We are delighted to share that Virginie Magnat’s monograph The Performative Power of Vocality, published in the Routledge Voice Studies book series in 2020, has received the American Theatre and Drama Society’s John W. Frick Book Award Honorable Mention.


‘Magnat notes that the “non-verbal, non-semantic, non-discursive material and affective efficacy of vocality” is under-theorized in Performance Studies. Her book is a corrective gesture, providing a complex engagement with vocality “with a particular focus on orally transmitted vocal traditions” common among Indigenous nations and in communities facing various forms of hegemonic power.We were impressed by the breadth of Magnat’s research which brings together elements of quantum physics, sound theory, anthropology, philosophy, the work of Grotowski as well as the research of Indigenous scholars in many fields to elucidate what happens in and through vocality and especially in the sharing of songs in language inherited from ancestors. Building on empirical research conducted in collaboration with Indigenous and settler participants who shared songs while being hosted by Indigenous collaborators on their territories, Magnat reflects on what the embodied practice of vocalizing activates in those who sing and those who witness them.

We were equally impressed by Magnat’s methodology which models what Anishinaabe scholar Jill Carter calls a “relational shift” toward the creation of truly respectful and dialogical conversations between Western and Indigenous ontologies, epistemologies and methodologies. From the creation of an Indigenous Advisory Committee to ensure best practices to Magnat’s self-reflective engagement with her ancestors, be they familial in Occitania, a region of France with its own distinct culture and language, or academic (Magnat was trained in and is a scholar of the Grotowski tradition and French theory), [she] models decolonizing scholarship in important ways.’

Award Committee: Henry Bial, University of Kansas (chair); Julie Burelle, UC-San Diego; Shane Vogel, Yale University.

The American Theatre and Drama Society’s John W. Frick Book Award honors the best monograph published each year on theatre and performance of/in the Americas, recognizing that notions of “America” and the United States encompass migrations of peoples and cultures that overlap and influence one another.

The Centre for Interdisciplinary Voice Studies congratulates Prof Magnat on this wonderful achievement!

The CIVS team

Posthuman Voice // Voice & Posthumanism: A CIVS List of Sources

In preparation for (or as an extension to, if you are coming here after the conference) the 2-day symposium ‘Posthuman Voice: Educating and Training Voices in Practices of Well-Being Together‘, we have put together a list of books, chapters, articles, blogs, interviews and other publications we have curated here at CIVS over the last few years (particularly through our work with the Journal of Interdisciplinary Voice Studies and the Routledge Voice Studies book series).

Feel free to peruse:

Barker, Paul (2015), ‘With One Voice: Disambiguating Sung and Spoken Voices through a Composer’s Experience’, in K. Thomaidis and B. Macpherson (eds), Voice Studies: Critical Approaches to Process, Performance and Experience, London & New York: Routledge, pp.xvi-xxvi.

Belgrano, Elisabeth (2016), ‘Vocalizing Nothingness: (Re)configuring Vocality Inside the Spacetime of Ottavia’, Journal of Interdisciplinary Voice Studies, 1:2, pp. 183-195.

Belgrano, Elisabeth (2021), ‘Mapping the Burden of Vocality: French Seventeenth-Century Vocal Lamentations, Japanese Meditation and Somatic Intra-Action’, in Christina Kapadocha (ed.), Somatic Voices in Performance Research and Beyond, London & New York: Routledge, pp.171-184.

Bentivegna, Francesco (2017), ‘THE ART OF VOICE SYNTHESIS SYMPOSIUM, AMSTERDAM, 11–13 MAY 2016 A Review’, Journal of Interdisciplinary Voice Studies, 2:1, pp.79-81.

Bentivegna, Francesco (2019), ‘Becoming Robot through Voice: Training in Artificial Voices’, Theatre, Dance and Performance Training, 10:3, pp.439-447.

Bentivegna, Francesco (2019), ‘Computers, Humans and “Daisies”: Becoming Machine through Voice’, Theatre, Dance and Performance Training Blog

Bentivegna, Francesco (2020), ‘Voice, Technology and Feminist Community: An Interview with NYX’, Journal of Interdisciplinary Voice Studies, 5:1, pp.107-113.

(see also: & & )

Butler, Shane (2021), ‘Animal Listening’, Journal of Interdisciplinary Voice Studies, 6:1, pp.27-38.

Cavarero, Adriana, Thomaidis, Konstantinos & Pinna, Ilaria (2018), ‘Towards a hopeful plurality of democracy: An interview on vocal ontology with Adriana Cavarero’, Journal of Interdisciplinary Voice Studies, 3:1, pp. 81-93.

Edlund, Sophia & Hannigan, Barbara (2019), ‘A Singer’s Perspective on Sirens and Singing: An Interview with Coloratura Soprano/Conductor Barbara Hannigan’, Journal of Interdisciplinary Voice Studies, 4:1, pp.101-110.

Edlund, Sophia (2021), ‘Humanimal Voice Pedagogy’, Theatre, Dance and Performance Training Blog

(see also: )

Grover Friedlander, Michal (2020), ‘Whale Wonder’, Journal of Interdisciplinary Voice Studies, 5:1, pp.29-42.

Magnat, Virginie (2020), ‘Exploring (K)new Paradigms’, in Virginie Magnat, The Performative Power of Vocality, London & New York: Routledge, pp.124-186.

Neumark, Norie (2015), ‘Enchanted Voices: Voice in Australian Sound Art’, in K. Thomaidis and B. Macpherson (eds), Voice Studies: Critical Approaches to Process, Performance and Experience, London & New York: Routledge, pp.132-145.

Roney, Matthew (2016), ‘Music in the Noise: The Acoustic Ecology of John Clare’, Journal of Interdisciplinary Voice Studies, 1:1, pp. 23-40.

Thomaidis, Konstantinos (2017), Theatre & Voice, Basingstoke: Palgrave Macmillan (pp.1-13, pp.65-74).

Thomaidis, Konstantinos (2019), ‘Between Preservation and Renewal: Reconsidering Technology in Contemporary Pansori Training’, Theatre, Dance and Performance Training, 10:3, pp.418-438.

Thomaidis, Konstantinos (2019), ‘Listening Across’, Journal of Interdisciplinary Voice Studies, 4:1, pp.3-6.

Plus, the schedule of the symposium, abstracts and presenter biographies can be found here:

We hope you enjoy,

The CIVS Team

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Posthuman Voice: educating and training voices in practices of well-being together

Symposium Registration

Posthuman Voice: educating and training voices in practices of well-being together

A virtual interdisciplinary symposium (Zoom)

Friday 16th – Saturday 17th July 2021

Registration is now open for the Posthuman Voice symposium, taking place online (Zoom) on the 16th and 17th July. This interdisciplinary symposium is organised by postgraduate researchers at the University of Exeter. The programme includes presentations on whale song; on octopus consciousness; on posthuman pedagogy and reflective practice; on field recording as a political practice and on voice cloning and more. You are invited to attend and to participate in the cross-disciplinary discussion which will follow each presentation. 

This activity is a Researcher-Led Initiative funded by the University of Exeter Researcher Development and Research Culture team.

We look forward to seeing you there!

Posthuman Voice Symposium Team

Francesco Bentivegna, Sophia Edlund, Tiamat Warda

Day 1, 16th July ‘Ecology and Voice’

 Introduction and Welcome 

Extended listening/interspecies pedagogy
 Musicking with other animals: Countering human exceptionalism through a practical zoömusicology 
Alex South | Royal Conservatoire of Scotland 

Toto too? Animal companions, reflective practice and the forging of professional values 
Kay Sidebottom| Leeds Beckett University 
 11.30-1.00  Lunch 

 Octopus Consciousness: A conversational provocation 
Sarah Scaife, Stephanie Moran, Lucinda Guy |University of Exeter, University of Plymouth, Stellaria Media  

‘Kusemezana na Ndovu – in conversation with elephants’
Lizzie Jago |University of Exeter  
 2.00-2.20 Break
 2.20-3.20 Keynote Paper 

Amy Cutler 

Day 2, 17th July ‘Non-human/inhuman as political practices of reckoning’

 10.00-10.15 Introduction  
 10.15-10.30  Artistic response ‘Tongues III’

Chinasa Vivian Ezugha | University of Exeter  

Non-human/inhuman as political practices of reckoning
Soundscapes and the practice of field recording as gateway to ecological awareness and political practice
Tine Blom | Inland Norway University of Applied Sciences  

Human as Prosthesis: Portrayals of Conjoined Twins in Literature 
Joe Holloway | University of Exeter  
 11.30-1.00 Lunch 

Non-human/inhuman as political practices of reckoning
Artistic response 
Jaume Ferrete | The Creative Pursuit/ Basque University   

Compost-convolution: trials around resonant organs 
Vincenzo Ottino | Central Saint Martins  

Voice cloning and the tension between anthropocentrism and posthumanism in AI 
Domenico Napolitano | University Suor Orsola Benincasa  

Plenary Forum

The Centre for Interdisciplinary Voice Studies supports the symposium as part of a series of events that will mark its 10-year anniversary in the academic year 2021-2022.

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World Voice Day 2021

To mark World Voice Day 2021, we take a moment to reflect on some of our work at the Centre of Interdisciplinary Voice Studies over the last year and celebrate our collaborators’ work:

1. The Routledge Voice Studies series keeps expanding with the addition of books by Virginie Magnat, Christina Kapadocha, Amanda Glauert, and Margaret Pikes & Patrick Campbell.

You can find:

Virginie Magnat’s book launch (hosted by the Centre for Mindful Engagement at UBC) here:

and Christina Kapadocha’s book launch here:

2. We have now launched the Routledge Voice Studies Companion Website, with text, audio and videos from our authors:

Feel free to peruse!

3. We published 2 issues of the Journal of Interdisciplinary Voice Studies

4. We curated a series of blogs for Theatre, Dance and Performance Training, as part of the 1-year anniversary of the Special Issue ‘What is New in Voice Training?’, with entries by Petronilla Whitfield, Anna-Helena McLean, Charulatha Mani, Francesco Bentivegna, Faye Rigopoulou, Sarah-Holden Boyd, Sophia Edlund, Chan E. Park, Luis Aros, Margaret Pikes, Patrick Campbell and Masi Asare:

The Special Issue, which won an Honorable Mention for Excellence in Editing at the 2020 ATHE Awards, can be accessed here:

5. We organized the ‘Vicarious Vocalities’ conference, with thought-provoking contributions by Merrie Snell, Jacob Bird, Anne Tarvainen, Francesca Millar, Kiranmayi Indraganti, Ian Wilkie, Sam Fouts, Freya Jarman, Solimar Otero, Marie Bennett, Jan Creutzenberg, Jennifer O’Meara, Francesco Bentivegna, Clare Parkinson, Eleanor Russell, Melissa Morton, and Kit Danowski.

6. Personally, I had the honour of collaborating with colleagues around the world whose research keeps provoking, inspiring and nourishing our work at CIVS. These included:

a) the launch of Luis Aros’s brilliant book Cartografía de la Voz en el Inicio y Desarrollo de los Teatros Universitarios:

b) a podcast on ‘Vocal Positionings’ with Brandon LaBelle, curated by Duška Radosavljevic and Flora Pitrolo:

[This is part of the Aural/Oral Dramaturgies stunning website – please explore in full!]

c) a roundtable on ‘Voice and Well-being’, facilitated by Virginie Magnat, Michael Elliott and Sasha Covacs, with fellow voice practitioners Gey Pin Ang, Anna-Helena McLean, Christina Shewell and Rena Sharon:

This has been an incredibly tough year, and we are deeply grateful to all authors, artists, collaborators and voicers for their generosity, thoughtfulness and patience. Yes, we are all overwhelmed with caring responsibilities, sustaining teaching and supporting our brilliant UG students and PG colleagues, under extraordinary circumstances, and, although it takes longer to respond, we always look forward to our continuing exchange.

Thank you for your groundbreaking work, thank you for your trust.

And we very much look forward to celebrating World Voice Day 2022 in the same studio or conference room.






on behalf of CIVS

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Issue 5.2 of the Journal of Interdisciplinary Voice Studies is out!

We’re delighted to announce that issue 5.2 of the Journal of Interdisciplinary Voice Studies is out.

This is a special issue on the inersections of voice studies and dysfluency studies, titled “Metaphoric Stammers and Embodied Speakers”, guest edited by Maria Stuart and Daniel Martin.

Warmest congratulations to all contributors!

The CIVS team

New RVS title: Owning Our Voices: Vocal Discovery in the Wolfsohn-Hart Tradition

As 2020 is drawing to a close, we are welcoming a new title to Routledge Voice Studies. Owning Our Voices: Vocal Discovery in the Wolfsohn-Hart Tradition by Margaret Pikes and Patrick Campell offers a unique, first-hand account of working within the Wolfsohn-Hart tradition of extended voice work by Margaret Pikes, an acclaimed voice teacher and founder member of the Roy Hart Theatre.

This dynamic publication fuses Pikes’ personal account of her own vocal journey as a woman within this, at times, male-dominated tradition, alongside an overview of her particular pedagogical approach to voice work, and is accompanied by digital footage of Pikes at work in the studio with artist-collaborators and written descriptions of scenarios for teaching. For the first time, Margaret Pikes’ uniquely holistic approach to developing the expressive voice through soundingspeech, song and movement has been documented in text and on film, offering readers an introduction to both the philosophy and the practice of Wolfsohn-Hart voice work. 

Owning Our Voices is a vital book for scholars and students of voice studies and practitioners of vocal performance: it represents a synthesis of a life’s work exploring the expressive potential of the human voice, illuminating an important lineage of vocal training, which remains influential to this day.

Margaret Pikes is a founding member of the Roy Hart Theatre who trained with Roy Hart and participated in all of the Roy Hart Theatre’s early experimental performances. She has been teaching the Wolfsohn-Hart approach to vocal expression internationally for more than 50 years and regularly leads workshops in the UK, France and Germany. 

Patrick Campbell is Senior Lecturer in Drama and Contemporary Performance at Manchester Metropolitan University. He is a core member of Cross Pollination, an expanded, nomadic laboratory for the dialogue in-between practices, and is Associate Editor of the Brazilian Journal on Presence Studies.

To find out more about the book:

To find out more about the series: and

Congratulations to the authors and our warmest wishes to all for the New Year!

The CIVS team

CIVS: Upcoming Events

We are delighted to share details on upcoming events by CIVS members:

  1. Dr Ben Macpherson, co-convenor of CIVS, will be presenting as part of Telephone Hour” on Tuesday 17th November, 5pm EST (US):

Amy Osatinski (University of Northern Iowa), “20 Seasons: 21st Century Musicals By The Numbers”

Ben Macpherson (University of Portsmouth), “I will never be satisfied…: Voicing Personal and Political Utopias in Hamilton”

Instructions for accessing the presentations via Zoom are below:  

Join Zoom Meeting

ID : 401 182 381

2. The audiowalk ‘Virginia Dare and the Lost Colony’, part of Being Human Festival 2020, launches on Wednesday 18 November, 7pm GMT.

Dr Ben Macpherson has provided music and lyrics and produced the audiowalk.

Link to the info is here:

3. The Centre for Mindful Engagement (University of British Columbia) will be hosting a digital book launch for Prof Virginie Magnat’s book The Performative Power of Vocality (part of the Routledge Voice Studies book series) on the 3rd December 2020, 11.00-12.30 (PST).

You can book your place here:

Latest Titles in Routledge Voice Studies book series

We are delighted to welcome 2 new additions to the Routledge Voice Studies book series:

  1. Amanda Glauert’s Beethoven and the Lyric Impulse: Essays on Beethoven Song

Book Description

Amanda Glauert revisits Beethoven’s songs and studies his profound engagement with the aesthetics of the poets he was setting, particularly those of Herder and Goethe. The book offers readers a rich exploration of the poetical and philosophical context in which Beethoven found himself when composing songs. It also offers detailed commentaries on possible responses to specific songs, responses designed to open up new ways for performing, hearing and appreciating this provocative song repertoire. This study will be of great interest to researchers of Beethoven; German song; aesthetics of words and music.

Author Biog

Amanda Glauert was formerly Director of Programmes and Research at the Royal College of Music, UK.

2. Christina Kapadocha’s edited collection Somatic Voices in Performance Research and Beyond

Book Description

Somatic Voices in Performance Research and Beyond brings together a community of international practitioner-researchers who explore voice through soma or soma through voice. Somatic methodologies offer research processes within a new area of vocal, somatic and performance praxis. Voice work and theoretical ideas emerge from dance, acting and performance training while they also move beyond commonly recognized somatics and performance processes. From philosophies and pedagogies to ethnic-racial and queer studies, this collection advances embodied aspects of voices, the multidisciplinary potentialities of somatic studies, vocal diversity and inclusion, somatic modes of sounding, listening and writing voice.

Methodologies that can be found in this collection draw on:

  • eastern traditions
  • body psychotherapy-somatic psychology
  • Alexander Technique, Feldenkrais Method
  • Authentic Movement, Body-Mind Centering, Continuum Movement, Integrative Bodywork and Movement Therapy
  • Fitzmaurice Voicework, Linklater Technique, Roy Hart Method
  • post-Stanislavski and post-Grotowski actor-training traditions
  • somaesthetics

The volume also includes contributions by the founders of:

  • Shin Somatics, Body and Earth, Voice Movement Integration
  • SOMart, Somatic Acting Process

This book is a polyphonic and multimodal compilation of experiential invitations to each reader’s own somatic voice. It culminates with the “voices” of contributing participants to a praxical symposium at East 15 Acting School in London (July 19–20, 2019). It fills a significant gap for scholars in the fields of voice studies, theatre studies, somatic studies, artistic research and pedagogy. It is also a vital read for graduate students, doctoral and postdoctoral researchers.

Table of contents


Foreword: A phonotechnics of vocal somaticity: An autobiophonic note

by Konstantinos Thomaidis

Introduction: Somatic voice studies

by Christina Kapadocha 

Part I

Vocalities in somatic studies 

1 Three somatic processes to voice through movement: Breath, exploration, imagery 

Barbara Sellers-Young

2 Awakening grace: Embodied awareness in vocal training

Andrea Olsen

3 Never just the body: Etudes between voice and dance

Sondra Fraleigh

4 On Voice Movement Integration (VMI) practice by Patricia Bardi: Awakening resonance in 

the moving body

Patricia Bardi interviewed by Christina Kapadocha 

Part II

Voicework, somatics and the diverse self

5 In front of me: Fitzmaurice Voicework® as transformative practice

Ellen Foyn Bruun

6 Somatic training and resources for body-mind-voice integration: When stage fright “comes to


Leticia Santafé and Pablo Troccoli

7 Voicing with awareness: An introduction to the Feldenkrais method 

Stephen Paparo

8 My body is a map, my voice is the path: (Trans)racialized somaticities and Roy Hart voice 


Amy Mihyang Ginther 

Part III

Vocal and somatic listening in training 

9 (Re)considering the role of touch in “re-educating” actors’ body/voice

Tara McAllister-Viel

10 Organic voice: Vocal integration through actor training

Christina Gutekunst

11 Dreaming voice: A dialogue

Ilona Krawczyk and Ben Spatz

12 Somatic logos in physiovocal actor training and beyond

Christina Kapadocha

Part IV

Beyond the somatic in performance research

13 Mapping the burden of vocality: French seventeenth-century vocal lamentations, 

Japanese meditation and somatic intra-action

Elisabeth Laasonen Belgrano 

14 Intensive interaction: A lesson on queered voicing from children with learning disAbilities

Yvon Bonenfant

15 Vocal resonance and the politics of intercorporeality 

Anita Chari

16 The somaesthetic in-between: Six statements on vocality, listening and embodiment 

Ben Macpherson

Part V 

Beyond this book

17 Beyond our somatic voices

Christina Kapadocha 


Editor Biog

Christina Kapadocha (PhD) is a Lecturer in Theatre and Movement at East 15 Acting School. She is a London-based theatre and somatic practitioner-researcher and founder of Somatic Acting Process®. Her current practice research and publications introduce new discussions on the somatic in theatre and performance studies.

Virtual Book Launch:

More information on the series as a whole:

Warmest congratulations to all authors and editors!

The CIVS team

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Dr Konstantinos Thomaidis receives Honorable Mention for Excellence in Editing, ATHE Awards 2020

Dr Konstantinos Thomaidis, co-founder and co-convenor of the Centre for Interdisciplinary Voice Studies, has received an Honorable Mention for Excellence in Editing at this year’s ATHE Awards for editing the special issueWhat is New in Voice Training?’ for Theatre, Dance and Performance Training journal.

unnamed.jpg    ATHE 2020 KT.png

ATHE is the Association for Theatre in Higher Education and ATHE’s Excellence in Editing Award “honors both individual achievements in editing and sustained achievement in editing over extended periods of time. These awards are given in rotation. This year, ATHE celebrates individual achievement in editing.”

Since 2006, Dr Konstantinos Thomaidis’s research has focused on the cross-cultural, transnational and intersectional body politics of voice pedagogy; vocal praxis, voice practice-research and voice in artistic research; and interdisciplinary methodologies in/for voice studies. His work has been instrumental in the emergence of the field of voice studies: he has co-founded and co-edits the Journal of Interdisciplinary Voice Studies and the Routledge Voice Studies book series (both with Ben Macpherson); he co-founded and co-convenes the Sound, Voice & Music Working Group at TaPRA (with Leah Broad and Adrian Curtin); he participates in international initiatives such as the Cluster of Research Excellence in Culture, Creativity, Health and Well-Being (UBC, Canada / Exeter, UK), the Nordic Network for Vocal Performance Research and the Ancient Greek Theatre Workshop Therino Manteio. His previous research includes the monograph Theatre & Voicethe edited collections Voice Studies: Critical Approaches to Process, Performance and Experience (with Ben Macpherson) and Time and Performer Training (with Libby Worth and Mark Evans); the special issue ‘Voicing Belonging: Traditional Singing in a Globalized World’ (with Virginie Magnat); chapters on voice & forensics, physiovocality, the vocal body and the spatiotemporality of vocal presence; and articles on vocal autobiography/autobiophony, the use of technology in Korean pansori, practice-research in voice studies, travelling soundscapes (with Natalia Theodoridou) and listening-across, among many others. In 2019, Dr Thomaidis was also shortlisted for the Early Career Research Prize of the Theatre & Performance Research Association (TaPRA).

You can access the acceptance speech here:

Theatre, Dance and Performance Training journal published a blog to mark the award:

The journal also made available a few pieces of the special issue for the next month as part of the celebration. These include the Editorial, an article on new voice curriculum for young Maya Guatemalan women, an essai on voice work for D/deaf actors, and Thomaidis’ article on pansori.

Congratulations to Dr Thomaidis, the journal and all contributors to the special issue, and many thanks to ATHE and the Awards Committee!

The CIVS team

Vicarious Vocalities logo


Call for Papers


Lost, Borrowed and Stolen Voices in popular culture
A virtual voice studies conference

Friday 25 – Saturday 26 September 2020

(Virtual platform details TBA)




Vicarious Vocalities, Simulated Songs: Lost, Borrowed and Stolen Voices in popular culture aims to explore the many and varied iterations of simulated, copied or imitative voices in popular culture from the invention of sound recording to the present day.


Ranging in scope from the overdubbed ‘ghost singing’ of the Hollywood musical to the success of comedians such as Lost Voice Guy on Britain’s Got Talent (ITV, UK) or singing ventriloquist Darci-Lynne on its American counterpart, it seeks to examine and critically analyse the phenomena of such voices.


The conference invites presentations that draw upon an international and interdisciplinary approach to uncover and understand the fascination with — and function of — these voices in popular culture, as sites of intersection related to individual identity, as part of the creative economy and with respect to the aesthetics of performance.


Identifying vocal vicariousness or sonic similarity as a shared property across a range of such voices, the conference seeks to curate a conversation that brings together approaches and ideas that have thus far been largely disparate in scholarship. As an aim, then, its intention is to explore connections and find new resonances between performance and current discourses on subjects including ventriloquism (Steven Connor 2000), tribute acts (Shane Homan 2006; Georgina Gregory 2016), lipsynching (Caroline Langley 2006; Jason Bird 2020; Merrie Snell 2020), karaoke (Rob Drew 2001; Kevin Brown 2015) or vocal emulation in bio-musicals and biopics (Millie Taylor 2012; Ben Macpherson 2020).


Sample lines of enquiry might therefore include:


  • Case studies of particular performers, performances or techniques;
  • Fetishized vocality on television entertainment shows (e.g. Carpool Karaoke (Apple, USA); The Stand Up Sketch Show (ITV, UK); Hidden Singer (JTBC, South Korea));
  • Ventriloquism and its variations;
  • Overdubbing, ghost singing and playback singing across cultures;
  • Singing or speaking along with your (recorded) self (and its representation in performance);
  • Vocal simulation in bio-pics and bio-musicals;
  • Tribute acts;
  • Cover bands;
  • Karaoke and amateur ‘imitation’;
  • Mismatched media (e.g. Haribo sweet commercials; the ‘white voice’ of Boots Riley’s Sorry to Bother You(2018));
  • Satirical impressionists on stage and screen;
  • Lipsynching and its many manifestations;
  • The fetishised ‘othering’ of artificially-enhanced voices in popular culture.


The conference will consider such explorations in three strands, conceptualising vicarious vocality in the following ways:

STRAND 1: ‘Lost voices’

STRAND 2: ‘Borrowed voices’

STRAND 3: ‘Stolen voices’


We welcome proposals that challenge pre-existing boundaries of enquiry, embrace a plurality of approaches, and explore intersections ‘in-between’ previously discrete areas of practice or discourse (Thomaidis and Macpherson 2015). It is anticipated, then, that the same area of discussion may be included a number of times but explored through different lenses.


Anonymised abstracts of 250 words should be submitted, along with a separate 100 word biography (including institutional affiliation as appropriate), to by Monday 22nd June 2020. You will be notified by Monday 29th June 2020 if you have been invited to present.


Proposals should include a provisional title, a key theoretical or contextual framework, and indicate which thematic focus you have taken (‘Lost’, ‘Borrowed’ or ‘Stolen’).


Any queries or questions may be sent to the conference organiser, Dr Ben Macpherson (

We look forward to discussing these fascinating ideas together,

The conference committee