sILENCE CONTAINS ALL COLOURS
THAT WARM LAKE OF THAW THAT FLOODS THE EARS TO MOISTEN THE EYES AND CALM THE SPEECH WHISPERS ITS PRESENCE.
INCANDESCENT MUSE, REVEALS WHAT IS HIDDEN IN THE DEPTHS OF THE BODY.
SILENCE DESERVES A SPACE TO LET THE SENSES RELEASE THE DEMANDS OF A CONTEXT SOAKED WITH THE NEED OF EMPTY EXPRESSION.
Entering the universe of sound implies opening up to live and move from and in alternative spheres where time is no longer chronological and space is no more geographical, objects acquire other meanings and bodies can modify their shape.
Dance and music hold this liquid quality of becoming, travelling between, speaking out in unwritten languages.
Listening, without having a certainty of what it is, to the undefiable of movement and sound, releases the effort to establish a shape, a delimited form. The unsettled situation in which words do not define what is seen
but experience establishes what is perceived,
opens to new possibilities of creating an elastic, malleable, momentary stretch on the skin to blur the limits in between.
The conflictive image of a body breaking a norm on what is expected to be,
carries along alternatives to the real and creates possible changes on the paradigms in which we understand the world.
The dynamism of sound allows it to penetrate spaces of uncertainty and darkness to elucidate them, move them, shake them to make them present. This encounter with sound only occurs in the state of openness to hear, attentively, the presence of multiple others.
An encounter which seeks to blur the limits in between, in a reciprocal dialogue in which silences can gain their own voice.
An expansive volume revealing the invisible, rebelling to the absences and generating new presen(t)ce.
Like sounds, movements “resound within a space of silence” (John Cage on Silence).
Only in silence can space be created for sound to arise through speaking cells and verboragic limbs, for their voice to be heard and act. Movement and sound have nothing to say.
In Mr. Cage's words, “we are simple-minded enough to think that if we were saying something we would use words”.
Silence would be the territory where to listen to the voices which signify the way we wander the world, choreograph our lives, perform a dance.
Listening becomes an ethic to review what we create, how we do it and the reason to do so. And silence becomes a medium to support the process of becoming.
In the echo of silence, when sound unexpectedly slices the air and movement collects and sculpts the pieces left, a plastic landscape looms to let the viewer materialize its universe. Where is sound starting and the dance ending?
CONTAINS ALL SOUNDS
"To Whom / No subject / No image / No taste / No object / No beauty / No message / No talent / No technique (no why) / No idea / No intention / No art / No object / No feeling / No black / No white (no and) / After careful consideration, I have come to the conclusion that there is nothing in these paintings that could not be changed, that they can be seen in any light and are not destroyed by the action of shadows. / Hallelujah! the blind can see again; the water’s fine."
Emily Genauer, “Art and Artists: Musings on Miscellany,” New York Herald Tribune, December 27, 1953
Where is a movement starting and a sound ending?
Inspired by Otacílio Melgaço´s piece,
I write about silence and its potential to become.
I believe movement starts in there,
in the heart of a lacking sound.
Or in the heart of what holds all possible movements.
Film, edition, performance: Nicole Michalla
Sound: Otacílio Melgaço
in this process of inter-being and exchange with an invisible,
with a sonic body,
i reconfigure my maps
in this process of embodiment of sound
i began to wonder if sound was the origin of everything.
the heartbeat of existence.
the lub-dub of breathing.