RESONANCE is a live sound and movement performance examining the impact of low frequencies on body and space. Through feedback loops of tuning forks, synthesizers, and electronic pulses, the work engages the nervous system in real time, positioning vibration as both medium and method. Participants are invited to experience sound not only as perception but as a transformative force that reorganises physiology and presence.
In dialogue with its surroundings—whether nature, architecture, or art—the performance creates a field where everything resonates together, drawing participants into a shared vibratory state where bodies, space, and environment vibrate as one.
The performance unfolds as a guided meditation that transitions from states of stillness into collective movement. Architectural surfaces, ecosystem, breath, and bodies in motion are absorbed into the sonic field, generating shifting constellations of vibration. The work operates simultaneously as meditative journey and sensory experiment—an environment in which sound becomes spatial form, and vibration materialises as shared presence.
A collaboration between sound artist and composer Mimi Xu and movement artist and yoga practitioner Anna de Pahlen, RESONANCE investigates how low-frequency environments can function as a biosphere for the body. Through the interplay of vibration, breath, and mindful movement, the work explores sound as a catalyst for neurological recalibration and somatic healing—where art, physiology, and ritual converge. Presented in atypical sites and responsive environments from resonant architectural spaces to outdoor settings, RESONANCE treats location as an active force within the work, shaping attention, sensation, and collective presence. The performance is audience-participatory, unfolding through a rolling, data-informed protocol that is iteratively refined through emerging scientific research and audience feedback, allowing the piece to evolve as a living study in embodied listening.
RESONANCE was first presented at Houghton Festival and subsequently at the Fondation Beyeler in September 2025, where it was experienced as part of the museum’s Sound Garden program. These premieres introduced audiences to the work as both a site-specific performance and a shared ritual of sound, movement, and presence.
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