As part of the 'Well-Behaved Women Seldom Make History' consortium, Tiny Dancer is written in honor of the legendary Scottish percussionist, Evelyn Glennie. Tiny Dancer adapts aspects of samgomu with the aim of exploring Glennie’s embodied hearing. I use many different types of membranophones and increasingly dynamic and complex rhythms to build excitement and indirectly create a dance for the percussionist. The performer is a percussionist and not a dancer; however, the ambition is to see her body as an element of the broader auditory experience.
As part of the 'Well-Behaved Women Seldom Make History' consortium, Tiny Dancer is written in honor of the legendary Scottish percussionist, Evelyn Glennie. Tiny Dancer adapts aspects of samgomu with the aim of exploring Glennie’s embodied hearing. I use many different types of membranophones and increasingly dynamic and complex rhythms to build excitement and indirectly create a dance for the percussionist. The performer is a percussionist and not a dancer; however, the ambition is to see her body as an element of the broader auditory experience.
As part of the 'Well-Behaved Women Seldom Make History' consortium, Tiny Dancer is written in honor of the legendary Scottish percussionist, Evelyn Glennie. Tiny Dancer adapts aspects of samgomu with the aim of exploring Glennie’s embodied hearing. I use many different types of membranophones and increasingly dynamic and complex rhythms to build excitement and indirectly create a dance for the percussionist. The performer is a percussionist and not a dancer; however, the ambition is to see her body as an element of the broader auditory experience.
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As part of the 'Well-Behaved Women Seldom Make History' consortium, Tiny Dancer is written in honor of the legendary Scottish percussionist, Evelyn Glennie. Tiny Dancer adapts aspects of samgomu with the aim of exploring Glennie’s embodied hearing. I use many different types of membranophones and increasingly dynamic and complex rhythms to build excitement and indirectly create a dance for the percussionist. The performer is a percussionist and not a dancer; however, the ambition is to see her body as an element of the broader auditory experience.
As part of the 'Well-Behaved Women Seldom Make History' consortium, Tiny Dancer is written in honor of the legendary Scottish percussionist, Evelyn Glennie. Tiny Dancer adapts aspects of samgomu with the aim of exploring Glennie’s embodied hearing. I use many different types of membranophones and increasingly dynamic and complex rhythms to build excitement and indirectly create a dance for the percussionist. The performer is a percussionist and not a dancer; however, the ambition is to see her body as an element of the broader auditory experience.
As part of the 'Well-Behaved Women Seldom Make History' consortium, Tiny Dancer is written in honor of the legendary Scottish percussionist, Evelyn Glennie. Tiny Dancer adapts aspects of samgomu with the aim of exploring Glennie’s embodied hearing. I use many different types of membranophones and increasingly dynamic and complex rhythms to build excitement and indirectly create a dance for the percussionist. The performer is a percussionist and not a dancer; however, the ambition is to see her body as an element of the broader auditory experience.
As part of the 'Well-Behaved Women Seldom Make History' consortium, Tiny Dancer is written in honor of the legendary Scottish percussionist, Evelyn Glennie. Tiny Dancer adapts aspects of samgomu with the aim of exploring Glennie’s embodied hearing. I use many different types of membranophones and increasingly dynamic and complex rhythms to build excitement and indirectly create a dance for the percussionist. The performer is a percussionist and not a dancer; however, the ambition is to see her body as an element of the broader auditory experience.
