(tunezoom practice observatory performance)
Tunezoom Observatory with collaborators Beth Bastos (BRA) Scotty Heron (USA) Amos Hetz (ISR) Karen Nelson (USA) Lisa Nelson (USA) Carmen Pereiro Numer (ARG) Anat Shamgar (ISR) Scott Smith (GBR) Paula Zacharias (ARG)
In 2020, motivated by the Covid pandemic stay-at-home orders, some seasoned Tuning Score players entered the newborn social environment of Zoom to explore possibilities of adapting our dance practice to the shared space of a screen, each of us now in the intimate environment of our homes. We’ve sustained a weekly practice since then, with a revolving cast of twenty-plus players scattered around the globe. Today, our small group is deeply grateful for the invitation to share our Tunezoom once again with the community of Room Dances.
The Tuning Score is a dance performance research practice, evolving since the 1980s, that approaches the questions: What are we looking at when we look at a dance? How do we sense and make sense of movement, from inside and out? The underlying activity of the score is “tuning,” as in tuning a violin or tuning in a radio signal. Tuning situates composing as an inner activity—the body’s tuning into a felt-sense of order (or at the least, orderliness); the inborn improvisation of being alive and staying alive. Tuning Scores are aesthetic games that offer a framework and communication tools to attune to our individual and collective sense of space, time, movement, and behavior. Through them, we investigate elements of observing, dancing, and everyday action. A dance materializes through a sequence of action images, as perceived through all our senses, while we cycle between proposing, observing, and replaying material: continually showing each other our perceptions of the space and the dance inside and around us. The operational vocal calls you will hear are communication tools for real-time editing (e.g.: End, Pause, Reverse, Replace, Report, Multiply, Sustain, Reduce, Resituate, Close/Open eyes, etc.). Each player is invited to tune in a dance they want to observe and inhabit at the same time. The calls redirect our attention and provoke a dance of consequences—destabilizing, affirming, and challenging an ever-shifting and often wobbly consensus reality. How do we speak Dance to eachother? Questions emerge from the fleeting confluence of attentions and intentions: About image, presence, projection. About translation, subtext, context, content, design. About communication, resistance, communion, collusion, culture. About desire, decay, about beauty. Each time we play, we glimpse the collective body’s imagination in this moment of urgency and fragility on the planet. (Lisa Nelson)
also our Dec 2024 full show at Room Dances here (starts around 12 mins in)
In 2020, motivated by the Covid pandemic stay-at-home orders, some seasoned Tuning Score players entered the newborn social environment of Zoom to explore possibilities of adapting our dance practice to the shared space of a screen, each of us now in the intimate environment of our homes. We’ve sustained a weekly practice since then, with a revolving cast of twenty-plus players scattered around the globe. Today, our small group is deeply grateful for the invitation to share our Tunezoom once again with the community of Room Dances.
The Tuning Score is a dance performance research practice, evolving since the 1980s, that approaches the questions: What are we looking at when we look at a dance? How do we sense and make sense of movement, from inside and out? The underlying activity of the score is “tuning,” as in tuning a violin or tuning in a radio signal. Tuning situates composing as an inner activity—the body’s tuning into a felt-sense of order (or at the least, orderliness); the inborn improvisation of being alive and staying alive. Tuning Scores are aesthetic games that offer a framework and communication tools to attune to our individual and collective sense of space, time, movement, and behavior. Through them, we investigate elements of observing, dancing, and everyday action. A dance materializes through a sequence of action images, as perceived through all our senses, while we cycle between proposing, observing, and replaying material: continually showing each other our perceptions of the space and the dance inside and around us. The operational vocal calls you will hear are communication tools for real-time editing (e.g.: End, Pause, Reverse, Replace, Report, Multiply, Sustain, Reduce, Resituate, Close/Open eyes, etc.). Each player is invited to tune in a dance they want to observe and inhabit at the same time. The calls redirect our attention and provoke a dance of consequences—destabilizing, affirming, and challenging an ever-shifting and often wobbly consensus reality. How do we speak Dance to eachother? Questions emerge from the fleeting confluence of attentions and intentions: About image, presence, projection. About translation, subtext, context, content, design. About communication, resistance, communion, collusion, culture. About desire, decay, about beauty. Each time we play, we glimpse the collective body’s imagination in this moment of urgency and fragility on the planet. (Lisa Nelson)
also our Dec 2024 full show at Room Dances here (starts around 12 mins in)
