his editor and translator, Lisa Ullmann. This is how I understood the specific scene I read in the story. I included the original text in Appendix G.
I looked up interviews with Feldman and his own writings to understand his compositional approach towards creating music for paintings, just as I tried to look at my own sound palette through another visual medium – choreography. I also liked Feldman’s acceptance of limitations and how he let his intuition structure his work (Feldman, 1967). Why not, therefore, select some piano notes that sound good to my ears and simply play them, without worrying about my own piano skills? This inspired me to set the core choreographic task for this piece: Once you trigger sound, let the sound to be played out until it lasts before you move again. In other words, the dancer needed to concentrate on when to move according to the length of sound she had triggered, and the triggered sounds unfolded by themselves according to the intervals created by the dancers. Based on this idea I played some chords I liked on a piano at a medium velocity and listened to the overtones and lengths of resonance. I then recorded each note from the chords until the sound naturally decayed.
The composition was divided into three parts, each lasting 3 minutes for a total of 9 minutes. [58] For the first part of composition, I set the piano notes I had recorded to be triggered as Foti devised her choreography. I also added narrow bandpass filters with white noise to play some subtle sustained notes as background. The core choreographic task of this piece was as follows: Once you trigger sound, let the sound to be played out until it ends before you move again. This led Foti to move very carefully so as not to accidentally trigger sounds all the time. Some lower frequency notes had a longer resonance and created longer intervals between movements. The choreographic task and the space also inspired Foti to rest on her hands, leaning against the wall.
For the second part of the composition, I loaded the reverbed piano notes to be triggered. I recorded the reverbed notes with the same piano instead of adding a reverb effect in Max because I wanted to preserve the natural reverb length of the piano I had used. I made an automation to change the frequency ranges for the bandpass filters that created strange disharmonies during the transition. This was the same technique used for Pen-Y-Pass and Temporal. The disharmony indicated to the dancer that the second part of the composition had started. The choreographic task here was: Continue devising choreography following the previous task, but you can move with little bit more freedom. Tether the Gametrak controllers to different parts of your body. Foti decided to tether all the cables to her left ankle so that she could trigger multiple notes at once and free the rest of her limbs.
Video 2.32: Possible movement trace-forms created in vvvv based on choreutic theory.
[58] A full take of the performance is included in Appendix I.
[60] A detailed explanation of the Max patches is in Appendix H.
Figure 2.41: (Left) Six possible directions of movement while standing at the corner of a room based on the Laban’s theory. (Right) Laban’s notation system from Choreutics is based on the first point of view.
After we went through the entire composition two times, the dancer suggested leaning against the wall behind her for the very beginning part rather than free standing. She explained that moving only one part of her limb while standing could be one way of applying a restriction to her, but it did not feel natural based on how she had been trained (see Video 2.34 from 00:00 to 00:59). Therefore, for the third rehearsal she tried the beginning part while crouched down to see how she could move her legs from that position (see Video 2.34 from 01:00 to 02:37). Eventually, we decided to start the composition with the dancer was sitting down and holding the column behind her (see Video 1.5 from 01:30 to 03:12). In this way, she could fix her hands holding the column more naturally while moving her legs and in return not accidentally trigger sounds with her hands. I mapped the piano notes again according to this position using function objects in Max (Figure 2.42). [60] I also added another choreographic task for the first part of the composition: Touch the wall with one part of your body.
Video 2.34: The third and fifth rehearsals of The Music Room.
For the third part of the composition, I wanted to recreate the scene in his story where Laban imagined the roars and groans of animals. For this part Foti was allowed to improvise freely but still had to be close to the walls. She detached one Gametrak controller from her ankle and tethered it to her left wrist. She created faster spinning movements as the soundscape became dynamic. She finished the performance by collapsing her body towards the corner.
Based on Laban’s notation system within the kinesphere I initially mapped the sound to be triggered when the dancer held her limbs towards forward, right forward, left forward, high forward, high right forward, high left forward, deep forward, deep right forward, and deep left forward, because these were the possible directions of movement while standing at the corner of a room (Figure 2.41). For the first rehearsal, I explained to my collaborating dancer Katerina Foti how I had mapped sound following Laban’s theory and the overall structure of the composition. To begin the first part of the composition, I asked her to stand in the corner of the room and to tether the cables of the Gametrak controllers onto each of her limbs. Then I asked her to move her limbs one by one. I thought this would be an effective introduction for the audience to explain the fact that each of her limbs were triggering sound as she moved. However, while trying out this choreographic task, the dancer said that where I had mapped the sounds was not natural for her dance style. When Laban started writing his choreutics theory, this was just the beginning of the evolution of of modern dance in the early twentieth century. As shown in his notation system in Figure 2.41, his theory considers the centre of the body to be around the waist, which was still an influence from traditional ballet practice. However, in current contemporary dance practice, the axis of the body is instead grounded following the natural relationship between gravity and the body (H Elliott 2016, personal communication, 4 October). [59] When the dancer tried to move only one arm, it was not a problem (see Video 2.33 from 00:00 to 01:50). But she felt very awkward moving only one leg in the standing position (see Video 2.33 from 01:51 to 03:30). Because of this problem, she also struggled to make a transitional movement to the second part of the composition (see Video 2.33 from 03:31 to 06:45).
As we moved on to the second and third parts of the composition, we found more interesting movement materials. For the second part, the dancer was allowed to tether the cables onto different parts of her body, and I suggested tethering all the cables to one leg as an option. In this way, while one of her legs was restrained, she could think about creating various possible movements and also started to use the walls behind her more naturally (see Video 2.33 from 06:46 to 09:30). I reminded her to be still when she triggered too much sound. For the third part, the dancer was allowed to move freely, yet engage with the corner of the room. In fact, the corner had a column that the dancer could hold. The dancer decided to create some movement lightly hanging onto the column to engage better with the space as it was (see Video 2.33 from 09:31 to 11:38). She also tried some spinning movement stepping her hands onto the wall (see Video 2.33 from 11:39 to 12:34).
Video 2.33: The first rehearsal of The Music Room.
[59] I had an opportunity to have supervision with Dr Hilary Elliott from the department of Music and Drama. Because the choreographers I referenced in this commentary such as William Forsythe and Wayne McGregor work with ballet dancers, yet the style of ballet they produce is contemporary. I asked her what would be the difference between working with ballet and contemporary dancers. Elliott explained that the focal difference was how these two types of dancers were trained based on the different axes of the body as explained above.
Figure 2.42: I used function objects in Max to map easily the sound files for various positions.
Once we had established the right position from which to begin the composition, the choreographic ideas for the next parts came very quickly. In the fifth rehearsal, the dancer also tried upside down positions leaning her legs against the wall (see Video 2.34 from 02:38 to 04:40). This was another interesting position in which she could fix her hands so as not to trigger unwanted sounds. In the end we no longer cared about Laban’s well-structured notation system within the cube-shape kinesphere, but designated our own positions that were more suitable for Foti’s style of dance. In Figure 2.43 I have roughly drawn the points I mapped to trigger sounds and how Foti moved between them.
I decided to present this piece as a dance film to show the intimate relationship between the body, the space, and my choreographic sound composition with the viewpoints that I wanted to show. I was inspired by the style of dance films directed by Thierry De Mey, which show the original choreography without any artificial effects. I had also tried this kind of approach for Pen-Y-Pass, but in that case my work rather looked like a documentation than a dance film. I believe the significant mistake I had made was the shooting location. I used a drama rehearsal studio for Pen-Y-Pass for the ease of setting up a projector and speakers, but there was no special relationship between the space and my choreographic sound composition. In De Mey’s films, however, the choreographies and the location of the films have very close relationships. The most well-known work from Anne Teresa De Keersmaeker’s Rosas danst Rosas (1997)[61] was filmed by De Mey at the former technical school of architect Henry Van de Velde in Leuven. De Mey made “the maximum use of the geometrical and spatial qualities of the Van de Veldes building” (Rosas, n.a) alongside De Keersmaeker’s signature repetitive movements by layering the dancers in different rooms or corridors (Figure 2.44).
[61] Available at: https://www.youtube.com/watch?v=XaifFARSNm0 (Accessed 4 June 2018).
[62] The piece is a reproduced version of Forsythe’s previous work The Questioning of Robert Scott in which he introduced the tables. This was because Forsythe had read I May Be Some Time: Ice and the English Imagination by Francis Spufford, in which the famous Scott expedition of 1911 - 12 to the South Pole is compared to a “baroque machinery”. He also recalled other stories he had read related to polar expeditions by Sir Ernest Shackleton, Mary Shelley, and Edgar Allan Poe. As a consequence, Forsythe wanted to create the feelings of antipathy created by the metaphor of baroque machinery by using the slippery, dangerous, and ice-like translucent tables (Forsythe, 2006).
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[63] The film can be seen on the website for Synchronous Objects (https://synchronousobjects.osu.edu/) with different camera perspectives, Forsythe’s annotation, and visual notations.
Another example is William Forsythe’s Thematic Variations on One Flat Thing, Reproduced (2007), filmed by De Mey. For this choreography Forsythe aligned twenty tables in five columns and four rows in a spacious warehouse, with seventeen dancers moving among them. In an interview, Forsythe explained that the tables in the film were very slippery so the dancers trained themselves to move through the space (Forsythe, 2006). [62] De Mey captured this choreography from front, top and close-up views to show the dancers’ effort of moving in the space above or below of tables. [63]
For The Music Room, I used one wide and one zoom lens camera and filmed five takes. It was a challenge to operate the cameras and my interactive sound system by myself, but I had a very clear image in my head about what kind of shots I wanted to film. For my previous works, I had picked one best take and only used that take filmed with different cameras to create the film. It was my intention at that time not to break the original real-time composition that had been created. For this piece, however, I used the best take (see Appendix I) as a guide take around which to structure the entire film, and mixed between all the other takes during the editing process. Since my sound was organising the body during the process of composition, it no longer mattered whether I keep the original real-time composition or not. For the close-up shots, I followed the movement, holding the zoom lens camera to track how my gaze would wander around the dancer’s movement. Eventually, I tried to capture the effort of moving with my choreographic sound rules and the space as a “hidden feature” of the choreography just as Laban highlighted the intimate relationship between space and movement in his choreutic theory (Ullmann, 2011: 3–4).
Figure 2.43: Movement trace-forms in The Music Room.
Figure 2.44: Rosas danst Rosas (1997) filmed by Thierry De Mey.
