An Epistemological Inquiry: How Does Music Exist for the Deaf?

A collaborative multidisciplinary project with Sobosa (People Who See Sound), an arts collective comprising both Deaf and hearing artists. On a stage where spoken words, sign language, and physical movement intersect, this performance poses a fundamental question: In what form does music exist for those who cannot hear? The answer is meticulously crafted through a serene, contemplative acoustic ensemble that prioritizes presence over volume.

The Architecture of Empathy: Visualizing Sound and Sculpting Space

Moving away from the conventional reliance on heavy vibrations or physical impact, this project transmutes the very act of generating sound into a visual and spatial vocabulary. By utilizing an acoustic palette—contrabass, guitar, piano, janggu, and daegeum—the performance elevates the mechanics of music into a shared sensory experience.

• The Choreography of Sound (Visualizing the Auditory): The delicate movement of a performer’s fingertips, the visceral vibration of a string, and the visible breath required for a wind instrument are reclaimed as visual rhythms. These "physical utterances" provide Deaf audiences with an intuitive, lyrical flow of the musical narrative.

• The Poetics of Breath and Void (A Shared Atmospheric Flow): The warmth of the guitar and piano, grounded by the deep resonance of the contrabass, harmonizes with the aesthetic of the "void" introduced by the daegeum and janggu. This carefully tuned atmosphere fosters a shared sanctuary of peace for both the hearing and the Deaf.

• The Invisible Skeleton (Synchronizing Breath and Motion): As sign language and spoken words evolve into dance, the live acoustic score functions as an unseen framework. It serves as the vital medium that flawlessly synchronizes the performers’ visual timing and collective breath.