FokusFokus_9: TERPSICHOREAN SONICS / TERPSIHORINA SONIKA – Ivan Mijačević and/in Alexandra Baybutt

#FokusFokus je serija tekstov, člankov, intervjujev, ki predstavlja enega izmed temeljev medijsko-arhivske platforme iLabGT22  /  #FokusFokus is a series of texts, articles, interviews, which represents one of the foundations of the media-archive platform iLabGT22

 

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TERPSICHOREAN SONICS: an introduction to the system

 

Welcome

Terpsichorean Sonics is a system of education for training dance artists and dance educators in the fundamentals of music theory through somatic movement improvisation and composition. ‘Terpsichore’ is one of the nine Greek muses of arts. ‘Terpsichorean’ means of or relating to dance. ‘Sonics’ refers to that which is produced by or relating to sound waves. This system of education was designed by Ivan Mijačević and its title nods towards Sally Banes’ seminal book ‘Terpsichore in Sneakers: Post-Modern Dance’ (1987).  

This article is Part 1 of three articles that will appear over the next year or so. iLabGT22, Maribor is an ongoing supporter of Terpsichorean Sonics research, practice and dissemination, and commissioned these articles. Part 1 introduces us and our work. Part 2 will give more details about the topics of Terpsichorean Sonics, and Part 3 will share some of the exercises. References and bibliography lists each time will give some more context of inspirations and influences. What you are reading here was developed from a presentation given in 2020 for the online symposium ‘Music Pours Over the Sense: Experimenting with relationships between body and sound as a transformative practice’. It was written also with the support of a residency at Javni sklad republike Slovenije za kulturne dejavnosti (JSKD) Ljubljana, Slovenia, (2022). We will in this text discuss learning, habits, the inspirations and genesis of this system, and our aims. 

 

Doing, undoing, learning

The topics of this system that are given specific focus, ideally over a three-year sustained period of engagement, mostly concern the elements of music. These elements of music (rhythm, dynamics, melody, harmony, etc.) are from the western music tradition, and we acknowledge the multiple systems of music theory and practice internationally (thank you composer and music historian Philip Ewell, 2019). Elements of music are often nothing new to musicians, and with Terpsichorean Sonics we are not bringing new light to music theory. Yet, recontextualised for dance education in the modern and contemporary dance canons of the past sixty years (UK/USA/western Europe), they serve as a systematic foundation from which music theory is learned. We facilitate Terpsichorean Sonics through somatic practices, embodiment and creativity to elicit understanding, greater freedom of choice in dancing and listening, and build shared languages amongst dance artists and musicians, and educators of both. 

In Terpsichorean Sonics, music – as art and science – is approached with precision and sensuality. It is presented and studied as essence, as what music is, through ongoing analysis, experience and embodiment of the phenomenon of what music shows. This educational system is concerned with movement-sound relations, and not with making movement analogous to sound, nor to its production. Whilst honing knowledge, we do not seek to inhibit creative choice. Acts of translation always include some loss and gain. In the relationships and interplay between hearing, moving, touching, seeing and so forth are ongoing generative conditions for new combinations and reverberations.

 

Habits, hearing, reflecting 

Humans are affected by sound, whether we notice it or not. Our often conditioned responsiveness to sound has a profound effect on the choices we make (following Pascal Quignard, 1996). With Edgard Varèse, we argue music is the organisation of sound (1966), but on the understanding that this is always contingent upon the position: the composer, the audience, the player, when, where, how and so on and so on. It is however helpful to understand that four parameters of sound (duration, amplitude, pitch, and timbre) construct the elements of music which inform our topics of exploration. Similarly, it is useful to approach any kind of dancing from the fundamentals of movement, informed by the Laban/Bartenieff Movement System (LBMS) and other somatic practices which privilege and train interoception (internal sensing). The LBMS taxonomy includes concepts relating to the body and its possible actions, use of space, dynamics (Laban’s theory of Effort) and so forth. 

A fundamental part of our artistic and pedagogic research is how the various topics become activated through practical tasks derived from dance, choreography, theatre and more. Through doing them, we are confronted by our habits. We each have habits and individual perceptions that may differ from the facts and physics of music theory. These habits can be somewhat limiting, which is why we developed this education to create conditions of reflection as well as activation. On the other hand, they are part of the rich expression of our uniqueness, palpable through the dynamics of group learning, creating and performing. Tasks cultivate new experiences through observing and moving with the different ways other people approach the tasks.

 

Genesis and inspirations

The genesis of Terpsichorean Sonics can be traced earlier to the turn of the millennium, being first taught in the early 2000s, as a way of integrating music and dance knowledge, and Ivan’s interest in educational formats. Alexandra and Ivan met in 2005 on the danceWEB Europe scholarship program, in Vienna, Austria. Reconnecting through ongoing conversation from 2011, Terpsichorean Sonics gained additional clarity by drawing from the Laban/Bartenieff Movement System (LBMS), a versatile taxonomy to analyse any movement phenomena. LBMS includes Laban’s major concept of ‘Kinesphere’, an invisible ‘sphere’ staring inside the body’s core that extends in all directions around the body as far as one can reach. The Kinesphere serves as a tool to map and embody pathways, reach-space and zones, hence movement reveals and takes place in an individuals’ Kinesphere. Such spatial components and interest in exploring the body and/with/as space are what differentiates LBMS from other somatic practices, making it extremely helpful for synthesising relations between movement, dance, music and sound. 

For Alexandra, the period of 2002-2011 can be characterised by her experiences of education (in London for a BA and an MA, and in Canada for the certification in LBMS) as well as dance-stopping injury, starting to teach more and in Higher Education, and reconnecting to sound and music through research with singer Sarah Owen, that continues through practice/research with Jenny Miller of Barefoot Opera and Maya Felixbrodt of Moving Strings/Play As We Are. For Ivan, 1998-2011 can be characterised by weaving between spaces of music and dance: studying music pedagogy, playing in bands, questioning both, refinding dancing, and attending SEAD in Salzburg. 

Ivan was teaching and developing Terpsichorean Sonics in various contexts; Alexandra was teaching LBMS in various contexts. They taught together in Cologne, Germany in 2013 and continue to teach each other. Both working largely freelance, invitation to teach others continues to arise through different situations and circumstances, underpinned especially for Ivan by this particular confrontation between dance and music, and some dissatisfaction with how they are or are not meeting. As with much collaborative work across countries, Terpsichorean Sonics is an evolving, iterative system. It is informed by our work – together and apart – as we teach and make different kinds of creative performance and written projects (like ‘inability crew’, 2013-17, Germany and Slovenia). We continue to explore different questions, and over time, we gain more specificity and consider the overlapping contexts of performing arts, arts education and collaboration as we plot more workshops, publications, projects.

We acknowledge Terpsichorean Sonics falls within a lineage of integrative, embodied music and movement educational approaches, traceable to figures such as Émile Jaques-Dalcroze and his system of Eurhythmics, and many others. There are different nuances to any exploration of movement/dance and sound/music relations. For example, using movement and gesture to help teach concepts of music to children is with the aim of helping them learn music theory, not about facilitating them to do something else alongside or with that music theory as we propose with Terpsichorean Sonics as being explicitly for dancers and performers. 

Refined decision-making processes in dance composition and improvisation often requires heightened kinaesthetic and auditory skills. Due to the separation of disciplines in arts education (predominantly in western European Modernity), we have observed that music education in movement and dance training contexts is rarely to the level of specificity (e.g., idiosyncratic, incidental) it could be to train such sensitivity and skill. Terpsichorean Sonics arose partly in response to what we observed and experienced in our dance education. Not only in our experience, we recognise that elsewhere at different conservatoires and centres for dance education, any education in music is heavily reliant upon the skills and knowledge of the musician facilitating it. In addition, and perhaps more importantly, it is reliant upon their knowledge and understanding of what the demands on dancers might include. This is in relation to the different processes of choreography, rehearsal and performance that are, for example, not simply about dancers ‘dancing to the music’ and choreographers working with pre-existing sound. 

For examples of tasks and what Terpsichorean Sonics looks, feels and sounds like, you’ll have to come work with us one day. We work mostly with students of dance and choreography in a variety of educational settings and conservatoires across Europe, and with professional dance and theatre artists in the context of creation, preparation/rehearsal and performance. Terpsichorean Sonics has been facilitated at the Salzburg Experimental Academy of Dance, School for New Dance Development Amsterdam, National Dance Academy Rome, Alma Mater Europaea – Dane Academy Ljubljana, Jerusalem Academy of Music and Dance, Cologne University of Music and Dance, Frankfurt University of Music and Performing Arts, Academy of Dramatic Art Zagreb, Academy for Theatre, Radio, Film and Television Ljubljana, Performact Torres Vedras, Tanzfabrik Berlin, Drama Teatro Modena, Carmina Slovenica, Yasmeen Godder Studio Tela Aviv-Yafo, JSKD Slovenia and World DanceSport Federation, among others.

 

Importance and aims

Whilst Terpsichorean Sonics cannot claim to be exhaustive, nor discredit the valuable forms of music education for dancers and performers already occurring, we wish for dance artists and educators to have a rigorous understanding of the concepts of music and movement so as not to limit but liberate their ways of moving and working as/with musicians in the future. As such, we attempt to cover more ground in a systematic way that nevertheless values space for discovery and creative expression in the midst of learning concepts. 

Our aims are to not only educate and empower dance artists (including ourselves), but to develop a deeper and richer embodied understanding of music through dance, and dance through music, ultimately as a deliberately somatic practice. We wish to address from where we create knowing that that matters. We are interested in what principles are in use during creative and educational processes. Whilst enriching the education of dance artists, we also argue that systematically demystifying the material properties of movement and metaphysics of sound is an act of democratising knowledge. Choreographer and dance educator Susan Rethorst said to Ivan during classes and supervision: ‘what do you want now, dance?’. This keeps things (processes, people, places) open to change, acknowledges change, and keeps the questions ongoing, and ultimately unanswerable. This is a generative position from which to approach dance and choreography, and its possible unknown and unknowable futures.

 

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TERPSIHORINA SONIKA: uvod v sistem

 

Dobrodošli

Terpsihorina sonika je izobraževalni sistem za usposabljanje plesnih umetnikov in plesnih pedagogov v osnovah glasbene teorije s pomočjo somatske gibalne improvizacije in kompozicije. ‘Terpsihora’ je ena od devetih grških muz umetnosti. ‘Terpsihorejski’ pomeni plesni ali povezan s plesom. ‘Sonično’ se nanaša na tisto, kar nastane z zvočnimi valovi ali je z njimi povezano. Ta sistem izobraževanja je zasnoval Ivan Mijačević, njegov naslov pa se navezuje na temeljno knjigo Sally Banes ‘Terpsichore in Sneakers: Post modern dance’ (1987). 

Ta članek je prvi izmed treh člankov, ki bodo izšli v naslednjem letu. GT22, Maribor je stalni podpornik raziskav, prakse in širjenja Terpsihorine sonike ter naročnik teh člankov. Prvi članek predstavi naju in najino delo. Drugi bo podrobneje predstavil teme Terpsihorine sonike, tretji pa nekaj vaj. Seznami referenc in bibliografije bodo vsakič podali nekaj več konteksta navdihov in vplivov. Pričujoče besedilo je izpeljano iz spletne predstavitve sistema na ‘Music Pours Over the Sense: Experimenting with relationships between body and sound as a transformative practice’ v letu 2020. Nastalo je tudi s podporo rezidence Javnega sklada Republike Slovenije za kulturne dejavnosti (JSKD), leta 2022, v Ljubljani, Sloveniji. V tem, prvem, delu članka, bova razpravljala o učenju, navadah, navdihih in genezi tega sistema ter najinih ciljih.

 

Delati, odpravljati, učiti se

Teme, ki jim ta sistem namenjena posebno pozornost, po možnosti v triletnem obdobju rednega pouka, se večinoma nanašajo na elemente glasbe. Ti (ritem, dinamika, melodija, harmonija itd.) izhajajo iz zahodnega glasbenega izročila. Ob enem pripoznavava številne mednarodne, neovropske, sisteme glasbenih teorij in praks (hvala skladatelju in glasbenemu zgodovinarju Philipu Ewellu, 2019). S Terpsihorino soniko ne osvetljujeva glasbene teorije, saj elementi glasbe za glasbenike pogosto niso nič novega. Vendar, rekontekstualizirani za namen plesnega izobraževanja v kanonih modernega in sodobnega plesa zadnjih šestdesetih let (Velika Britanija/ZDA/Zahodna Evropa) služijo kot sistematična podlaga učenju glasbene teorije. Za doseganje razumevanja in svobodnejše izbire pri plesu in poslušanju ter za gradnjo skupnih jezikov med plesno in glasbeno umetnostjo ter pedagogiko obeh, Terpsihorino soniko posredujeva s somatskimi praksami, utelesbo in ustvarjalnostjo.

Pri Terpsihorini soniki se glasbe – kot umetnosti in znanosti – lotevava z natančnostjo in čutnostjo. Predstavljena in preučevana je kot bistvo, kot to, kar glasba je, skozi nenehno analizo, doživljanje in utelešenje pojava tega, kar glasba kaže. Ta izobraževalni sistem se ukvarja z razmerjem med gibanjem in zvokom in ne s tem, da bi gibanje naredil podobno zvoku ali njegovemu proizvajanju. Z izpopolnjevanjem znanja si ne prizadevava zavirati ustvarjalne izbire. V dejanju prevajanja se vedno nekaj izgubi in nekaj pridobi. V odnosih medsebojnega vpliva mediger poslušanja, gibanja, dotikanja, gledanja in tako naprej se nahajajo nenehni pogoji za nastajanje novih kombinacij in odzvenov.

 

Navade, poslušanje, razmišljanje

Zvok vpliva na ljudi, ne glede na to, ali to opazimo ali ne. Naša od zvoka pogosto pogojena odzivnost močno vpliva na odločitve, ki jih sprejemamo (po Pascalu Quignardu, 1996). Z Edgardom Varèsejem trdiva, da je glasba organizacija zvoka (1966), vendar ob razumevanju, da je ta vedno odvisna od položaja: skladatelja, občinstva, izvajalca, kdaj, kje, kako in tako naprej in tako naprej. Vsekakor je koristno razumeti, da štirje parametri zvoka (trajanje, amplituda, višina in barva) gradijo elemente glasbe, ki so podlaga za teme najinega raziskovanja. Podobno je koristno pristopiti k vsaki vrsti plesa iz temeljev gibanja, ki jih opredeljujejo Laban/Bartenieff Movement System (LBMS) ter druge somatske prakse, ki dajejo prednost interocepciji (notranjemu zaznavanju) in jo trenirajo. Taksonomija LBMS vključuje koncepte, ki se nanašajo na telo in njegove možne akcije, uporabo prostora, dinamiko (Labanova teorija napora/Effort) itd.

Temeljni del najinega umetniškega in pedagoškega raziskovanja je vprašanje vzpostavljanja različnih tem s pomočjo praktičnih nalog izhajajočih iz plesa, koreografije, gledališča idr. Izvajajoč jih, se soočamo z lastnimi navadami. Vsak ima navade in osebne zaznave, ki se lahko razlikujejo od dejstev in fizike glasbene teorije. Te navade so lahko nekoliko omejujoče, zaradi česar sva razvila to izobraževanje, katerega namen je ustvariti pogoje za razmislek in aktivacijo. Po drugi strani pa so navade del bogatega izraza naše edinstvenosti, ki jo je mogoče občutiti skozi dinamiko skupinskega učenja, ustvarjanja in izvajanja. Naloge, z opazovanjem in gibanjem ob različnih načinih lotevanja nalog drugih ljudi, razvijajo nove izkušnje.

 

Geneza in navdihi

Začetki Terpsihorine sonike segajo na prelom tisočletja, v prva poučevanja v zgodnjih 2000-ih kot način povezovanja glasbenega in plesnega znanja ter Ivanovega zanimanja za izobraževalne formate. Alexandra in Ivan sta se spoznala leta 2005 v okviru štipendijskega programa danceWEB Europe na Dunaju v Avstriji. Ponovno sta se povezala v nepretrgan pogovor leta 2011, pri čemer je Terpsihorina sonika pridobila dodatno jasnost s črpanjem iz Laban/Bartenieff Movement System (LBMS), univerzalne taksonomije za analizo vseh gibalnih pojavov. LBMS vključuje Labanov poglavitni koncept ‘kinesfero’, nevidno “sfero”, ki se začne v jedru telesa in se razteza, kolikor lahko dosežemo, v vse smeri okoli njega. Kinesfera služi kot orodje za kartiranje in utelešenje poti, prostora dosega in območij. Zategadelj se gibanje razkriva in poteka v posameznikovi kinesferi. Takšne prostorske komponente in interes za raziskovanje telesa in/s/kot prostor_a/om so tisto, kar LBMS razlikuje od drugih somatskih praks, zaradi česar je izredno koristna za sintezo odnosov med gibanjem, plesom, glasbo in zvokom.

Alexandrino obdobje 2002-2011 je bilo zaznamovano z izkušnjo izobraževanja (v Londonu na dodiplomskem in magistrskem študiju ter v Kanadi s pridobitvijo LBMS certifikata) ter poškodbo, ki jo je ustavila pri plesu. Pričela je več poučevati in delovati v visokem šolstvu. Ponovno se je povezala z zvokom in glasbo prek raziskave s pevko Sarah Owen ter povezavo nadaljevala s prakso/raziskavo z Jenny Miller iz Barefoot Opera in Mayo Felixbrodt iz Moving Strings/Play As We Are. Ivanovo obdobje 1998-2011 je bilo zaznamovano s prepletanjem prostorov glasbe in plesa: študijem glasbene pedagogike, igranjem v glasbenih skupinah, preizpraševanjem obeh, ponovnim iskanjem plesa in študijem na SEAD-u v Salzburgu.

Ivan je v različnih kontekstih poučeval in razvijal Terpsihorino soniko; Alexandra je v različnih kontekstih poučevala LBMS. Leta 2013 sta skupaj poučevala v Kölnu v Nemčiji in še naprej poučujeta drug drugega. Oba delujeta predvsem kot samozaposlena. Zato se povabila k poučevanju drugih še naprej pojavljajo v raznorodnih situacijah in okoliščinah. Te so, zlasti pri Ivanu, podkrepljene s svojstvenim soočenjem med plesom in glasbo ter določenim nezadovoljstvom s tem, kako se glasba in ples srečujeta ali ne srečujeta. Tako kot pri mnogih drugih oblikah med državanih sodelovanj je tudi Terpsihorina sonika sistem, ki se razvija in ponavlja. Najino delo – skupaj in ločeno -, poučevanje in snovanje različnih vrst ustvarjalnih predstav in pisnih projektov (kot na primer ‘inability crew’, 2013-17, Nemčija in Slovenija), je zaznamovano z njim. Še naprej raziskujeva različna vprašanja. Sčasoma, ko snujeva več delavnic, publikacij in projektov, upoštevajoč prekrivajoče se kontekste uprizoritvenih umetnosti, umetniškega izobraževanja in sodelovanja, poglabljava svojstvenost vprašanj.

Zavedava se, da se Terpsihorina sonika uvršča v linijo integrativnih, utelešajočih glasbenih in gibalnih izobraževalnih pristopov, ki jih je mogoče zaslediti pri osebah, kot so Émile Jaques-Dalcroze in njegov sistem Evritmika ter mnogih drugih. Vsako raziskovanje odnosov med gibanjem/plesom in zvokom/glasbo ima različne odtenke. Na primer, uporaba gibanja in gest pri poučevanju glasbenih konceptov za otroke je namenjena pomoči pri učenju glasbene teorije, ne pa olajšanju izvajanja nečesa drugega ob tej glasbeni teoriji ali z njo, kot predlagava pri Terpsihorini soniki, ki je izrecno namenjena plesalcem in izvajalcem.

Izpopolnjeni procesi odločanja pri plesni kompoziciji in improvizaciji pogosto zahtevajo okrepljene kinestetične in slušne sposobnosti. Zaradi ločenosti disciplin v umetnostni vzgoji (predvsem v zahodnoevropski sodobnosti) opažava, da je glasbena vzgoja v kontekstih gibalnega in plesnega izobraževanja le redko na ravni specifičnosti (npr. idiosinkratičnosti, naključnosti), ki bi lahko bila namenjena urjenju takšne občutljivosti in spretnosti. Terpsihorina sonika je deloma nastala kot odgovor na to, kar sva opazila in doživela v najinem plesnem izobraževanju. Ne le iz najinih izkušenj, tudi drugod po različnih konservatorijih in centrih za plesno izobraževanje zaznavava, da je vsako glasbeno izobraževanje močno odvisno od spretnosti in znanja glasbenika, ki ga vodi. Poleg tega in morda še pomembneje, je odvisno od njihovega znanja in razumevanja zahtev, ki jih imajo plesalci. To je povezano z različnimi procesi koreografije, vaj in izvedbe, ki na primer ne pomenijo zgolj tega, da plesalci “plešejo na glasbo” in da koreografi delajo z že obstoječim zvokom.

Za primere nalog ter tega, kako je Terpsihorina sonika videti, čutiti in slišati, boste morali nekega dne priti delat z nama. Sodelujeva predvsem s študenti plesa in koreografije v različnih izobraževalnih ustanovah in konservatorijih po Evropi ter s profesionalnimi plesnimi in gledališkimi umetniki v okviru ustvarjanja, priprav/vaj in izvajanja predstav. Terpsihorina sonika je bila izvajana na Salzburški eksperimentalni akademiji za ples (SEAD), Šoli za razvoj novega plesa v Amsterdamu (SNDO), Nacionalni plesni akademiji v Rimu, Alma Mater Europaea – Akdemiji za ples v Ljubljani, Jeruzalemski akademiji za glasbo in ples, Univerzi za glasbo in ples v Kölnu, Univerzi za glasbo in upodabljajočo umetnost v Frankfurtu, Akademiji dramske umetnosti Zagreb, Akademiji za gledališče, radio, film in televizijo Ljubljana (AGRFT), Performact Torres Vedras, Tanzfabrik Berlin, Drama Teatro Modena, Carmini Slovenica, Yasmeen Godder Studio Tela Aviv-Yafo, JSKD Slovenija in Svetovni plesni zvezi (WDSF), med drugim.

 

Pomen in cilji

Čeprav Terpsihorina sonika ne more trditi, da je vseobsegajoče izčrpna, kot tudi ne odvzeti veljave dragocenim oblikam glasbenega izobraževanja za plesalce in izvajalce, ki se že pojavljajo, želiva, da plesni umetniki in pedagogi natančno razumejo koncepte glasbe in giba, ne zaradi omejevanja, temveč osvobobajanja svojih načinov gibanja in prihodnjega dela kot in z glasbeniki. Zato sistematično obravnavava številna področja ter hkrati ceniva prostor za odkrivanje in ustvarjalno izražanje sredi učenja konceptov.

Our aims are to not only educate and empower dance artists (including ourselves), but to develop a deeper and richer embodied understanding of music through dance, and dance through music, ultimately as a deliberately somatic practice. We wish to address from where we create knowing that that matters. We are interested in what principles are in use during creative and educational processes. Whilst enriching the education of dance artists, we also argue that systematically demystifying the material properties of movement and metaphysics of sound is an act of democratising knowledge. Choreographer and dance educator Susan Rethorst said to Ivan during classes and supervision: ‘what do you want now, dance?’. This keeps things (processes, people, places) open to change, acknowledges change, and keeps the questions ongoing, and ultimately unanswerable. This is a generative position from which to approach dance and choreography, and its possible unknown and unknowable futures. 

Najin cilj ni le izobraževati in opolnomočiti plesne umetnike (vključno z nama), temveč tudi razviti globlje in bogatejše utelešeno razumevanje glasbe skozi ples in plesa skozi glasbo, nazadnje kot zavestno somatsko prakso. Želiva se ukvarjati s vprašanjem, od kod ustvarjamo, vedoč, da je to pomembno. Zanima naju, katera načela uporabljamo med ustvarjalnimi in izobraževalnimi procesi. Medtem ko bogativa izobraževanje plesnih umetnikov, tudi trdiva, da je sistematično demistificiraanje materialnih lastnosti gibanja in metafizike zvoka dejanje demokratizacije znanja. Koreografinja in plesna pedagoginja Susan Rethorst je Ivanu med poukom in supervizijo rekla: “Kaj hočeš zdaj, ples?”. Tako stvari (procesi, ljudje, kraji) ostanejo odprte za spremembe, jih priznavajo in ohranjajo razvijajoča se vprašanja, ki na koncu, ultimativno, ostajajo neodgovrjena. To je generativno stališče, mesto s katerega se lahko približamo plesu in koreografiji ter njuni možni neznani in nezaznavni prihodnosti.

 

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Kratki biografiji avtorjev   /   Brief biographies of the authors

Ivan Mijačević (*1979, Socialistična federativna republika Jugoslavija) je ustvarjalec, poustvarjalec in pedagog na področju glasbe, uprizoritvenih in vizualnih umetnosti. V Nemčiji, na Univerzi za glasbo in ples v Kölnu je magistriral iz diseminacije plesa v sodobnem kontekstu (2015). Iz plesnega nastopa in koreografije je diplomiral na SEAD-u v Avstriji (2008). V Sloveniji je na Univerzi v Mariboru (1998-2005) študiral glasbeno pedagogiko in na Konservatoriju za glasbo in balet, Maribor (1998-2000) klasično klavirsko igro. Njegovo prakso so navdihnili študij in sodelovanje, med drugim s Katie Duck, Liso Nelson in Susan Rethorst. Njegovo mednarodno priznano in nagrajeno umetniško in pedagoško delo z umetniškimi kolektivi, gledališkimi skupinami in izobraževalnimi ustanovami temelji na celostnem, integrativnem pristopu k tehnologiji/jam, ki, z raziskovanjem prežemajočo ustvarjalnostjo, omogočajo večjo samostojnost v procesih odločanja s poudarkom na dekolonizaciji domišljije. Njegova sodelovalna, prostorsko občutljiva in transdisciplinarna dela so namenoma nejasna o tem, kjer se umetnost in življenje razhajata.       /       Ivan Mijačević (*1979, Socialist Federal Republic of Yugoslavia), is a maker, performer and educator in the fields of music, performing and visual arts. He holds an MA in dance dissemination in contemporary context from the Cologne University of Music and Dance, DE (2015). He received a diploma in dance performance and choreography at SEAD, AT (2008), and has studied music pedagogy at the University of Maribor (1998-2005) and classical piano performance at the Conservatory for Music and Ballet, Maribor, SI (1998-2000). His practice has been inspired by studies and collaborations with, amongst others, Katie Duck, Lisa Nelson, and Susan Rethorst. His internationally recognised and awarded artistic and pedagogic work with art-collectives, theatre companies and institutions of education takes a holistic, integrative approach to technology/ies, facilitating, as research permeates production, increased autonomy in decision-making processes with an emphasis on decolonising the imagination. His collaborative, site-sensitive, transdisciplinary work is deliberately vague where art and life diverge.

Alexandra Baybutt (*1984, Združeno kraljestvo) deluje kot plesna umetnica, gibalna pedagoginja, dramaturginja in raziskovalka. Doktorirala je na Univerzi Middlesex v Londonu v Združenem kraljestvu (2020). Je certificirana Laban gibalna analitičarka (LSSI/LIMS, 2010), ki v minulem desetletju poučuje na certifikacijskih programih v Evropi in v visokošolskem izobraževanju v Združenem kraljestvu. Diplomirala je na Labanu v Londonu (2002-2005), magistrirala na Goldsmithsu v Londonu (2007). Je registrirana somatska gibalna pedagoginja pri ISMETA. Do poletja 2023 je gostujoča raziskovalka na Institute of Advanced Studies, University College London, kot postdoktorska štipendistka na IAS, kjer je raziskuje enakost, raznolikost in vključenost v umetnosti, humanistiki in družboslovju s pomočjo utelešenih perspektiv (2021-22). Še naprej jo zanima prostor: telesno, odnosnostno, okoljsko in družbenopolitično. www.alexandrabaybutt.co.uk       /       Alexandra Baybutt (*1984, The United Kingdom) works as a dance artist, movement educator, dramaturg and researcher. Her PhD was awarded by the University of Middlesex, in London, UK (2020). She is a certified Laban Movement Analyst (LSSI/LIMS, 2010) and for the past decade has taught on certification programmes in Europe, as well as in Higher Education in the UK. She holds a BA(hons) from Laban, London (2002-05), an MA from Goldsmiths, London (2007), and is a Registered Somatic Movement Educator with ISMETA. She is until summer 2023 a visiting research fellow at the Institute of Advanced Studies, University College London, following a postdoctoral fellowship at the IAS researching equity, diversity and inclusion in the arts, humanities and social sciences through embodied perspectives (2021-22). She remains interested in space: bodily, relationally, environmentally, socio-politically. www.alexandrabaybutt.co.uk 

 

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Reference   /   References 

Banes, Sally (1987) Terpsichore in Sneakers: Post-modern Dance. ZDA: Wesleyan University Press.

Chowaniec, Magdalena and Fernandez, Veza. (2020) ‘Music Pours Over the Sense: Experimenting with relationships between body and sound as a transformative practice’. Organizirano s podporo Doktorske šole za umetniško raziskovanje na Univerzi za glasbo in uprizoritvene umetnosti v Gradcu, Avstrija. [www] <https://musicpoursoverthesense.net/symposium

Ewell, Philip (2019) ‘Music Theory and the White Racial Frame’, Society of Music Theory, 26(2), 10.30535/mto.26.2.4

Quignard, Pascal (1996) La Haine de la Musique [Sovraštvo do glasbe]. Francija: Calmann-Lévy.

Rethorst, Susan (2010) “CalderaAULA “The choreographic mind” entrevista a SUSAN RETHORST (LA CALDERA lab 2010)” [www] <https://www.youtube.com/watch?v=kWtzDsw0umo> 9 minutes 50

Varèse, Edgard in Wen-chung Chou (1966) “The Liberation of Sound”, Perspectives of New Music, 5(1), str. 11-19 [www] <http://www.jstor.org/stable/832385

 

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Terpsihorina sonika je intelektualna lastnina Ivana Mijačevića, ki je nastala v dveh desetletjih raziskovanja. Stopite v stik z nama in naju povabite na delavnico ali se pogovorite o nadaljnih raziskavah   /  Terpsichorean Sonics is the intellectual property of Ivan Mijačević that came to fruition over two decades of research. Get in touch to invite us for a workshop or discuss further research.

 

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Email: terpsichoreansonics.system@gmail.com

Deli
PROGRAM
30. 03. - 20:00 // Dobra družba // predstava
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05. 04. - 12:00 // Vintage sejem // pop-up shop
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05. 04. - 20:00 // Dobra družba // predstava
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06. 04. - 10:00 // Vintage sejem // pop-up shop
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