This paper discusses the interspecies musical collaboration between Alon Ilsar and his dog Razzly, exploring creativity, play, agency, and social interaction through improvised performances utilizing a gestural instrument.
Key points of the paper
- Razzy is a Koolpoodle (quarter Australian Kelpie, quarter Koolie and half Poodle) <3
- The author of performances with Razzly showcasing interspecies collaboration and improvised music dynamics.
- Analysis of dog-human play parallels with collaborative musical improvisation and social bonding.
- Exploration of agency and consent in musical interactions between humans and Razzly the dog.
The gestural Digital Musical Instrument (DMI) used in the performances with Razzly the dog was the AirSticks. This device was integrated into a fetch ball, allowing for an interactive experience where both the dog and the musician could participate in improvisation, merging play with music-making.
Demonstration of the AirSticks: https://www.youtube.com/watch?v=vWNQA4D_tm0
The ethical considerations in the collaboration between the author and Razzly the dog were taken seriously, ensuring the dog’s well-being throughout the process. The project adhered to best practices for involving animals, promoting consent, and allowing Razzly to express spontaneous behavior. The performances aimed to enhance the quality of life for Razzly while avoiding any distress.
The paper explores themes of creativity, agency, and consent in dog-human interactions during music performances. It highlights the importance of spontaneous play and trust in fostering collaborative musical experiences. Additionally, it reflects on how these interactions can enhance understanding between species and reshape traditional notions of musicality.
Alon Ilsar collaborated with his dog, Razzly, in three distinct performances that evolved over a year and took place in different cities. These gigs served as an exploration of interspecies interaction and musicking, highlighting the dog’s agency and emotional response throughout the process.
The interactions between Razzly the dog and the author enhance understanding between species by emphasizing the importance of play and trust in collaborative endeavors. This reshapes traditional notions of musicality by illustrating how non-human animals can embody creative agency, turning spontaneous interactions into meaningful musical experiences. Such collaborations challenge the anthropocentric view of music, highlighting the richness of interspecies communication.
Razzly expressed himself during the improvised musical performances through his natural behaviors, such as vocalizing during play, engaging in catching and fetching activities, and choosing where to drop the ball, which communicated various emotions like joy and fatigue. His playful energy and interactions with the audience highlighted his agency within the musical process.
