KASK and Conservatory / School of Arts Ghent, Belgium
A Master’s degree in Musicology from the University of Ghent with a focus on contemporary music, a dissertation on the ‘Instrumental Theatre’ of Mauricio Kagel and Laban dance training with Rob Stuyf have been determining factors for the extended research Martine Huvenne has conducted in the audio-visual field. For her, this field encompasses music, theatre, dance, film and animation.
While teaching History of Music with an accent on contemporary music to visual artists (1983-2004) and music for film and animation for film-makers and animators (ongoing), she developed a phenomenological approach to music and listening. In order to provide art students with a practical tool to think about sound and music in their films, she built a theoretical framework to analyse ‘functional music’ in an audio-visual context, based on the aesthetics of the film music of Zofia Lissa, the writings of Michel Chion and Rick Altman, and her own knowledge of musical analysis.
Her research and approach to sound and music in audiovision departs from her artistic practice and training. The ‘in practice’ notions of embodiment, movement, time, space and composition were derived from the study of a multitude of dance and music approaches: Laban (dance improvisation), Butoh (bodyweather-training), Lecocq (theatre), Indian dhrupad singing (with Wassifuddin Dagar), Iranian percussion (with Madjid Khaladj) and workshops combining movement and voice with David Moss, Meredith Monk, Diane Broman and Jean-Yves Penafiel.
In 1996 she established the non-profit organisation, KONG, as a laboratory for music and movement, where for 15 years she has taught dance improvisation with a focus on the interaction between movement and musical composition to both professionals and amateurs.
From 1999 onwards she decided to focus her teaching and research fully on sound and music in an audio-visual context. Next to KASK and Conservatorium, School of Arts in Ghent, she startsed teaching in the LUCA School of Arts in Brussels in combination with research in the arts.
The research project ‘Animation as an overall composition seen and heard from the perspective of movement’ (2003-2006), in collaboration with Michael Weilacher and Johan Derycke as composers and Sivia Defrance, Hans Spilliaert and Frodo Kuypers as animators, turned her attention to sound and space. This resulted in an intensive collaboration with her colleagues in sound recording and sound mixing, Griet Van Reeth and Michel Coquette, and a further research on the possibility of starting from sound to make a film.
Through 2006-2012 she unified her research and praxis with a PhD at the University of Amsterdam – ‘Sound as an inner movement in the transmission of experience: a phenomenological approach’. From 2011-2014 she coordinated SIAV, a European Curriculum Developing Erasmus Project with the aim to create a European Master of Arts in Sound as an artistic discipline.