By ‘listening’ to and sharing our bio data we are confronted with our human dimension. Reconnecting through our heartbeat and breath, we realize our ephemeral and unique presence in that very moment.
Digital Umbilical is a dance performance exploring organic connection between
individuals (dancer and audience member), and its amplification through the use of
technology.
Inspired by factors of intimacy: proximity, warmth, sensing the pulse of each other,
quietness: we aim at creating a shared experience which is unique to the moment. Our
strongest reference is the womb: a place of deep and intimacy with another human
being, surrounding us in sound , low vibration and soft light, a place of interdependent
living.
Repurposing technological tools of bio-data control and measurement, Digital
Umbilical wants to reclaim the poetic, rhythmic and creative aspect of bio-rhythms
and body cycles, enabling audiences to reconnect to their bodies as spectators as well
as participants.
At a time where we are rising political division along simplified categorizations and
artificial boundaries amongst humans, we believe it is critical to get audiences and
participants to reconnect to the universality of our body , and an experience we have
all shared as human beings.
We are creating a responsive
interactive system where bio-data
from both audience members and
performers are fedback in real time
and impact the soundscape and
lighting environment. Audience can
at times hear their own heartbeat as
well as the performer’s live breath.
The performer’s behavior, his
movement pattern and the
atmosphere of the shared space
(soundscape, lighting) adapt in real
time to facilitate a climate of trust
propice for an intimate encounter
(soft, poetic, narrowing perception
to one element)
This gives audiences a unique
experience of dance and a rare
insight into their own uncontrollable
physiological reactions.
The heartbeat is widely used as a poetic representation of life and love due in part to
this facility for translation and the universal recognition of the rythmic sound we
first hear in the womb, our mother’s heart.
Both heartbeat and breath are a representation of our finity as humans: they are vital
signs of us being alive. We do not control it yet it is constantly catching up with our
motion and emotions.
The audience and performers are the ‘womb’, an interconnected organism of
rhythmic bodies, comforting, peaceful, self regulating. The performer is the ‘other’ as
well as a mirror of ourself, he is the intermediate between us and the world.
Exploring choreography and rhythm with two performers, we want to explore body
reactions through different body sensitivities. We hope this to allow for better
‘connection’ and identification by having two human beings who inevitably are
different and thus can connect better to different people.
The performance aims at creating a feeling of expanding time through choreographic
cycles, sensory perceptions , e.g create a feeling of having known performer(s) and
audience for a day/year/life time.
Digital Umbilical is a performance for 1 to 2 dancers, 5 to 10 connected participants
and X number of ‘spectators’ participants (30 to 50 tbc).
Participants are picking their tickets at the entrance, and get ‘selected’ in being a
connected participant (emphasize on the uniqueness of the moment.)
Connected participants are in the ‘womb’ with the performer(s), in a intimate and
soft environment, having unique interactions. Spectators are ‘hidden’ and have a
special and unique vision of the show.
The set up allows for moments of connected experiences when we are all
experiencing a common event and moments of disconnect when we are allowed to
reflect on our singularity and difference to the others .
We set to explore the amplification a body movement shared by all humans, and
amplify the kinetic empathy to the performer and the presence and consciousness of
our own body. The notion of presence will be amplified through repetition or
mimetism , for the movement to remain in the audience memory even after it has
been performed. Finally, the closeness to the audience suppose a different approach
to movement making, looking at details and refined textures.
Adam studied contemporary dance at The Royal Swedish Ballet School (2012-2015) and the Ballet Junior de Geneve (2015-2018). In 2015 he did a project at The Gothenburg Opera's Dance Company, in 2017 he participated in a R&D with Michael Keegan Dolan and in 2018 he worked with The Waldorf Project.
Salomé is a designer and artist, founder of Cellule, design studio working accross art, science, and technology. She has worked with surgeons developping a set for cardiology training, developed a 3d printed wheelchair, and now partner with computer scientists and scholars in network intelligence.
Renaud is a Swiss born and London based independent choreographer. A former dance artists with the Gothenburg ballet and Rambert, he is a foundermember of New Movement Collective and has recently been appointed artistic codirector of Newcastle based dance company Fertile Ground.
Jon Rowe is an artist and software developer who has been creating pioneering synthetic realities for 20 years. Working first with film and projection he hacked together a primitive mixed reality headset in the 1990s and has since been creating virtual worlds for many high profile clients.
Lara Buffard, graduated in Museology and in Advanced Studies in Theatre, Performance and Contemporary Live Arts.She worked 10 years as Cultural project Coordinator at MUDAC (Museum of Contemporary design and Applied arts/CH).Today she works as a performance artist and producer.
Simon is a London-based digital artist/creator and co-founder of the art & design studio Visualpilots. With 10+ years of experience he focuses on the exploration and modification of space using technology, creating installations that take the visitor onto contemplative journeys.
A french composer and musician, Arthur explores different styles of expressions. He has worked alongside international artists such as Christian Boltanski, Franck Krawczyk, Peter Brook.In recent year Arthur composed for Singapore Repertory Theatre and devised with Master students from Goldsmiths...
Rosanne studied ballet, contemporary and jazz dance at the conservatoire of Rouen before joining Ballet Junior de Genève (2012-2015). She ca-funded the collective Junebug company in 2015 with whom she worked until 2018 while freelancing in Europe.
