Statement of Purpose
The Toe Heel project is intended as a seduction for the audience into the highly unknown world of tap dance by showing the true duality of all tap masters; artists who are equally expressive and skilled as dancer and musician. The reality that tap dance is both a dance form as well as a musical form will be highlighted for the audience, and give them insight into why tap is so very beautiful and entertaining.
From the audiences perspective, as the tap dancer performs, other sounds which coincide in real-time with the rhythm (and in the next development cycle of the project, relative volume) of the performance will be heard. The tap dancer will act as a conductor, not just for the primary instrument, the tap shoe, but also for a variety of other sounds which take their cue from the primary instrument.
The type of the other sounds heard and windows of time they are played during the show will be flexible. The performer can choose and set these sounds and durations before the performance. Likewise, an audio controller or the audience itself can dictate what other sounds and which moment these sounds will be produced. Possibly, another musician would enjoy “free-styling” or improvising with the audio control, and the dancer could respond to this person, similar to a jazz or classical tap “face-off”. The sounds could also be made to occur after a set lag time, if desired.
Because the tap shoe will have a larger palette of sound to use in it’s work, as well as a way for another musician or audience member to interact with the dance, the performance will be perceived as fresh and interesting.
The same system can be applied to Flamenco dance, as well as Clogging and Irish folk dance. After the project has been made to work with a tap shoe, I would like to apply it to other percussive shoes used in dance.
From the audiences perspective, as the tap dancer performs, other sounds which coincide in real-time with the rhythm (and in the next development cycle of the project, relative volume) of the performance will be heard. The tap dancer will act as a conductor, not just for the primary instrument, the tap shoe, but also for a variety of other sounds which take their cue from the primary instrument.
The type of the other sounds heard and windows of time they are played during the show will be flexible. The performer can choose and set these sounds and durations before the performance. Likewise, an audio controller or the audience itself can dictate what other sounds and which moment these sounds will be produced. Possibly, another musician would enjoy “free-styling” or improvising with the audio control, and the dancer could respond to this person, similar to a jazz or classical tap “face-off”. The sounds could also be made to occur after a set lag time, if desired.
Because the tap shoe will have a larger palette of sound to use in it’s work, as well as a way for another musician or audience member to interact with the dance, the performance will be perceived as fresh and interesting.
The same system can be applied to Flamenco dance, as well as Clogging and Irish folk dance. After the project has been made to work with a tap shoe, I would like to apply it to other percussive shoes used in dance.
posted by Denali at 10:28 PM
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