Sounds of Intent in Art, Dance and Drama
The possibility of perceived structures being created through imitation in domains other than sound was acknowledged early on in the development of zygonic theory (Ockelford, 1993, 1999), and connections and correspondences between auditory stimuli and input from other sensory domains were subsequently acknowledged in the Sounds of Intent Framework. More: Elements Matrix DOC 1 The theory underlying such correspondences is set out here. More: index DOC 65 The potential parallels between artistic organisation in the sensory domains were first studied systematically in an evaluation by Angela Voyajolu of the work of the UK charity ‘Innersense’ – http://innersense.org.uk – which offered immersive, multisensory creative arts workshops for people with disabilities. Three new frameworks were sketched at Levels 1–4, pertaining to sight, touch and movement. [LINK TO Innersense Report in ‘Reports and Evaluations’] This preliminary thinking was developed further into frameworks with six Levels pertaining to the fine arts (painting, drawing and sculpture); movement, gesture, mime and dance; and language and drama. It was eventually published in an essay by Adam Ockelford (2020) ‘Extending the Sounds of Intent model of musical development to explore how people with learning difficulties engage in creative multisensory activities’. More: index DOC 66 More: index DOC 67 More: index DOC 68
Empirical work to test the efficacy and value of two of these frameworks – relating to dance and art – at Levels 1–4 with children and young people with profound and multiple learning difficulties was undertaken by Jenny Cooper at The Village School in London. [LINKS TO Jenny Cooper’s two papers in ‘Dissertations and Essays’] As a result, some modifications to the framework pertaining to art ‘Marks of Intent’, were suggested [LINK TO Marks of Intent Framework, suggested modifications, 2016] and preliminary work was undertaken on defining ‘elements’ A, B, C and D at Levels 1–3 in relation to art. [LINK TO Marks of Intent Elements, Levels 1–3, 2017]
The framework pertaining to art, is to be found here More: index DOC 66 ; that relating to dance, here More: index DOC 67 ; and that for drama, poetry and prose, here More: index DOC 68 .
Extending the Sounds of Intent principles through the generalisation of zygonic theory to perceptual domains beyond musical sound
Level
Acronym
Zygonic implications
Symbolic understanding
Sounds of Intent description
Core perceptual/cognitive ability
1
Confusion and C haos
2
Awareness and I ntentionality
3
Relationships, R epetition and Regularity
4
Notes Forming C lusters
5
Deeper Structural L inks
6
Mature Artistic E xpression
C
I
R
C
L
E
None: no perceptual awareness in any sensory domain
An emerging awareness of the perceived aspects of things – ‘qualia’ – and of the variety that is possible within the perceived present; a sense of agency, or
No cognition of repetition (and therefore no understanding of imitation)
No symbolic understanding
A growing awareness of how qualia may relate to one another; a sense that one may replicate another
The evolving notion of groups of qualia functioning as units of perception or ’chunks’, and of the relationships that are possible between them through ‘Gesalt’ principles
The cognition of repetition within working memory; initially between qualia themselves (through ‘primary’ relationships), but also between relationships between these (through ’secondary’ relationships)
The cognition of repetition using long-term, veridical memory; ‘chunks’ are defined internally and externally through imitation
Early symbolic understanding – that one thing can represent another through imitation of one or more of its qualities, or through repeated association
More advanced symoblic understanding, through compound imitation or association
A growing understanding and appreciation of complete works of art (in any domain or domains), and the conventions of structure and content that underpin them
The cognition of repetition within long-term, schematic memory (i): formal frames of reference; simple structural archetypes
The notion of a symbolic narrative over time
A growing understanding of the impact of artistic production on others; an evolving appreciation of culturally determined aesthetic values and the expressive nature of art; in the case of temporal art forms, an understanding of the ‘narrative metaphor’ that unfolds as works of art are perceived over time
The cognition of repetition within long-term, schematic memory (ii): the imitation of expressive devices of creation or performance
Awareness of the impact of a symbolic narrative on others within a known culture
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Figure 1: Download PDF
Framework of artistic development using the Sounds of Intent model
Genre
Domain
Level 1
Level 2
Level 3
Level 4
Level 5
Level 6
C
I
R
C
L
E
Reactive
Abstract
Representational
Abstract
Representational
The beginnings of Gestalt perception
Abstract
Representational
Proactive
Interactive
Art (painting, drawing and sculpture)
Is aware of simple visual and tactual patterns (eg repeated blobs of colour, balls of clay)
Individual features of things are perceived together to form ‘wholes’ (eg dots forming a line; approximate shapes become ‘corrected’ in memory)
Is aware of the composition of the whole of a work of art, abstract or representational, and basic conventions pertaining thereto (eg perspective), and the potential meaning of the artwork as a whole
Is aware of styles of abstract or representative art (or both) and their social, cultural and historical contexts; shows mature aesthetic appreciation; understands the notion of conceptual art
Creates works of art, with an awareness of their potential aesthetic and culture impact on others
Engages with others to create works of art with a shared awareness of their potential aesthetic and cultural impact
Creates artworks comprising several elements that are coherently composed and have a meaning as a whole
Engages with others in creating artworks comprising several elements that are coherently composed and have a meaning as a whole
Creates whole shapes from two or more simple elements (eg a square comprising four straight lines)
Engages with another to create simple visual or tactual wholes from parts
Engages with another to create representations of things visually and tactually
Draws or sculpts entire objects (and can complete ‘teapot with parts missing’ puzzle and similar
Is aware that whole objects can be represented (symbolically)
Is aware of the imitation of simple features of an object in a representation of it (eg colour, shape)
Creates simple patterns (eg repeated blobs of colour, lines that intentionally more or less straight
Copies simple features of things (eg blob of appopriate colour for tree, circle for face)
Engages with another to create simple visual patterns (through imitation)
Engages with another to imitate simple visual features of things
Shows an emerging awareness of visual images and tactual sensations
Deliberately does things for others to see (eg scribbles on paper, moulds clay)
Interacts with others using vision or touch (eg eye points to gain shared attention)
Unknowingly does things and is unaware that others see or feel them
Encounters things that could potentially be seen (but does not process visual or tactual information)
Relates to other people unwittingly through vision or touch
Figure 2: Download PDF
Framework of dance development using the Sounds of Intent model
Genre
Domain
Level 1
Level 2
Level 3
Level 4
Level 5
Level 6
C
I
R
C
L
E
Reactive
Proactive
Interactive
Dance (including movement, gesture and mime)
Is aware of simple patterns of abstract movement in people (eg ‘to and fro’), that these movements can have meaning (as gestures), and how the simple movements made by a person can imitate the those made by other people, animals or things and thereby symbolise them
Creates simple patterns of abstract movement intentionally (eg rocking to and fro); can use simple movements as gestures; and can imitate the simple movements of other people, animals or things, and is aware of their potentially symbolic import (ie, by moving like someone else, you may indicate that you are pretending to be them
Understands how individual movements can combine to form short abstract sequences, which may be abstract, gestural or imitative of external combinations
Understands and responds to short, simple, conventional routines of movement that may form mime or dance
Appreciates extended and complex routines of mime or dance within cultural or stylistic contexts, and potentially as metaphorical narratives
Creates or re-creates extended and complex routines of mime or dance within known cultural or stylistic contexts, and uses them to express metaphorical narratives
Engages with others to create or re-create extended and complex routines of mime or dance within known cultural or stylistic contexts, and uses them to express metaphorical narratives
Creates or re-creates short, simple, conventional routines of movement that may form mime or dance
Creates or re-creates short, simple, conventional routines of movement with another or others that may form mime or dance
Creates or re-creates short, simple, conventional routines of movement that may form mime or dance
Engages with another to create or re-create short, coherent abstract sequences of movements that may be abstrat, gestural or imitative of external combinations; these may form fragments of mime or dance
Engages with other through imitating simple patterns of abstract, gestural or imitative movement
Is aware of being moved or of movement in the external environment
Moves intentionally
Interacts with others using movement
Makes movements unwittingly (including reflexes)
Is unaware of being moved or of movement in the external environment
Relates to other unwittingly through movement
Figure 3: Download PDF
Framework of drama, poetry and prose development using the Sounds of Intent model
Genre
Domain
Level 1
Level 2
Level 3
Level 4
Level 5
Level 6
C
I
R
C
L
E
Reactive
3rd person narrative
1st person narrative
3rd person narrative
1st person narrative
3rd person narrative
1st person narrative
Proactive
Interactive
Drama, Poetry and Prose
Understands the meanings of some sounds (made by humans and non-humans) and some individual words
Understands the meanings of some short combinations of words
Uses combinations of words with meaning
Engages in dialogues using short combinations of words
Engages in imaginary play with another person using short combinations of words
Uses combinations of words to pretend to be someone else
Understands that one person can pretend to be another through imitating short combinations of words they use and vocal tone
Understands that hearing someone imitate a sound or word made by another person, an object or an animal, they can potentially pretend to be it
Uses some sounds and words to mean things
Imitates the sounds and words made by other people, animals or objects, to pretend to be them
Interacts through using sounds or words
Engages in interactive pretend play using sounds or words
Intutively understands syntax and form in simple speech, prose and poetry
Understands the meanings of short plays or narratives in which people take parts, pretending to be others
Speaks grammatically in sentences and connects these to create coherent meaning over time, factual or imagined
Acts simple parts (improvised or learnt) in monologues
Converses with others exchanging day-to-day ideas and feelings, and to tell or re-tell stories or poems
Acts with others in short, simple dramatic scenarios
Has mature understanding of prose (fiction or non-fiction) and poetry and the narratives they create; has an aesthetic appreciation in the cultural context in which materials were created
Has a mature understanding of drama and the narratives it creates; has an aesthetic appreciation in the cultural context in which it was created or performed
Creates mature prose (fiction or non-fiction) or poetry, with an understanding of the potential impact on audiences
Performs or improvises drama in a mature way, with an increasing understanding of the potential impact on audiences
Creates mature prose (fiction or non-fiction) or poetry with others, with an increasing understanding of the potential impact on audiences
Acts maturely with others in plays, with an increasing understanding of the potential impact on audiences
Shows an emerging awareness of vocal sound
Makes vocal sounds intentionally
Interacts with others using vocal sounds
Makes vocal sounds unknowingly
Encounters vocal sounds
Relates unwittingly through vocal sounds
Figure 4: Download PDF