ONES @ The Outlet Dance Project

Most exciting news!

ONES is part of this years amazing line up of @ The Outlet Dance Project!

Dance on Film Fest
5 October 2017
7pm, New Jersey, USA
for tickets click here

ONES is a collaboration between Dutch visual artist Anne Verheij and Japanese choreographer Miku Tsuchiya, in which film and dance are explored across the former pedestrian tunnels of Elephant & Castle, London.
Juxtaposing two dance films created from the same footage, ONES captures the individual’s rhythm beating amidst the pulse of the restless city.
ONES – 2 women, 2 countries, 2 disciplines – 1 film

Concept | camera | montage – Anne Verheij
Performance | montage – Miku Tsuchiya
Sound design – Jack Goodwin
© ANNE• 2015

 

 

 

 

The Outlet Dance Project is committed to providing artists who identify or have identified as women an opportunity to share their artistic vision through site-specific dance, film, and work created for the stage. In partnership with Grounds For Sculpture – an internationally renowned contemporary sculpture park – collaboration, community building, and interdisciplinary experimentation are an integral part of the festival. The Outlet is dedicated to supporting all traditional and nontraditional dance forms. The festival celebrates the intersections of visual and moving arts, exploring relationships between sculpture and dance, between place and movement.

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ONES COUNTERPOINT trailer

The trailer of ONES COUNTERPOINT is online!

Please go and check it out!

More news and developments from us on our ONES collaboration soon straight from Japan @AnnePointNL !

ONES_COUNTERPOINT©ANNE•2016

ONES COUNTERPOINT depicts the inner voice of a haunted woman by crawling under her moving skin.
The interior and exterior are brought together by the three elements of water, wind and earth.
As the lines between movement and manipulation blur, the woman’s calm facade cracks, revealing something dark and mysterious that makes its way to the surface.

In ONES COUNTERPOINT Anne Verheij (NL) and Miku Tsuchiya (Japan) cross the vast distance between the UK and Japan via internet to make their second diptych (the first being nominated at LSFF 2017 for Best Experimental Short Film).
Their two individually created contemporary dance films, made from the same footage, are juxtaposed on a single screen where the soundtrack, especially created out of the field recordings they made in the UK and Japan, bring them together.

ONES – Swallowsfeet Festival 2016

Miku and I are delighted to announce that

ONES will be shown at Swallowsfeet Festival 2016

A TWO DAY PROGRAMME BRINGING EXCEPTIONAL DANCE ARTISTS
TOGETHER FROM ALL OVER THE WORLD.

5 March 7 – 10 pm
6 March 3 – 7 pm

tickets @THE OLD MARKET THEATRE, Brighton

ONES_Restless©ANNE•2015

Photo by © ANNE• 2015

ONES – week 5 – Editing

Over the last weeks Miku and I have been in conversation with our composers Cassie Kinoshi and Jack Goodwin to come to three separate soundtracks. Both composers have very different styles and backgrounds, which makes for an intriguing input for our editing process. At the beginning of April they received our selected sounds, film stills and impressions. From there they each took the sounds to a new level where the sounds were stretched, distorted and shaped into a rhythmic soundtrack.
Since their soundscapes are simultaneously our timelines in order for Miku and I to edit our films to independently, it will be a real experiment to see how their work influences our editing process.

Miku and I are now in the process of choosing specific footage from each location to start this editing process. The aim for us is to both have the same footage to edit with, but not to communicate on how we are going to edit it before or while we are editing.

The planning was to start this process back in April, but due to serious computer malfunction we had to postpone this process to June.
We will keep you posted on this exciting project of which we are planning a showing of work in progress in the beginning of July!

ONES
2 women
2 voices
2 countries
2 disciplines
2 intuitions
2 rhythms
————
1 installation

Miku_falling©ANNE•_2014Photo by © ANNE• 2015

 

ONES – news: composers

Most exciting news!

We have started to collaborate with two amazing composers to take our recorded sounds to the next level: a soundtrack.

Composer Cassie Kinoshi (On An Empty Stomach) has agreed to make a soundtrack for our third location.

Sound designer Jack Goodwin (Teokorus) has agreed to create the soundtrack for our first location.

2 women
2 voices
2 countries
2 disciplines
2 intuitions
2 rhythms
————–
1 installation

Miku_falling©ANNE•_2014Photo by ©ANNE• 2014

 

ONES – week 4 – FINAL sounds

2 women
2 voices
2 countries
2 disciplines
2 intuitions
2 rhythms
————–
1 installation

 Miku_falling©ANNE•_2014

 

 

[09-03-2015 UK] Anne Point:
During our final sound choosing session Miku and I began to venture out into the thought of combining the different locations through sound. Individually we choose very different sounds for location 1 and 2, where location 3 gave us a moment to come together. It was very useful and inspiring to hear where our decisions came from, leading us further and more focussed into building strong pillars for our film process.

Location 1 seems to deal with an invisible force, being in or under something and having a fractured frame where one can wonder what is up or down, left or right and wonder about what the bigger picture might look like. Also the momentum of movement and stillness within one take reminded me of a sea cycle, hence I choose quite the few water sounds.

Location 2 for me personally has to break with the actual elements in the frame in order to become interesting; taking it beyond the point of first recognition. For Miku the movement has a lot to do with a constant motion; like a heart monitor showing a constant beep. That led me to the thought of a motion monitor in which the constant swelling and going of the movement is confronted with brutal opposite sounds such as the noise on a construction site. Stretching the pressure on this visual heartstring. Making it into an abstract rather then a story of coming and going.

Location 3 led us to discuss a certain vacuum created by the visual: a momentum between two situations where time as we know it seems to come to a standstill creating its own reality and momentum. Most of the collected sounds emphasise the vertical or horizontal, the height or distance, the line or plane, the hard or soft surface and the duration of our footage, amplifying a sense of being in-between two happenings.

Design
Here my interest for creating a triptych in the design stage of the installation gets its first ground structures. Playing with the sensations of the spectator rather then with a logic or storyline is key. As my former tutor Tom Paine used to say, “What something does, rather than what something means.” Thoughts on how to bring these multiple locations together in one installation, also led us to think of how we could choose one sound to connect all locations while they each still hold their own frame.

———

[09-03-2015 Japan] Miku:
This week, we tried to finalize our selection of sounds for each location.
Going back to all the sounds we collected over the last 3 weeks was very fascinating. More thoughts, more ideas, more excitement!
However, at the same time, it was a very challenging process. Because we have so much to choose from, (we love almost all of them!!) it was hard for us to choose just a few sounds for each location.

We made our own lists of sound for each location first and compared them later. Interesting to see was that our lists of sounds were almost completely different for the first two locations, which made our process even harder!
We realized that our individual life experiences are acting very differently when it comes to perception. Some of the sound to me for example, felt very spacious, where Anne found the pressured. Very interesting!

The great part was that we had a chance to really talk about WHY we chose that specific sound for each location, and HOW it could fit.
From the hours of discussion, we had more new discoveries and thoughts, which made our selection narrower, deeper, denser and meaningful.

Again, we realized how powerful the sound is when it comes to putting it together with the visual and of how it could manipulate an audience to see and perceive in different ways.

Thoughts
Two voices bring hundreds and thousands of possibilities. Which could be overwhelming sometimes, BUT exciting at the same time. Like a chemical reaction, two artistic voices can create a new thing, a new world, a new vision, a new reality.

ONES – week 3 – sounds

2 women
2 voices
2 countries
2 disciplines
2 intuitions
2 rhythms
————–
1 installation

Miku_falling©ANNE•_2014

 

 

[02-03-2015 UK] Anne Point:

Thoughts on location 3:
Japan sounds – defined place or material sounds
UK sounds – material vs. material and their momentum

This week Miku and I seem to have almost an overload of sounds. To me my sounds almost feel too much and too little at the same time. I wonder if this has to do with the awareness we have created over the last three week on how we each interpret sounds and their possibilities in usage.

For me the excitement this week lay in the recording, but I got impatient when listening back to it. A feeling of ‘everything could work, hence nothing works or is good enough’ crossed my thoughts. Agitation over too much choice took my main focus in the conversation, leaving me with a doubtful state of mind.

The fact that we are coming to our 3d location and with that our most important location, because we went back there a second time, has gotten the overhand on the ideas and flow of it. The sounds are still really particular and unique, but because this location became such a big deal to me by filming it for a second time, there seemed to be little space left in my mind to transform it into something else.

Hence my thoughts for editing have shifted into starting with this 3d location first, rather then keeping it for last, because else the pressure to make it into something ‘good’ becomes leading instead of ‘exploring’ its possibilities and boundaries.

——-

[02-03-2015 Japan] Miku:

Miku’s Sound – natural recordings / created sounds / softer / malleable
Anne’s Sound – created abstract sounds / metallic / hard / dense / sharp / edgy

– Both Anne and I had very different sounds this time.
My sounds were more literal / easy to guess and more ambient than Anne’s abstract sounds. Anne’s sound were very interesting and fascinating that I couldn’t guess what it was, and it attracted my attention more. Anne’s sounds weren’t an ambient sound to me. It had characters and its own voice / statement, which I though would be an interesting layer to add on to the visual.

– When I was searching for sounds to record, I reviewed the perceptions I had that time during the filming at the location 3. The feeling of a long continuous pathway, and the feeling of looking down the hole, reminds me of a manhole on the street, where I decided to record the sound of the water, for example. The object’s presence is visually absent in the frame, however, it was present in my body. I think this searching for a sound that was present in my body (but not visually), and combining it with the visual, could expand the kinaesthetic experience for the audience.

– PRESENSE of ABSENSE / playing with visually non-related elements in sound (earth elements) could be interesting. Water vs. concrete site sounds. This can create a new effect / new imagination?

– Listening to both of our sounds, like specific site’s and its elements, affected our choice of the sounds.

I am thinking of how I could put these sounds with the film…
For instance it would be interesting to play with busy on-going sounds while the movement is slow – this could create a friction between visual and audible which could be challenging and interesting. It could expand audience’s experience.

After collecting loads of sounds together for three locations, we now need to re-select and re-consider in finalizing which sounds we’ll pic. It is very tricky I found that some of the sounds could fit more than one location.
SO, in that case, what more can I consider making my decision? Maybe I could rethink my kinaesthetic experiences (5 senses experience) at each location and see if that helps. Especially, focusing on my BODY experience / memory, could be helpful.

QUESTIONS FOR MYSELF:
How does my body feel when I listen to the sounds?
Does the sound fit my kinaesthetic experience / memory or does it conflicts?