The first session with Violet involved a good amount of testing the practicalities of the concept. I was pleasantly surprised that the vague concepts I had imagined , of looping the skipping rope sounds, were easy to actualise, and equally effective. The concept was solid.

For Violet, this was useful – upon hearing these sounds come to life, it was evident that further inspiration had struck. With a sense of the sonic element established , as a foundation, she was able to begin to workshop movements and ideas in relation to the looping skipping sounds we had created.

Again, regarding practicalities, it was important that I established the particular equipment chain I would be using. In my own practice, I utilise an electric guitar and a few pedals, with a four-track looper as my primary source of creating dense layers of sound. Yet, I felt that since this isn’t solely my show, and more importantly since I am not explicitly the performer in this scenario, I should keep my equipment as minimal as possible. My role here is to provide the space for Violet to perform.

We began to discuss what the piece as an entirety would look like.

While we had established the core looping sound of the skipping rope, it was the ways in which we could morph and evolve that foundation into something else that was the intriguing question- How could we remodel such a sonically large presence into a performance that would change over time?

Violet’s solution here was to separate the performance into various ‘segments’. That the initial skipping sound loop would give way to another sonic presence, inviting her to change her performance. It was my role henceforth to determine what kind of sound would suit this new segment.