Out of Earshot

Recently landed: Out of Earshot, Gracia's written response to KAGE's recent work, which premiered at Melbourne International Jazz Festival, for Fjord Review

Myele Manzanza makes sound. Terrific sound. He plays drums. He plays the floor like it too were an instrument. Every surface, by this extension, has the possibility of being an instrument. And Manzanza also tap, tap, taps sound on Elle Evangelista, beginning with her shoulders. Standing face-to-face, he transmits sound to Evangelista. You can hear sound, yes. But you can also feel it as vibrations within the body. 

And so begins KAGE’s new collaborative work,
Out of Earshot, presented in the Chunky Move studios. Quietly. Intimately. With a question. How do we experience sound? Premiering as part of Melbourne International Jazz Festival, sound is not something we hear only with our ears. Sound is felt. 

We take it is a given that when we hear sound, we are not just using our ears. All our senses are engaged. Sound
is experience. From the hot tingle of goose bumps on the forearms, the lump that materialises in the throat, the heart that feels as though it were out-of-body soaring. Our feet tap as rhythm takes hold. A smile broadens as a crescendo is reached. Some, they may even ‘see’ the music as it flies through the air like some superb bird of synaesthesia. To me, sound has the effect of unifying those in the room, making us all instruments, like Manzanza playing Evangelista’s torso. We hear sound and the brain fires off happy notes throughout the body. Sound is, to this end, pleasure.

KAGE's Out of Earshot (image credit: Jeff Busby)