Research Projects



An inter-disciplinary research project between myself, deaf choreographer/dancer Chisato Minamimura and acoustic analyst Dirk Püschel, using state-of-the-art acoustic technology from Dirk’s company Soundtec Göttingen. The idea behind the work was that sound is visual and physical, not just aural. That a deaf person might be able to develop their feeling connection to and use of their own voice, beyond purely verbal communication, through:

‘seeing’ or ‘visioning’ their own sounds within their own physical experience of them.

engaging with digitally created visual ‘echoes’ of these sounds

‘dancing’ to the variable sensations of these sounds, even though they cannot be heard

engaging with the physical and emotional spectacle of other people reflecting these sounds and their attendant movements back to them.

The project had two phases - there was an initial two day pilot workshop at The Place, London in 2010, then in 2012, under the title Shaping Sounds 2 there were three weeks of research spread over six months based at the University of Bedfordshire, with sharings both there and at Greenwich Dance, London.


An installation called SOUND PAINTER and a workshop programme for deaf artists called VOICE-SENSE are now available. We are looking for commissions and expressions of interest for them.


               SHAPING SOUNDS 2 2012 DOCUMENTARY


Shaping Sounds 2 supported using public funding by the National Lottery through Arts Council England. Commissioned by Colchester Arts Centre and Greenwich Dance. Supported by University of Bedfordshire, Soundtec, DanceDigital and Heart n Soul.  Produced by Step Out Arts with further administration/marketing support by Dance4. Shaping Sounds pilot project was supported by The Place, London and funded by The Great Britain Sasakawa Foundation.

Performance research projects are a large part of my work. Often this just involves exploring a hunch and seeing what turns up. Most of my finished pieces have at some point begun life as a research project of some kind or another. The projects are often inter-disciplinary and usually involve some aspect of blending the voice-movement process I use called Voic(e)motion with something/s else. Some past projects have included Slick & Sloppy (1994) at Chisenhale Dance Space with choreographer Cindy Faulkner; a workshop exchange programme with Nava Zukerman/Tmu-Na in Tel Aviv (1995); Physically Sound  (1997) at BAC with composer Ben Park and vocalists Isabel Jones and Francine Luce; Ekstase (1999) at The Orangerie in Köln with Director Michael Dick; The Cube Project (2006) with designer Phil (Phleds) Eddols at Metal, London; and being part of The Choreographic Lab (2005-2007). Below are some more recent and projects, Shaping Sounds and Sound Movement.





This initially began with a project called Sound Movement at BAC in  London in 2002 that I undertook with a number of musicians - mainly saxophonist Conny Ottinger and percussionist Pete Flood. It also came out of and was inspired by the Walking Orchestra work of director Tom Morris in the 1990’s.

One of the starting points for the work is the idea that instruments have a “character”. The musician attempts to access and reflect this “character” through physically and vocally embodying its various qualities. This embodiment “frees” the musician and enables them to explore the instrument’s musicality in a different way, separate from the instrument, while also expanding their ability to play it in new ways. This again is an extension of the Voic(e)motion process. I have been excited by the extended musical range, versatility and sensitivity that musicians bring to the work and I hope at some point to combine the live aspect of the Sound Movement work with the recorded material of my Physical Music films in some kind of multi-media performance.

The project has gone through various stages, the most recent being a residency in April 2011 at Tanzfabrik Berlin, supported by the British Council. Below is a video of musicians Conny Ottinger, Leo Auri, Angelina Kartsaki and Janos Crecelius doing a work in progress performance at the end of the residency.