How can choreography accommodate the relational aspects of a cross-cultural bodily auditory perception? How is the choreographic process informed by an understanding of the interdependence between bodies, places, sounds, and e/motion? 

Isolated in my apartment, in an extended lockdown during the pandemic, I started recognizing my practice as a transient, porous and fleshy home. From there I listen deeply to the emergent polyphonic terrain entangled with memories, encounters, temporalities, and places that emanate from my embodied experiences as a performance artist and movement educator. To re-orient myself I devise aural cartographies of those inner and outer sound world-ings. Drawing upon sound artists and composers Pauline Oliveros’ and Hildegard Westerkamp’s artistic practices, I would like to invite you to an experience of perceiving, knowing and practicing which I call choreosounding, as means to activate a synaesthetic imagining, proprioceiving, and situated listening. Affective Resonances is a temporal manifestation of choreosounding. The assembled audio material is informed by critical feminist discourses and sound studies, mediated by an auto-ethnographic account. Within this landscape, diverse movement and listening scores suggest tools for exploring a choreosounding; they aim to inspire an intimate, and personal, yet shared multisensory experience. A laboratory event where the soniferous performative site is composed with the participating witnesses' feeling-thinking bodies.