Let’s explore the relation between movement and vocalizing, playing with collective soundscapes and compositions, and see what happens.

In the first and second experiments of this period, we unfolded a “state” which was introduced through a collective tune-in (see description below). A state in this context is a specific manifestation of embodied knowledge, which in-turn allows us to play with and stimulate that territory of technique. After the collective tune-in, we went for two-minutes automatic writing – reflecting and externalizing. Through a brief discussion, we exchanged our accounts and impressions, and decided on the experiment frame above.

Tune-In: Soundscapes from Within and Without

Find a comfortable position, sitting upright.
Attend to the contact between your bodies and the floor, grounding.
Imagine your body as an empty vessel, a container. Gradually, a liquid is seeping in from the ground into your body. How does this liquid interact with gravity, as it pools and spills, filling up the body-vessel? What are the qualities of the liquid – color, consistency, opacity, temperature, and so on? Play with micro-movements, sensing this liquid through movement. Eventually, your body is full.
Attend to the sound in the space, coming from within and outside. Invite sound to resonate through your body full of liquid, engendering movement. Play a game, the sound resonating into movement, the body shifting from one position to another. In every position, dedicate a moment to listen, the longer you linger the more information you can get.

Continue shifting from position to position – lingering and listening.
Vibrate your body full of liquid through a hearty hum. How do different pitches and volumes affect your sensation of the body? How do they inform and are informed by different positions, alignments of the skeleton, and shifts of weight? Play with sirening, oscillating the vibration up and down, passing smoothly through the larynx. Play with shaping the mouth and larynx in different ways, generating different tonalities and qualities of vocalization.
Concentrate the resonance in your chest. Imagine the vibration oscillating up and down, gradually distinguishing between the upper and lower chest resonators. Placing your palm on the body can help direct the resonance and amplify the sensation.
Expand the breadth of the oscillation up, bringing vibration towards the throat and jaw. Here, we encounter the laryngeal resonator, producing sounds which recall the roaring of wild animals, old timey Jazz, and Batman – it is helpful to enunciate a Greek Xi, sensing a vibration in the larynx. And, the maxillary resonator, placed at the back of the jaw, coming into use in so-called "intimate" acting – it is helpful to produce a moaning sound.
Expand the breadth of the oscillation back and down, bringing vibration towards the back. The back resonator can be divided into three: i) Between the shoulder blades, sending the voice up and back. ii) The small of the back, sending the voice back. iii) The lumbar region, sending the voice back and down. These can be sensed by lying on the floor and feeling the vibrations through the ground.
Expand the breadth further up, towards the top of the head through the face. Here we encounter several resonators as we travel up. The mouth resonator, producing a buzzing sound, feeling the vibrations in the teeth and cheeks. The nasal resonator, enunciating the consonant "n”, sending the voice forwards from between the eyes. The head resonator, functioning through the pressure of airflow into the front part of the head, enunciating a consonant “m”, sending the voice towards the ceiling and slightly back. And finally, the occipital resonator, producing a high-pitched mewing sound, sending the voice up and further back. It is helpful to voice the word “pi-ka-chu”, gradually travelling from the lower back up, and finally sending electricity upwards through the head.
Expand the breadth further down, towards the belly and the ground. Here we encounter the belly resonator, which can prove tricky for some practitioners to locate. It is helpful to concentrate air in the stomach and send it out with a deep humming voice by squeezing the abdominal muscles, sending the voice downwards through the sex.

Find a moment of collective quiet and suspension.
Continue shifting from position to position – lingering and listening. Find joy, creativity, and expression in the in-between moments, the transition from position to position.
This process recursive, cyclical process can be supported by the metaphor of a flower. In the suspension, it roots and begins to sprout. In movement, it blooms. And eventually, withers, only to root and bloom and wither again. What is the organic momentum of the blossoming, relative to the rooting and withering? What are the qualities of the flower – color, shape, texture, and so on?
Open your awareness and availability to the space and the other practitioners in it. To their processes of rooting, blooming, and withering. How can you blossom together?
If you encounter a flower you enjoy, relish in it. Sustain its bloom, tend to it. Stay with the qualities it informs and play with their nuance – unfold and saturate the image.
Eventually, find a continuity of movement. Each intention, fantasy, flower cascading into the next. The moments of suspension remain for you yourself to orientate.

Bring back the voice.
Explore freely the various tasks, games, and prompts introduced so far – do what you need.
How can we relate to one another through movement and vocalization? Allow the voice to provide a base for communication and collective compositions and soundscapes.

2-2: Collective Vibrancy