Performances as Affective Experiences
– Observation of outstanding musical performances by quartets show occasional mutual glances among the musicians that contribute to the harmony of the multimodal flow of information. They have to focus on the scores but also take into their gaze the moods and motions of their partners.
– You can meet these performers through a video announcing their program at the Festival of Lucerne (Switzerland):
– A master class by English conductor Benjamin Zander coaching a young cellist about how to convey proper emotions while performing Gabriel Faure’s Elegy. Note also the reactions of the audience: both their own facial expressions of emotions and the feedback they aim at the performer.
– “Presence”, concerto for cello and string orchestra by Latvian composer Peteris Vasks (born in 1946). Cellist: Sol Gabetta. This piece offers a range of musical contrastive emotions involving reflexivity, meditation, even spirituality. Observe the facial and other body expressions not only of the soloist but also the other musicians, notably when they do not perform but experience the music as listeners. This video includes many close-up portions but also some wider angles that provide a view of the orchestra from the point of view of the audience.
– Additional examples of ritualistic dances that are mentioned on page 89:
Sufi dance, often referred to as whirling dervishes or Sema, is a spiritual practice rooted in Sufism, a mystical branch of Islam. The dance is performed by dervishes (Sufi practitioners) who spin in circles as a form of meditation and devotion to God. The continuous whirling represents a journey of spiritual ascent, where the dancer symbolically sheds worldly attachments and seeks unity with the divine.
Performers typically wear a long, flowing white robe (symbolizing purity), a wide skirt that flares as they spin (representing the universe), and a tall felt hat called a sikke (symbolizing the tombstone of the ego). The dance is accompanied by traditional Sufi music, often featuring the ney (reed flute) and daf (frame drum), creating a hypnotic atmosphere. The Sema ceremony was inspired by the teachings of Jalaluddin Rumi, a 13th-century Persian poet and Sufi master, whose poetry often explores themes of love, unity, and divine longing.
The Sema dance, has traditionally been performed mostly by men due to historical, religious, and cultural factors. Rooted in Islamic mysticism, Sufi lodges were male-dominated spaces where dervishes underwent rigorous spiritual training, and societal norms often restricted women’s participation in public religious ceremonies. However, in recent times, some women have begun participating in Sema performances, particularly in contemporary and Western Sufi circles that emphasize inclusivity and reinterpret traditional practices. Nevertheless, this is still not universally accepted. ( Mehdizadeh Mehraban: personal communication)
https://youtu.be/EWhC9ZmtIGw?si=0L4S1GqBbVRfZYSX