The Essence of Musicality at The Place.
Suraya was in London for 2 weekends and we benefited from 8 hours over the first weekend and a 2 hour class on Dec 10th. Each weekend had a different flavour and in attending both I can honestly say, both proved invaluable. As
always, the make up of the sessions proved how versatile and thoughtful Suraya’s teaching is.
The key points from this weekend..
The music we would inhabit had delicacy, precision and room to grow in. From the CD called Rouhani (2005).(Not in stock at present).by Joseph Tawadros.
The music we used starts with sparse instrumentation, the sound of Oud. We explored moving with grace, ending each phrase with a flourish of turns and striking an end pose. The musics moves into explosive percussion, greatfor Kathak
like, staccato stepping. Although we spent more time on the introduction, structuring something free, yet courtly and self contained. The short time we spent on the 2nd movementof Kathak like Indian percussive was just as rewarding.
Pair work with give and take, playing with rhythms, with juxtapositions of starts and stops. Working with a partner on this section was fun and a real contrast to the almost formal Oud music at the start.
Suraya and Alessandro convey through music and movement, a sense of space that exists between each note that plays. I consider it a void space where although there is no sound,the notes echo and still there is musicality,
which can be expressed by the dancer. It’s fleeting. The dancer must grapple with the idea of space, time with room for expansion striving for expansion an exploration.
The essense of musicality.
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