Composition, performances and other creations have all the same aim : Sharing a listening experience. Another form of sharing happen when working directly with specific groups of people.
Among the favorite topics explored during these works : relationship to the sounds of inhabited environments, acoustic phenomena in nature and voices of animals, connection between traditional music and contemporary culture.
Teaching is one of the most elementary, it allows transmission but also allows the teacher to discover some other subjective ways of listening. Therefore it is working in both ways, as a dialogue.
During indoor listening sessions, a context of listening is proposed : introduction, explanations, audio equipment. Listening is reinforced by discussions. This is the easiest forms to develop, but still a very effective encounter with sound.
Outdoor workshops are essential to engage a real relationship to the field, to the unpredictable.
Usually some tools and playgrounds are proposed : participants will make a travel between the environment where they listen and collect sounds, and the temporary basic studio which can be seen as a base camp. Indoor, we are listening to the recordings, discussing and eventually editing them into a collective creation.
Since 1999, Yannick Dauby started teaching. Firstly as a Teaching Assistant, being in charge of the sound studio Audiolab, accompanying students in their projects and making workshops, in art school Villa Arson, Nice, France (between 1999 and 2003). After this important teaching experience, regularly proposed conferences (following a Master Degree in Digital Arts which topics was “Shared Soundscapes”), listening sessions and workshops.
In Taiwan, this teaching activity became even more important, starting as Soundscape and Sound Art Seminar (Taipei Artist Village, 2007-2008), then being Lecturer at National Taiwan University – Graduate Insitute of Musicology since 2011.
Since 2008, he proposes numerous teaching events (classes, workshops, soundwalks, etc.) in whole Taiwan, in schools, universities, in collaboration with local institutions, non-governmental organizations or communities.
In 2014-2015, was invited by the organization soundpocket in Hong-Kong for a mentorship program : meeting and collaborating with a team of young artists from HK, project during several months led to masterclass and workshops, including field trips to Southern Taiwan.
Since 2008, some of the teaching activities, such as those in Meinung, among the Hakka people of Kaohsiung County, were connected with field recording sessions. The idea there was to reconnect the youngest generation to the traditional culture, especially concerning Bayin, a local form of traditional music. This meeting with the community and the schools, allowed some reinterpretation of the role, of the meaning of music for all sides (teachers, students, recordist). Teaching (listening sessions and music workshops) occurred in Junior High Schools and Primary Schools, followed by the participation to the local festival of Hakka Culture until 2012.
In 2008, with Wan-Shuen Tsai, creation of Atelier Hui-Kan. This little structure is devoted to teaching and communities activities relating to traditional culture, natural environment and art creation.
With Atelier Hui-Kan, some important community-based projects where developped between 2009 and 2011 :
On the invitation of the Community Empowerment Center, supported by the Cultural Affairs of Hsinchu, three projects were developed in three different communities of Hsinchu.
– In Zhubei, in the transformed countryside of Hsinchu, Atelier Hui-Kan collaborated with the original inhabitants of this area for a land-art project about the disparition of traditional communities and the emergence of the high-rise near the high-speed train railway.
– In Taoshan, a first series of teaching with the Atayal children of the Elementary School of Taoshan about sound, environment and traditional music was followed with a one-year project. The aim of this project was the publication of a CD, Listen to the Atayal in Taoshan, focusing on traditional aborigine music. The CD was a pretext for meeting, interviewing villagers (hunters and elders), holding workshop (mouth- harp making), field recording sessions (traditional music and natural environment) and of course teaching activities inside the school. The process of work was a bit like the traditional weaving : making connections between people and their practices, letting emerging some patterns (music or stories).
– The third project was amongst the Hakka people of Nankeng. The first sessions were a collective rediscovering of the traces of the life of the traditional Hakka. Through photography workshops, DIY ateliers, discussion and presentations, organization of events during the crop of rice, some important elements were gathered. And because of these activities the villagers saw the re-emergence of the group of traditional music, Bayin. The first year was concluded by the production of a CD and a booklet.
The following year, the villagers themselves decided the topic of their collaboration with Atelier Hui-Kan : an old path in the forest behind the village. The mountains around were once inhabited and exploited as tea-gardens and orchards. Now returned to nature, it took several months to collect and record stories, organize some walks and collective discussions, retracing a map of the surroundings. The publication of another CD with audio documentaries and a hand- made, illustrated and commented map was the first step of the renewal of this land by its inhabitants. Nowadays, the work is continuing without Atelier Hui-Kan, villagers trying to restore the old path and preserving their music and practices.
Atelier Hui-Kan started in 2013 a long-term project about teaching, collecting and communities in Peng-Hu archipelago. In 2015, during three months, a series of teaching happened on the most remote islands of the archipelago, in the remaining schools of this very specific cultural and natural environment. Eight islands were visited, each time spending two or three days, giving classes about sound, listening, visual arts, environments, sometimes workshops. Each island being very specific, each school is very different, and some interviews were conducted with the children. The whole project got very exciting feedback from local teachers, students and from the funders (National Foundation for the Arts in Taiwan).
In 2015, Yannick Dauby and Wan-Shuen Tsai are commissioned a series of works for the Sydney Biennale 2016, curated by Stephanie Rosenthal (UK). This invitation led to the realization of three films related to three communities in Taiwan, among children of the Penghu archipelago, Hakka village and Atayal people in Hsinchu.
– “Childhood of an Archipelago” by Wan-Shuen Tsai & Yannick Dauby. Digital video, 16/9, 2016 Duration: 17:11
– “Beiguan Music at the House of Jiang” by Wan-Shuen Tsai & Yannick Dauby. Digital video, 16/9, 2016 Duration: 23:26
– “The Body of the Mountain” by Wan-Shuen Tsai & Yannick Dauby. Digital video, 16/9, 2016. Duration: 21:14
Still living in the surrounding of Taipei, Yannick Dauby developed some personal or collaborative projects related to local areas in the city, working with interviews, psychogeography, history and of course field recording :
– Guangneng community, 2013. Listen to the piece “光能鉄道の夜”
– Treasure Hill, 2014. Listen to the piece “Habitat － 居所 jū suǒ”
– Dadaocheng, with Alice Chang and Nigel Brown, 2017. Listen to the piece “縫 盜 聲 程 遊：稻埕發聲”