MESSIHA`SOUND BODY

“This is the sound body: a resonant body that is porous, that transforms according to the vibrations of its environment, and correspondingly trans- forms that environment.” - Deborah Kapchan, Keywords in Sound

Kapchan also reminds us of that sonic affective territory cannot be owned.

This poses an exciting question: What are the material effects of the sound body? And how might attention to sound and affect produce a body unfettered by the dualisms of enlightenment – mind/body, nature/culture, man/woman, human/animal, spirit/mental.

My embodied practice is invested in the material effect of the "sound body".

 Questions I am interested in:

-       How can we redefine the notion of "body" in space. Reflect through practice on the "body's" spatial ability.

-       What opportunities are there to create new configurations of time and space, where the body and collaborative processes are interdependent and can be applied to how places are shaped, created, altered, questioned.

Embodied Practice employed in my praxis:

Through oppositional energy in the spine and our joint functions, we initiate a vibration. Vibrations massage the nervous system, enabling a porous body that transcends the thought of itself as a fixed material being, body- in -person- property, experiencing trans embodiment- a body that does not end at the edges of our skin, but whose vibrations are interconnected with the environment and in its turn transforms the environment.

Museum of Contemporary Art, Zagreb (October, 2019)

Juilliard School of Dance (March, 2019)

Department of Theater and Dance, Grinnell College, Iowa (April, 2018)

BRIC, Brooklyn (September, 2016)