Lola Kiepja, Moondog, and Crying Babies
Lola Kiepja, Moondog, and Crying Babies - Image by Smithsonian Folkways. While watching Anabella and AL / DD dancers continue to recreate and rediscover Pachamama: Mother World, it occurred to me how vital the work’s soundscape is in supporting the emotional journey that Pachamama embodies. The music acts as an integral background to the visual counterpoint of the dancers’ movements. I wondered, what was it like to build an auditory experience that is both derived from an emotional starting point, and that also creates an emotional experience for its audience?
The marriage of music and choreography is no easy problem to solve. Anabella suggests that for her (and to echo the words of expressionist dance pioneer, Mary Wigman), “the solution to this problem is that the music must be created at the same time as the dance, in a mutual collaboration between choreographer and composer. To respect the specificity of dance, the music must be born from live movements like the dance.”
Todd Carroll, soundscape designer, very generously took the time to speak with me about his perspective on the collaborative and creative process in designing Pachamama’s sound (thanks, Todd!). In the excerpt from our conversation below, Todd describes what collaboration with Anabella meant for him, his sound inspirations, and his experience of Pachamama’s restaging so far.