BeingSonic is a creative method that connects dance and sound design, inviting the workshop´s participants to explore the body as both instrument and musician.

Developed by Jesús de Vega, the practice departs from a simple idea: if sound is vibration, and movement is vibration, then the body can be treated as a living synthesizer. Like an oscillator, it generates waves; like a filter, it resonates; like an effects unit, it transforms.

Its tools are shared in workshop format, applied for the creation of performances and used as a creative dialogue tool in collaborations,

BeingSonic cultivates intuitive creativity, deep listening, and playful mastery — opening a liminal space where movement becomes sound, and sound becomes movement.

(oscillator, envelope, filter, reverb, delay)

¨My fascination with sound began in childhood, playing with cassettes, synths, and voice recordings — treating sound as a physical, malleable material, much like movement. In 2009, a severe knee injury transformed this curiosity into something deeper. The sound of my patella dislocating echoed through my body, turning me into a resonant box — an amplifier of frequency, disruption, and transformation. That rupture was not an ending, but a redefinition: it revealed sound as internal movement, and movement as vibration¨ (Jesús de Vega)

From this realization, BeingSonic emerged.

The method departs from a simple but powerful idea: the body moves air in the same way that sound does.

In this sense, the body is understood as a living synthesizer, and follows its sound synthesis processes:

• Oscillator — generating waves that can be flowing, percussive, spiral, or angular.

• Amplifier — the skin, bones, and tissues projecting vibration into space.

• Filters, envelopes, and effects — shaping, modulating, and layering movement like sound.

BeingSonic transforms the body into both instrument and musician. Each gesture becomes a vibration, each shift of energy a modulation, each breath a frequency.

In the BeingSonic workshops, participants enter a liminal space where the exploration of movement is directly linked to sound. Guided by curated soundscapes, and with the help of provided scored movement phrases as hooks to develop their own, the bodies will open a dialogue with live instruments such as the Theremini Moog, so that the physical creative process unfolds as a feedback loop: sound provokes movement, movement reshapes sound.

Applications of BeingSonic include:

• Workshops — cultivating listening, creativity, and resilience in participants.

• Performative creations — generating physical and/or sonic scores for stage works.

• Hybrid & collaborative practices — establishing shared vocabularies between dancers, musicians, and other artists.

Since 2021, I have shared BeingSonic in bi-yearly workshops at Fontys Hogeschool voor de Kunsten (Tilburg, NL)

BeingSonic has been the creative tool behind performative works such as Sonic Sessions: Euphonic (2021) and Sonic Session: Hara (2023).

It has also guided the composition of the musical score and sound design for Sara Wicktorowik’s piece We Are Here (2023), as well as for my forthcoming E.P. Soundtrack Vol. 1, which explores the parallels between choreography and music composition/production. In Soundtrack, the sounds themselves become performers — enacting choreographies in sound.

In collaborations with musicians, such as the Dutch collective Project Wildemann, BeingSonic has proven to be an ideal tool for creative dialogue throughout the artistic process.

BeingSonic is not about imitation or fixed outcomes. It is about planting seeds — gestures that may incubate and resurface as new forms of creativity. Each participant leaves with their own resonance, their own timbre. The process is the result.