Brendon Bussy

Silent Noise via Dum Ka Pa

Posted in Events, Music, Research, Sound, Theatre, Workshops by Brendon Bussy on October 27, 2013

Over the past year and a half I’ve been working full time as a music and art teacher to mostly primary school students and students with special needs . One of the techniques that I’ve developed is a simple hand sign and body percussion system which has come to be known as  Dum Ka Pa (DKP). A system loosely based on the systems used for teaching middle eastern percussion.

The initial intention of the system was to teach rhythm however this system has developed into a broad exploration of the nature of sound, not just auditory (as we hear with our ears), but also tactile (vibration) and kinetic* (the way we move in response to sound).

Over the past year I’ve been doing a great deal of research around sensory perception, especially how we construct our conception of the world via our senses. This process is not entirely objective or straightforward and leads to many interesting questions which end up being very useful grist for my creative mill.

A serious exploration. However my intention has always been to keep it fun for myself and the people I work with. So my method is slowly evolving into a springboard for physical theater with madcap tendencies such as Normal Noise , a performance I work-shopped earlier this year with young deaf performaners, and even experiments with Sign Rap using South African Sign Language (which I am currently learning).

Recently I’ve started using my techniques to create participative experiences with adult audiences – an exploration of sensory perception by turning the body into a kinetic music machine, an energetic and enjoyably absurd activity. Can you hear sound without noise?

During November I had the opportunity of performing as part of the Paarden Eiland Concert series where I performed Silent Noise and the following images give a rough idea of the manner in which the performance unfolds.

*I’ve started experimenting with the term ‘kinetic melody’ – a term borrowed from Oliver Sacks who used it to describe the manner in which people with Tourette syndrome are able to calm tics through engaging with rhythmic activities.

Silent Noise intro: A backdrop of pink noise is played over the sound system to induce a sense of auditory deafness. I 'draw' the texture of the sound by tracing a large circle with a jittery finger in the air.

Silent Noise intro: A backdrop of pink noise is played over the sound system to induce a sense of auditory deafness. I ‘draw’ the texture of the sound by tracing a large circle with a jittery finger in the air. (pic: Kim Gurney)

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Sounding Out: Tracking Secret Sounds of the City

Posted in Art, Sound, Workshops by Brendon Bussy on July 10, 2012

On Saturday I ran a workshop as part of the ongoing exhibition Sounding Out. The workshop was also inspired by the upcoming World Listening Day.

A nice sized group of enthusiastic sound-ista’s turned up – thank you Bag Factory :).

I introduced the group to a range of simple listening tools such as bottles to use as resonators for listening to vibration. Then we set off to explore the surrounding Fordsburg neighbourhood to search for hidden and unexpected sounds.

tapping a tree branch and listening for vibrations

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A New Adventure – Hearing with Touch

Posted in Sound, Theatre, Workshops by Brendon Bussy on June 30, 2012

The ‘new adventure’ in this blog title refers to the excitement I felt and encountered during a sound workshop I recently ran for deaf theater makers.

Sometime back, somewhat inspired by the deaf musician Evelyn Glennie,  I approached Jayne Batzofin from the theater group FTH:K with the idea of creating a soundtrack for a deaf audience. In the process of discussion she invited me to run a workshop for the group’s deaf trainees.

Well the workshop ran well. Very well. One of those really amazing paradigm shifting moments in life where you realise that things are not as you thought they were!

The workshop in pictures:

We each take a turn having our heads buzzed whilst wearing the hard hat – trust me it feels great!

Playing circular saw blades which have very long and powerful sustain – you can feel the vibration from several centimeters away

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