Four Strings Four Limbs

About the work

Four Strings Four Limbs is an interdisciplinary, improvised duet that explores the deep, intuitive dialogue between two artists: a dancer and a bass player, as they merge their respective practices into a single, living artwork. This experimental collaboration seeks to blur the lines between movement and sound, between music and dance, between hearing and seeing, inviting the audience into an intimate exchange shaped in real time.

​

At its heart, Four Strings Four Limbs is a meeting of two disciplines rooted in the body: one expressed through motion, the other through resonance. With four strings of the bass and four limbs of the dancer, the title becomes a metaphor for symmetry, tension, and possibility. The work is grounded in the belief that both artists are, in essence, moving bodies navigating space — one through physical gesture, the other through sonic expression.

​

The performance is fully improvised, structured by mutual listening, sensitivity, and shared attentiveness. It embraces risk, vulnerability, and spontaneity as vital elements of the creative process. Without predetermined choreography or score, the dancer and the bass player respond to each other in the moment, co-composing a dynamic narrative that unfolds differently with each iteration. Their interaction becomes a form of conversation, sometimes harmonious, sometimes discordant, but always alive.

The work challenges conventional hierarchies often seen in interdisciplinary performances, where one art form supports or reacts to the other. Instead, Four Strings Four Limbs insists on equality: neither the music nor the movement leads or follows. Instead, they coexist, provoke, and shape each other in a continuous feedback loop. The dancer may respond to the vibrations of the bass, or the bass player might echo the rhythm of a gesture. Each impulse, audible or physical, is both a reaction and a proposition.

In development, the duo engages in a shared research practice, investigating the sensory and emotional overlaps between their mediums, experimenting with techniques such as embodied improvisation, sonic-movement mappings, and scores based on shared imagery or physical cues. The process is as much about discovering a common language as it is about honoring the distinctions between their forms.

Ultimately, Four Strings Four Limbs is a study in artistic intimacy, presence, and reciprocity. It invites audiences to witness not a finished product, but a living process, one that unfolds at the intersection of bodies, instruments, and imagination.