Traveling With Electronics : Dance & Music Archives #1

Leena had a uniquely sophisticated relationship

to rhythm and her body moving through space



Colleen Mulvihill         Dino J.A. Deane

Choreography              Sampler Compositions

Movement                    Trombone-Electronics

Characters                   LapSteel Guitar & Drum Machine

Set Designs                 Loop-Juggling & Percussion




DANCE & MUSIC ARCHIVES #1 : 1979 : 1986 : 1992 : 1994  


1 - 00:00 

Nylon 45 - San Francisco 1979

(I first met and began an artistic collaboration with Colleen on this project in 1979. I played live music in duo with Bruce Ackley on another piece that she choreographed and had two other dancers perform. The music for Nylon 45 was added for this video from the final set of sampler compositions I created for her in 2018)


2 - 06:09, 3 - 14:36

Miss Pockets & Erector Set - New York 1986

(we worked together in New York from 1981 to 1986 where she began her use of characters and structures. this section has a rare recording of the trio with Butch Morris, Bill Horvitz and myself providing the live sound score for the performance)

Butch Morris - Cornet

Bill Horvitz - Guitar

Dino - Bone & Drum

Film by Andrea Hicks


4 - 23:35

The Bride - San Francisco 1986

(Another study in character, the rather distraught Bride, accompanied by LapSteel Guitar & Drum Machine)


5 - 30:10, 6 - 38:55

Loris &  River Beneath The River - San Francisco 1992

(Two section from the concert we gave at Theater Artaud for the Edge Festival. Loris has me loop juggling and playing a series of metal bars live and River Beneath The River is a pre-recorded sampler composition)


7 - 52:57

Nomad In Time - San Francisco 1994

(A vertical bookend to the horizontal rope piece from 1979 with a pre-recorded sampler composition)


We shared a passion for being in the moment and allowing creativity to flow through as energy rather than being generated in the mind, something we cultivated through the practice of Qi Kung. 

We also each maintained the practice of improvising for hours and recording everything. I would mine my recordings for source material to feed my samplers and she would collect movement patterns and attitudes from her videos. 

Sometimes I would present her with a piece that she would choreograph and sometimes it would be the other way around and sometimes she would choreograph to a piece and then I would turn the sound off and re-compose to the movement.  

We both felt the work came through us not from us.




until next social distancing.....dino