At the edge of what comes next : 'comprovised' meaningfulness in Jiriyai, a new work for percussionist and dancer

This paper is exegetical in that it explores and interprets the context for the production of Jiriyai, a new work for the Aurora Festival. The author (also the composer/improviser) concurs with the view that given the focus on 'comprovisation' there is a legitimate need to problematise the term in order to elaborate on the 'intuitive' aspects of performance as research.2 The paper begins by considering the cultural background of the composition and the influences on the composer. This leads to a consideration of improvisation as the creative and collaborative process behind the composition. Free improvisation was the original intention for the conception and performance of Jinjai. However, a short, intense period of improvisation with the dancer led to a modification of the process, to what is subsequently described as 'comprovisation'3 that also allows the development of a score and recording prior to the first performance. The rest the paper is a critical reflection on the score and the performance of Jirfyai.