re: Nucleus: How amazing could it be?

I was lucky to have been asked to play music for a contact dance duo.
This is the email I sent out few days back:


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Hi all,


I will be performing improvised music for Diana Groenendjik and Suzanne Liska (both amazing contact dancers).

info as follows

have a great February

- k o u s h a

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Marie France Forcier's
NUCLEUS
A DanceWorks coWorks series event

FUNDRAISER PARTY

Friday February 2nd 2007
The Ice Lounge, 560 Danforth Ave.
(1 block East of Pape, at Carlaw)

Performances by:
Diana Groenendjik
Elke SchroederCube 3
Crazyfish Collective
Larchaud Dance Project...and more
MC David Kraft
Doors open at 8:30 pm
$10 advance/ $12 door

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Diana and Suzanne were absolutely amazing. I was perhaps a bit too much in my head, but what needed to be done was done, they both (Suzanne especially) mentioned the support of the music and the connection.

I remember a spot or two where I was not in a relationship that I relished, I was perhaps critical of it and of course the dance was absolutely amazing. They can start dancing any time and handle anything that comes their way. I suppose that would translate to amazing ear and technique in music; that is exactly what knowing your instrument ( ~your body) and its possibilities, and limitations, rules (~ grammar, style, progressions) and trusting the partner, and of course listening (used in both music and dance practices).

I must say this was by far greater and more involved and stronger that all the other pieces. Both virtuosity and emotional richness and some very unexpected things. You guys are great!

I was quick to disappoint myself because of my physical tightness. A trigger that was pulled and I got stuck (still) with the tension.

I was also jealous of the dancers because I wanted to dance as well, to be part of this. That makes me think I should for sure experiment with moving and playing at the same time. Why haven’t I done this yet? So obvious! I need to get this other violin set up and then we’re ready. I used to play with much more physicality.
For example baroque dance and music would be completely possible in terms of safety of the instrument and bow. So I must give it a try.

Another note to myself:

I’d like a wider spectrum of sounds at my hand. It feels necessary that I might need more sounds to support different things different contrasts not only in content and approach but also colour of sound.
I think buying a looper and experimenting with overdubbing (live or recorded) and effects, can bring out options, open doors, vocabulary, etc.