Non-idiomatic improvisation with Seijiro Murayama
2 or 3 days workshop (6 hours each day) during the period
27-30 April 2012
I would think it's going to be during the weekend 28-29 april
Price: between £50 and £30 depending on 2 or 3 days and concessions
Location to be confirmed (probably around East London)
I am a musician (percussionist) and I have worked extensively with dancers and choreographers.
I feel that dancers should work more on their relationship with music. They tend to use music to dance instead of working with it. Similarly musicians seem to have little understanding of the involvement of their body in their practice.
I propose a workshop on “non-idiomatic” improvisation: improvisation that does not repeat or rely on existing patterns (styles, structures, social organisation…).
What I hope is that my workshop contributes, in a way, to make each participant find, clarify or develop his or her artistic directions. I have suggestions or proposals but I do not teach. Each one should develop one’s work alone, in collaboration with others.
My workshop is open to anyone who is interested in improvisation. For this, I propose some “exercises” using voice. Why voice? Because it is for (almost) everyone. Even those who don't play music, they can try improvising with it. Using voice risks of being considered as a kind of introduction to my workshop, but for me, there is something essential in it. It could be a tool for reflecting, re-analysing what one do with instruments. Or we could “go much further” with this practice.
Some notions which will be studied:
- How to improvise the working process of improvisation.
- How to “dig” the inner self, to listen to one’s silence or solitude to find out one’s necessity of improvising.
- How to play solo? (Is it important?)
- What are the risks to run in the practice of improvisation? And what is its necessity?
- How to make one object talk or play, make one object silent.
- How to listen to others. Diverse ways of listening. Dynamic and static. What one can try to listen to? Place, space, others…
- How to listen to “oneself”. How to listen to your sounds? Where are they?
- How to develop one’s listening through listening to others.
- Diverse ways of playing. Active, passive, and as a witness.
-Some people do solos with a lot of materials they don’t control all the time. But what is “control”, “all the time”?
- One could imagine different levels of silence.
1) physical
2) social
3) existential, or ontological
- What is the necessity of changing? Improvising is to make changes? Why?
The workshop will be defined in collaboration with the participants, please let me know your reactions and thoughts about this text.
If you are interested in participating to this workshop send a brief description of what you do and why is improvisation important for you?
http://seijiromurayama.com
further reading:
www.mattin.org/recordings/IDIOMS_AND_IDIOTS.html
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