SEI & DUE – Dance and Music performances

(written by Suzan Tunca)


SEI & DUE are two chapters of the ongoing collaboration between Suzan Tunca and Giuliano Bracci: dance and music navigate on the edge between improvisation and choreography, between immediate intuitive action and pre-determined acoustic and choreographed movements.

In SEI, Suzan dances on a solo violin composition by Johan Sebastian Bach remixed live by Giuliano Bracci. The presence of different and parallel tracks of the piece serves the search for inhabiting a multitude of body morphologies in dialogue with the acoustic dimensions unfolding around Bach’s composition.

For DUE, Giuliano wrote a new composition based on an improvised dance sequence by Suzan where she worked from an intermediary zone of awareness between conscious and not yet conscious movement origination.

In the dance of SEI & DUE, Suzan searches for a space of creative convergence and infinite potential between the polar opposite forces of gravity and levity, concentric and peripheral impulses, active and passive psychophysical tonality and the communicative potential of dialoguing with these forces through the dancing body and in dialogue with the acoustic landscapes.

Suzan Tunca and Giuliano Bracci are artistic researchers and PhD candidates at the Academy of Creative and Performing Arts (ACPA) at Leiden University. SEI & DUE is also part of their individual researches. Giuliano Bracci researches how the practice of transcribing (live-remixing J. S. Bach in SEI) involves listening, memory and invention and has the potential to make audible an active and critical relation to the music of the past.

SEI & DUE are part of Suzan Tunca’s artistic research on the dancing body as an instrument to investigate and communicate embodied gnosis. Embodied Gnosis stands for a state of inspired knowing-being where supra-sensory and non-verbal qualities of experience coincide with specific qualities of motion that permeate the corporeality of the performer. In SEI & DUE Embodied Gnosis is approximated via a specific state of consciousness, an intermediary zone of awareness where the physical appears to intersect with the metaphysical thanks to the mediation of the human body in motion.

The experience of embodied gnosis in dance becomes then suggestive of a meta-empirical source of being, meaning and (in-)corporeal movement origination that allows a dance language to emerge.

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