How GCD can expand the realm of reading by embracing visual auditory and performative elements in storytelling?
OR
How can the convergence of graphic design, sound and movement (sensory) in storytelling expand our understanding of what it means to ‘read’ ?
Type of storytelling –
Susun Durang ( Dance and Songs )
SONGS ~ KNOWLEDGE ~ LANGUAGE + SOUND
DANCE ~ READING ( embodied interaction ) ~ MOVEMENT + INTERACTION WITH SOUND
Language + Sound + Movement
SPACE
( susun + durang in akhra )
Akhra – Physical Space
Digital Spaces ?
Print Space ?
What new questions arose through Projection1 that need to be explored further?
How could this new project help triangulate your practice? Consider how it could explore and articulate a different—but related—perspective or position on the question you’ve been exploring in your work.
How might a change in context deepen your work? Can you identify a new public or network for the work to engage with? What change would this new context require of the work? Would a change in medium allow you to make a meaningful shift?
How could a change in scale advance your work? Expand or amplify your work through a change in actual size, a change in the level of focus, etc.
- Audience? who will interact with this?
- Intersections of digital and print publishing
- Interaction Design
- Activation (Interaction, participation) of a “space” ( In Dance and singing context, space is activated by the community. In the context of a book, the reader interaction activates it)
- “Idea of an Akhra” – Space activated by interaction
- Idea/ narrative/ observation – Migration has caused these spaces to go extinct, and individuals (specially belonging to a minority community ) fail to find social spaces like these, triggering loneliness and naturally disintegration of a culture.
DURANG ( Mundari Songs )
Characteristics :
Some of the features of Jadur song construction :
- The four-line stanza as two parallel couplets, the second derived (sometimes mechanically and ‘illogically1 ) from the first.
- The line repetition, and recycling of lines in successive stanzas.
- The nearly universal subject matter of the songs: love, marriage, the passing of youth, hard times.
- Other characteristics of the songs, e.g., the pervasive onomatopoeia, seems impossible to convey in English poems, although in one song here (maran gara . . . ) I have tried to put across some of the effect of the expressive – visual – verbs bijir-bijir here translated as ‘to glitter’, and biyal-boyon ‘to shine’.
Onomatopoeia in munda songs/ language / poetry
Concrete Poetry (Visual Poetry)
A play of visual poetry of songs + interaction of dance mimicked in a book?