the reason we sway

welcome to our laboratory! you can take off your shoes, take some socks and sit or lie anywhere you like. there are cushions and comfy fur on the floor, or benches, and a blue hammock seat, where it is possible to hide. feel free to move and change place during the performance!

we will interact with you. if you don’t feel like interacting, please make a clear sign that you want to be left in peace. we explore translations into sounds and gestures of emotional, sensorial and mental states experienced by persons with mental imbalances like the autism spectrum, and observations of the animal and vegetal world. how might complex conversations of species and whole ecosystems sound like? is it possible to come closer to a different way of perceiving? what does a bird hear? can a tree sense a connection to surrounding plants through their roots? how to connect to a living being that is unfamiliar to us?

com­mu­ni­ca­ti­on through sound has been a stea­dy cen­ter of inquiry, and i still expe­ri­ment on how to work with vocal expres­si­on and sound on a level of inter­de­pen­den­ce, tre­a­ting both as com­po­si­ti­o­nal ele­ments of a kin fabric. together with a musi­cian, artists and perofrmers with impair­ments, we ela­bo­ra­te ​sonic trans­po­si­ti­ons’, or trans­la­ti­ons into sound and gestu­res of the com­plex con­ver­sa­ti­ons of spe­cies and who­le eco­sys­tems through mycor­r­hi­zal net­works, on sen­so­ri­al ways of con­nec­ting and on swarm beha­vi­or. how to esta­blish connection?

i want to lea­ve the track of neu­ro­ty­pi­cal thin­king and immer­se in a dif­fe­rent kind of con­tact: ​it is not linear. it is fluid and flexi­ble, kind of like a pri­va­te wiki­pe­dia that i am con­stant­ly revi­sing and edi­ting, but instead of words, eve­ry­thing is writ­ten in my own ever-evol­ving lan­gu­a­ge of hier­o­gly­phic films fil­led with hyper­links to asso­ci­a­ted and often irre­le­vant thoughts… i am utter­ly inca­pa­ble of having one thought wit­hout at least ano­ther hund­red coming along for the ride…” is how autis­tic come­di­an han­nah gads­by descri­bes her train of thought. nao­ki higas­hi­da, a young autist with limi­ted ver­bal com­mu­ni­ca­ti­on skills, descri­bes with the help of faci­li­ta­ted com­mu­ni­ca­ti­on and his mother how he per­cei­ves: ​to make myself under­stood, it’s like i have to speak in an unknown foreign lan­gu­a­ge, eve­ry minu­te of eve­ry day… what we actu­al­ly are loo­king at is the other person’s voi­ce. when we’re ful­ly focu­sed on wor­king out what the heck it is you are saying, our sen­se of sight sort of zones out…”

the­se dif­fe­rent modes of per­cep­ti­on bear remar­ka­ble qua­li­ties, talents and sen­si­ti­vi­ties that deser­ve some atten­ti­on and might help us to find balan­ce, ease and plea­su­re living in approxi­ma­ti­ons. my own and peer’s limita­ti­ons and the com­mu­ni­ca­ti­ons lin­ked to them as well as get­ting clo­ser to the natu­re that sur­rounds me inspi­re me to invent nar­ra­ti­ves dif­fe­rent from the domi­nant, per­fec­ti­o­nist, effi­ci­en­cy-dri­ven ones. in the face of mass extinc­ti­on of spe­cies, glo­bal war­ming and the was­te of resour­ces, i feel a deep urge to obser­ve cats, deer, bir­ds, hed­ge­hogs, trees, flo­wers, worms. in order to gain a glim­p­se into their world, i need to open my sen­ses, let my per­spec­ti­ve beco­me porous, make way for some­thing unknown. can we get into an ani­mal or plant appro­ach, to sen­se each other, as an alter­na­ti­ve and an enrich­ment to our human­cen­tric viewpoint?

the form of this work is between an installation and a performance, and my collaborators and myself play in different configurations, spaces and timings: between 2 and 6 persons participating, ranging from 1-4h of play.

 

con­cept, per­for­man­ce, music: chris­ti­na clar I music: mada­me pata­te I per­for­mers: lilas vicqueray & willy vander stappen I gar­den recor­dings: loïc lachai­ze I voi­ce: lau­re goe­mans I visu­al col­la­bo­ra­ti­on & out­si­de eye: peter wes­ten­berg I text choi­ce for books on trees: an mer­tens I with the finan­ci­al sup­port of the Austrian Ministry of Culture (Bundesministerium für Kunst, Kultur, öffent­li­cher Dienst und Sport)

cover photo: Peter Westenberg

 

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