JIVS, ISSUE 3.1

We are delighted to share that the latest issue of the Journal of Interdisciplinary Voice Studies is out, including an interview with noted philosopher Adriana Cavarero.

https://www.ingentaconnect.com/content/intellect/jivs/2018/00000003/00000001

JIVS

Articles include:

Spiel, patter or sound effect: tracking the residual voice on the travelling fun fair, by Ian Trowell, https://doi.org/10.1386/jivs.3.1.7_1

Accelerations and speed limits: an essay on the vocal limits of semiocapitalism, by Tristam Vivian Adams, https://doi.org/10.1386/jivs.3.1.21_1

Can childhood trauma impact the adult voice through the brain? by Elisa Monti and Diana Van Lancker Sidtis, https://doi.org/10.1386/jivs.3.1.45_1 

The singer’s GPD: rethinking traditional pitch instruction methods for straight-tone singing in commercial teaching, by Mindy Damon, https://doi.org/10.1386/jivs.3.1.61_1

 

 

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CfP: Special Issue ‘What is New in Voice Training?’, Theatre, Dance and Performance Training Journal (Routledge), Guest Editor: Konstantinos Thomaidis

Special issue entitled What is New in Voice Training? To be published in TDPT Vol 10.3 (September 2019)

Call for contributions, ideas, proposals and dialogue with the editor

Guest edited by Konstantinos Thomaidis, University of Exeter (K.Thomaidis@exeter.ac.uk).

 

Background and context

This will be the 11th Special Issue of Theatre, Dance and Performance Training (TDPT) following issues on a range of topics including sport, politics, Feldenkrais, writing training, interculturalism and digital training. TDPT is an international journal devoted to all aspects of ‘training’ (broadly defined) within the performing arts. The journal was founded in 2010 and launched its own blog in 2015. Our target readership is both academic and the many varieties of professional performers, makers, choreographers, directors, dramaturgs and composers working in theatre, dance and live art who have an interest in and curiosity for reflecting on their practices and their training. TDPT’s co-editors are Jonathan Pitches (University of Leeds) and Libby Worth (Royal Holloway, University of London).

Call Outline: What is New in Voice Training?

Voice has returned to academic discourse with renewed force. 20th-century philosophical and critical debates may have generated important questions around speech, vocality and listening (particularly through the works of Lacan, Derrida, Merleau-Ponty, Ihde, Barthes and Kristeva), but the first two decades of the 21st century have witnessed an unprecedented proliferation of publications taking voice as their main area of enquiry (see Connor, Cavarero, Dolar, Neumark, among others). In the same period, a similar plurality marked the way voice is practised in performance, particularly in its entanglement with new media, new scenic and everyday architectures as well as new hybrid genres and aesthetics. The emergent field of voice studies situates itself at the juncture of these practical and theoretical advances and advocates for research in and through voice that is markedly praxical, international and interdisciplinary in scope.

In bringing the concerns of this new inter-discipline to bear on performance studies, this issue of Theatre, Dance and Performance Training proposes a timely re-examination of voice in performer training. The literature on voice and the pedagogy of performance is, of course, vast. In the case of singing, it is largely dominated by paradigms appropriate for operatic and musical theatre performance. In the case of speech training, areas that have been systematically explored include the pedagogies developed by an influential generation of mid-twentieth-century, UK- and US-based speech trainers—and, to a lesser extent, the voice practices pertaining to (post)Grotowskian lineages or integrating first-wave somatics into voice work. While drawing impetus from these significant insights, the purpose of this special issue is to lend an attentive ear to emergent or less widely circulated training methodologies and to chart the rapidly shifting landscape of voice training.

 In other words, it wishes to ask: What is new in voice training?

The term ‘new’ is not taken here as an exclusively present-orientated delineation; rather, it is intended as a generative provocation. In this light, potential contributors are invited to engage with topics and questions such as:

 

  • New practices: What are the new approaches to voice, speech and singing training currently in the making? How do they depart from or extend current conceptualisations of voicing? Which performance contexts are they designed for? How are they taught, recorded, written about and transmitted?
  • New documents: Which practices of voice training have not been systematically documented and disseminated? Which non-Anglophone practices have received less critical attention and how can new translations or archives engage us in dialogue with them? What is the place of the ‘document’ in practice-as-research approaches to voice pedagogy?
  • The new voice coach: Which are the new exigencies placed on coaches today? What challenges do they face? Which methodologies have been developed in response? How is voice training conducted beyond the studio, through Skype lessons, MOOCs and other interactive platforms? What is the impact of neoliberal economics on the way voice training is currently conducted?
  • New contexts: How is voice training taking into consideration gender, class and ethnic diversity? How is the pedagogy of speech and song responding to neurodiverse trainees? How are interdisciplinary performers, such as speaking dancers or intermedia artists, trained in voice work? How is training originally developed for artistic performance adapted in contemporary oratory, advertising, sport, teaching, community or health work?
  • New criticalities: Which emergent critical methodologies can we deploy to critique voice training or to generate new approaches? How can voice training embrace ecocritical or new materialist strategies? What is the place of the expanding corpus of vocal philosophy in the studio?
  • New histories, new lineages: What does new archival research reveal about the lineages and historic practices of voice training? How is the history of voice training rewritten? How are premodern forms of voice training revitalised in contemporary performer training?
  • Re-newing voice training: How are existing systems, exercises and practices reconfigured in new settings? How can we re-evaluate the foundational premises of voice training through recent discoveries in physiology and advances in critical theory? In what ways are such methods hybridised, repurposed, recycled, rethought?

To signal your interest and intention to make a contribution to this special issue please contact Konstantinos Thomaidis for an initial exchange of ideas/thoughts or email an abstract or proposal (max 300 words) at k.thomaidis@exeter.ac.uk. Please consider the range of possibilities available within TDPT: Essays and Sources up to 6500 words; photo essays; shorter, more speculative, essaisup to 3000 words and postcards (up to 200 words). All contributors could extend their work through links to blog materials (including, for example, film footage or interviews). Questions about purely digital propositions can be sent directly to James McLaughlin at jimmyacademy@gmail.comalong with ideas for the blog. Firm proposals across all areas must be received by Konstantinos Thomaidis by 30 January 2018 at the latest.

 

The issue schedule is as follows:

 Autumn 2017: Call for papers published

30 January 2018: abstracts and proposals sent to Konstantinos Thomaidis

May 2018: Response from editor and, if successful, invitation to submit contribution

June to End October 2018: writing/preparation period for writers, artists etc.

Start November to end January 2019: peer review period

January 2019 – end May 2019: author revisions post peer review

End June 2019: All articles into production with Routledge

July-August 2019: typesetting, proofing, revises, editorial etc.

September 2019: publication as Issue 10.3.

JIVS Special Issue: Music, Voice, and Disability (eds. Nina S. Eidsheim and Jessica A. Holmes)

 Call for Papers 

Journal of Interdisciplinary Voice Studies 

Special Issue: Music, Voice, and Disability

Co-editors: Dr. Nina S. Eidsheim and Dr. Jessica A. Holmes 

In disability activism and studies, the power ascribed to the voice and its manifold rhetorical and symbolic iterations cannot be overstated: activists and scholars have long fought to be heard. They use both speech and written text to raise awareness for the systemic oppression of disabled people with the aim of improving their social condition. Paradoxically, however, “disability rights movements and disability studies have been slow to recognize the ways in which hearing and speaking confer privilege,” as Susan Burch and Alison Kafer explain (Burch and Kafer 2010).

Indeed, the struggles of those without access to normative voice often go unheard relative to the vocally fluent disabled mainstream, both because of the presumption of communicative normalcy, and the visual orientation of much existing scholarship outside of Deaf studies. More generally, Christopher Eagle notes that, “every incarnation of identity politics has depended at one point in its history on a largely unexamined notion of fluency,” such that, “access to normal speech, is hardly ever raised in discussions of political marginalization” (Eagle 2013). At the same time, those with so-called “speech disorders” (e.g. stuttering, lisping, aphasia, etc.) who speak in ways that seemingly disrupt the expected flow of speech, as well as members of the neurodivergent and Deaf communities who communicate using visual-spatial language as opposed to speech are often subject to an intense scrutiny that mirrors the visual stigmatization of disability. This marginalization is all the more potent given the pathologization of speech disorders in medical discourse, and the precondition of voice in Western metaphysical conceptions of subjecthood. Thus, not only in relation to existing able-bodied norms, but also vis-à-vis the disability community, those with dysfluent voices occupy a liminal space on account of the visually ambiguous terms of their disabilities: they are often “expected to perform on the same terms as the able-bodied” (St. Pierre 2012). The vocally dysfluent potentially expose and unsettle the constructed dimensions of vocal normalcy alongside the ocularcentric bias in existing disability theory by virtue of their sonic non-compliance.

Music, as a sonic medium, offers new ways of approaching questions of disability as an envoiced phenomenon. Indeed, music scholars have recently begun exploring the intersections of disability and vocal production, with notable emphasis on the damaged, dysfluent (singing) voice in relationship to notions of bodily authenticity, trauma, and specific generic conventions, including valuable work by Caitlin Marshall, George McKay, Jessica Schwartz, and Laurie Stras. Similarly, new scholarship on music and deafness has approached vocality through the musical endeavours of members of Deaf culture, and the inherent musicality of sign language as a silent, visual-spatial form of vocality (Jones 2015; Maler 2015; Holmes 2016; 2017; Meizel 2018).

In an effort to build on this new branch of music scholarship while confronting the ways in which vocal disabilities are rendered liminal in both scholarship and praxis, this special journal issue considers notions of music, voice, and disability. We seek articles, position papers, and “voicings” such as practitioners’ reflections, vocal scores, excerpts of performances, and audio transcripts that interrogate the role of the voice, broadly construed, in the construction of disability in a variety of performative contexts. We invite submissions dealing with disability and voice in all genres of music and performance practices from all historical periods, that engage an interdisciplinary framework, and that attend to questions of intersectionality.

Possible considerations include, but are not limited to:

● How does disability transform existing conceptions of musical voice, vocal ability/prowess, vocal beauty, etc.?

● How does music sound out the precarious and arbitrary terms of disability in relationship to the voice? More specifically, how might genre, vocal affect, and vocal style shape our perception of disability, and determine its contextual relevance?

● How does disability relate to discourse concerning the relationship between “proper” singing technique and vocal health? How might the stigma associated with the damaged voice in certain musical genres be understood as analogous to the stigma associated with visible disability, and how might it differ? How does the damaged singing voice throw into sharp relief the conceptual slippage between disability and chronic injury?

● How might singing inform the relationship between disability and other positions of marginality and categories of identity?

● How does disability enrich the sensory contours of the singing voice, drawing attention to what Nina Eidsheim has called the “internal corporeal choreography” of voice as well as its external, non-aural manifestations (Eidsheim 2015)?

● How does disability reinforce and/or unsettle the dualism of body/voice that has long pervaded high-art discourse on classical singing?

● How have music and singing served disability activism? How does music envoice the struggles, anxieties, and desires of the disability community?

Submission Procedures 

Abstracts of no more than 500 words should be emailed by March 15, 2018 to holmesjessica@ucla.edu. Successful authors will be invited to submit 6-8,000 word drafts of their contributions to the editors by May 1, 2018. Please visit http://www.intellectbooks.co.uk/journals/view-Journal,id=248/ for more information on the Journal of Interdisciplinary Voice Studies, and, for Notes for Contributors, http://www.intellectbooks.co.uk/MediaManager/File/style%20guide(journals)-1.pdf.

Co-editor bios: 

Jessica Holmes is a Postdoctoral Fellow in Musicology at the UCLA Herb Alpert School of Music. Her book project, Music at the Margins of Sense, engages the misconceptions associated with music and deafness through the first-hand accounts of d/Deaf musicians and listeners to pluralize existing conceptions of musical experience. She completed her PhD in Musicology at McGill where she won the 2017 Schulich School of Music’s Outstanding Teaching Award. Her work on music and deafness appears in consecutive volumes of the Journal of the American Musicological Society (JAMS), and she has presented her research at the annual meetings of the American Musicological Society (AMS), the Society for American Music, and the Society for Disability Studies. She has also reviewed articles for JAMS and written reviews for Ethnomusicology Review and Sound Studies. She is the chair of the AMS Music and Disability interest group, and serves as an appointed member of the AMS committee on cultural diversity.

Nina Eidsheim is Professor of Musicology and Special Assistant to the Dean at the UCLA Herb Alpert School of Music. As a scholar and singer, she investigates the multi-sensory and performative aspects of the production, perception and reception of vocal timbre in twentieth and twenty-first century music. Current monograph projects include Sensing Sound: Singing and Listening as Vibrational Practice (Duke University Press, 2015), and Measuring Race: the Micropolitics of Listening to Vocal Timbre and Vocality in African-American Popular Music (forthcoming, Duke UP). She is also co-editing the Oxford Handbook of Voice Studies (Oxford UP) and a special issue on voice and materiality for the journal, Postmodern Culture. In addition, she is the principal investigator for the UC-wide, transdisciplinary research project entitled Keys to Voice Studies: Terminology, Methodology, and Questions Across Disciplines.

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VOICING BELONGING: TRADITIONAL SINGING IN A GLOBALIZED WORLD (JIVS 2.2)

We are pleased to announce the publication of issue 2.2 of the Journal of Interdisciplinary Voice Studies, a special issue on the topic of ‘Voicing Belonging: Traditional Singing in a Globalized World’ co-edited by Konstantinos Thomaidis (University of Exeter, UK) and Virginie Magnat (University of British Columbia, Canada).

 

CONTENTS

A DIPHONIC EDITORIAL

Voicing belonging: Traditional singing in a globalized world

by Konstantinos Thomaidis and Virginie Magnat

 

ARTICLES

Constructing the singing voice: Vocal style, aesthetics and the body in Okinawan music

by Matt Gillan

South Indian singing, digital dissemination and belonging in London’s Tamil diaspora

by Jasmine Hornabrook

Singing the nation: Contemporary Greek rebetiko performance as carnivalesque

by Yona Stamatis

The transmission of voicing in traditional Gwoka: Between identity and memory

by Marie Tahon and Pierre-Eugène Sitchet

 

VOICINGS

Maud’s Song and Heraclitus’s Logos: Journal fragments

by Maria Gaitanidi

Songs of tradition as training in higher education?

by Ditte Berkeley-Schultz and Electa Behrens

 

REVIEWS

VoicEncounters, Wrocław, the Grotowski Institute, 14–24 April 2016, reviewed by Konstantinos Thomaidis

The 21st-Century Voice: Contemporary and Traditional Extra-Normal Voice, 2nd ed., Michael Edward Edgerton (2015) Lanham, MD: Rowman & Littlefield, reviewed by Robert O. Beahrs

Vocal Music and Contemporary Identities: Unlimited Voices in East Asia and the West, Christian Utz and Frederick Lau (eds) (2013) New York and London: Routledge, reviewed by Huyn Kyong Hannah Chang

Korean Musical Drama: P’ansori and the Making of Tradition in Modernity, Haekyung Um (2013) Farnham: Ashgate, reviewed by Tara McAllister-Viel

The Voice in the Drum: Music, Language, and Emotion in Islamicate South Asia, Richard K. Wolf (2014) Urbana, IL: University of Illinois Press, reviewed by Daniel Akira Stadnicki
Aurality: Listening and Knowledge in Nineteenth-Century Colombia, Ana María Ochoa Gautier (2014) Durham, NC: Duke University Press, reviewed by Jessica A. Schwartz

 

For further information on the journal, please visit: https://www.intellectbooks.co.uk/journals/view-Journal,id=248/

 

 

Publication Announcement: Theatre & Voice

Theatre & Voice by Konstantinos Thomaidis is now available on paperback and ebook formats. Part of Palgrave’s Theatre & book series, edited by Dan Rebellato and Jen Harvie, the book explores voice across genres, media and cultures, inviting the reader to reassess established ways of analysing, enjoying and listening to voice. Using a wide range of case studies integrated with critical and philosophical frameworks, it makes audible the multiple ways in which voice contributes to how we perform identities. From opera and musical theatre to live art and immersive audio walks, Konstantinos Thomaidis presents voice as plural, elusive and ripe for reinvention.

9781137552495-2

https://he.palgrave.com/page/detail/theatre-and-voice-konstantinos-thomaidis/?sf1=barcode&st1=9781137552495

Call for Papers: JIVS Special Issue ‘Voice, Identity, Contact’ (ed. Yvon Bonenfant)

CALL FOR CONTRIBUTIONS: JOURNAL OF INTERDISCIPLINARY VOICE STUDIES 3:2

THEMED ISSUE: ‘VOICE, IDENTITY, CONTACT’

GUEST EDITOR: YVON BONENFANT, Professor of Artistic Process, Voice and Extended Practices, University of Winchester

 

The Journal of Interdisciplinary Voice Studies invites submissions from scholars in a wide array of fields that intersect with, and/or move beyond, voice studies: such as: theatre and performance studies, musicology, sound studies, cultural studies, materiality studies, philosophical discourses, clinical voice studies, speech studies and voice and speech science to consider, and respond to, the questions in our below call.

 

We are interested in exploring emerging and exciting approaches to how we might synthesise knowledge from across the voice and sound studies field to address the below questions in interesting ways.

 

PRACTICAL ISSUES:

  1. Interested in the theme? Read the below context statement and questions, and consider sending us a draft article for peer review.
  2. We seek articles approximately 5000 words in length. However, we are open to articles longer or shorter – we will be making a final selection of articles using editorial-curatorial principles.
  3. The ‘Voicings’ section of JIVS allows for discourses that are more narrative, report-like, poetic, or experimental in nature. You can consider sending us alternative writing forms that would take us inside your response to this call. Consult back issues of the journal for examples.
  4. Send your article to: Yvon Bonenfant at yvon.bonenfant@winchester.ac.uk
  5. Deadline for articles to reach us: September 30, 2017

 

As this call follows on from a symposium in January, 2017, we are aware there may be many more articles sent to us than this volume of JIVS can contain. Know that your article may be considered for future issues of JIVS, should it be of excellent quality, but not ‘map on’ to the thematics of this volume and its final curated format.

 

QUESTIONS AND CONTEXT STATEMENT:

 

Context statement:

Voices have power. Who gets listened to matters. Moving beyond the notion of voice as metaphor, we are interested in unpicking the Foucauldian rules that seem to govern the production and perception of identity in vocal sound, beyond – or perhaps beneath – language and accent (if such dissociation is even possible).

 

The voice resists analysis, as Adriana Cavarero (2005) passionately asserts. How we hear individuals through their voicing, and how we determine what person, or kinds of people, we think we are hearing is still relatively little understood. Even from a neurological perspective, as Kreiman and Sidtis (2011) point out, the mechanisms that underpin acts of hearing voice and identifying speakers have been much less studied than the mechanisms underpinning vision. How we hear each other is neglected. What’s more, to build on Stephen Connor’s (2000) assertions, the voice is simultaneously ‘alive’ and ‘dead’, in that it is (usually) produced by living bodies, yet once it moves away from us, it but a phenomenon of physics: it becomes fields of vibration, separated from biological life, while evoking that very life in our imaginations.

 

Given that this vocal sound is a vibrational phenomenon, we might assert that the vibratory quality of the voice literally touches us (Eidsheim 2015). So, when we voice, we emit fields of vibration that come into contact with, and ‘stir up’, other bodies.  If that is the case, in a world where identity categories and their intersectionality are always at play, what might it mean to be touched by identities (perceived to be) embedded in vocal sound?  Eidsheim (2011) asserts that in the case of opera singer Marian Anderson, the perception of race in her voice was, and is, a construction of the listener; indeed, in the little psycholinguistic study that has been done on the perception of race in speech in America, people cannot reliably ‘hear’ African-Americanness without hearing verbal accent (in Kreiman and Sidtis 2011), even though there appears to be a widespread cultural belief that there is such a thing as a sounding, biologically-based,  ‘Black’ voice.  At the same time, both Bonenfant and Jarman have made different arguments about how we might hear (Jarman 2011) or feel (Bonenfant 2010) queerness in voices.  What we think we hear, what we hear, what we feel, and what we think we feel are all dance together within the perception of vocal identity.

 

  1. From your theoretical and practical viewpoints, what aspects, qualities, performances, or manifestations of vocalisation might be perceived to constitute markers of the kinds of identity we might say are derived from recent-historical notions of identity politics – for positive or for negative? In other words, what aspects of vocal sound beyond pitch and accent might cause that sound to be ‘racialised’, ‘homosexualised’, ‘gendered’, ‘classed’, otherwise ‘ethnicised’, or otherwise ‘queered’? Are these phenomena acoustically detectable? Are they really embedded within voicings, or are they constructions we ‘think’ we hear?
  2. How might these mechanisms of the attribution of qualities of identity to voices actually work?
  3. What are the consequences of these mechanisms, from your scholarly or professional perspective: aesthetically, socioculturally, biopolitically…?
  4. If, as asserts Stephen Connor via his notion of the ‘vocalic body’, we attribute (fantasized, visual, tactile) bodies to voices, what are the implications of your views in light of how bodies approach, engage with, and are willing to enter into genuine contact one another via vocalisation? How do these dynamics seem to function in your personal experience, or in your sphere of analysis, or both?
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Research Seminar by Associate Professor Virginie Magnat (UBC)

Virginie Magnat, Associate Professor of Interdisciplinary Performance at the University of British Columbia, Canada, and author of Grotowski, Women and Contemporary Performance: Meetings with Remarkable Women, presented a research seminar on her current research on voice and indigenous cultural heritage on Wednesday 7th June 2017 at the Drama Department, University of Exeter.

s200_virginie.magnat

Performance Studies, Intangible Cultural Heritage, and Indigenous Research Perspectives. 

______________________________________________________________________________ 

Virginie Magnat (University of British Columbia) 

Abstract: As a European artist-scholar from Occitaniai working at a public Canadian university located on the unceded traditional territories of First Nations communities comprised by the province of British Columbia, Virginie Magnat is committed to honoring the perspectives and contributions of Indigenous scholars and to integrating their critique of dominant Western knowledge systems into her work, as reflected in her research projects supported by the Social Sciences and Humanities Research Council of Canada. Drawing from her current research activities and most recent publications, Magnat will discuss in this research seminar the potentialities and limitations of the Anglo-American performance paradigm; the epistemological and methodological implications of the “performance turn” in the social sciences; and Indigenous perspectives on embodied knowledge, agency, and identity that might propel performance studies beyond the unproductive polarity of constructivist and essentialist discursive regimes.

i Occitania is a vast and bio-culturally diverse territory extending from Bordeaux and Toulouse in southwestern France to the Piedmont valleys of Italy, and from Marseille and the Provencal Alps in southeastern France to the Aran Valley in Catalonia on the Spanish side of the Pyrenees.

Inspired by the pioneering work of Konstantinos Thomaidis, who urges performance studies scholars to “reclaim some breathing space for the contingency, temporality, presence, vulnerability and relationality of the lived voice” (2014: 84), Magnat is investigating vocality as a vital source of cultural creativity and an experiential mode of cognition grounded in process, practice, and place. Building on Diana Taylor’s articulation of intangible cultural heritage as a repertoire of embodied memory transmitted by means of performance and serving fundamental aesthetic, epistemic, and social functions (2003, 2008, 2016), Magnat argues that vocal music traditions, whose resilience crucially depends on oral transmission, epitomize the value of intangible cultural heritage. The practice-based component of her interdisciplinary research project explores whether collective vocal practice grounded in these traditions can support expressions of cultural sovereignty and self-determination while promoting inclusivity, diversity, and solidarity as the core values of a healthy multicultural society.

Drawing from her twenty-five years of experience with physically-based performance practice and vocal training, as well as from the embodied research she has been conducting on the Occitan vocal music tradition of her Mediterranean cultural legacy, Magnat is collaborating with an Indigenous Advisory Committee composed of seven Elders/Traditional Knowledge Keepers and artist-scholars, as well as with two Indigenous and two non-Indigenous graduate students pursuing MFA and PhD degrees in Theatre and Performance Studies, Indigenous Studies, and Ethnomusicology. Together, they are facilitating “singing circles” that engage Indigenous, Settler, and Immigrant communities in non-colonial collective vocal practice hinging upon the Indigenous ethical principles of respect, reciprocity, and relationality (Wilson 2008). With their potential for transformation, these cross-cultural and intergenerational gatherings constitute powerful utopian performatives that contribute to current reconciliation processes in Canada.

Bibliography: 

Dolan, Jill. Utopia in Performance: Finding Hope at the Theater. Ann Arbor: University of Michigan Press, 2005.
Magnat, Virginie. “Occitan Music Revitalization as Radical Cultural Activism: From Postcolonial Regionalism to Altermondialisation,” Popular Music and Society 40:1 (2017), 61-74.
– – -. “Decolonizing Performance Research.ˮ Special issue on performance studies edited by Marie Pecorari, Etudes anglaises 69/2 (2016): 135-148.
– – -. Grotowski, Women, and Contemporary Performance: Meetings with Remarkable Women. Routledge Advances in Theatre and Performance Studies. London and New York: Routledge, 2014.
Taylor, Diana. Saving the ‛Live’? Re-Performance and Intangible Cultural Heritage. Études Anglaises 69/2 (2016): 149-161.
– – -. “Performance and Intangible Cultural Heritage.” The Cambridge Companion to Performance Studies. Ed. Tracy C. Davis. Cambridge and New York: Cambridge University Press, 2008. 91-104.
– – -. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press, 2003.
Thomaidis, Konstantinos. Theatre & Voice. London and New York: Palgrave Macmillan, 2017.
– – -. Voice Studies: Critical Approaches to Process, Performance and Experience. London and New York: Routledge, 2015.
– – -. “The Revocalization of Logos? Thinking, Doing and Disseminating Voice.” Studies in Musical Theatre 8: 1 (2014). 77–87.
Wilson, Shawn. Research is Ceremony: Indigenous Research Methods. Halifax and Winnipeg: Fernwood, 2008.

Bio: 

Virginie Magnat is Associate Professor of Performance at the University of British Columbia. She works at the intersection of performances studies, cultural anthropology, experimental ethnography, and Indigenous research methodologies. Her publications have appeared in North American and international scholarly journals as well as edited collections in the fields of theatre and performance studies, anthropology, ethnomusicology, sociology, qualitative inquiry, and literary criticism in English, French, Polish, Italian, and Spanish. Her monograph Grotowski, Women, and Contemporary Performance: Meetings with Remarkable Women (Routledge 2014) and its companion documentary film series, featured on the Routledge Performance Archive, are grounded in four years of embodied research and multi-sited fieldwork supported by two major research grants from the Social Sciences and Humanities Research Council of Canada.

Her new research project The Performative Power of Vocality and the arts-based community engagement initiative Honoring Cultural Diversity through Collective Vocal Practice, also funded by two SSHRC grants, explore vocality as a vital source of human creativity and an embodied mode of cognition grounded in process, practice, and place, as well as a form of social and political agency. The main research outcomes will be her second monograph contracted by Routledge and the creation of a film documenting the practice-based research component that will be hosted on the UBC Institute for Community Engaged Research website (http://icer.ok.ubc.ca/welcome.html).


 

The Research Seminar was part of Virginie Magnat’s ongoing collaboration with Konstantinos Thomaidis, which is currently centred around the special issue of JIVS Voicing Belonging: Traditional Singing in a Globalized World. We wish to thank the College of Humanities at the University of Exeter for sponsoring the visit with a Visiting International Academic Fellowship grant and the Drama Department for generous technical and administrative support.

Voice Workshop in Tallinn, Estonia

Dr Konstantinos Thomaidis led an intensive voice workshop as a visiting tutor for the MA Physical Theatre and Theatre Pedagogy at the Estonian Academy of Music and Theatre, Tallinn, Estonian (15th-19th May 2017).

The workshop drew on principles of Konstantinos’s work on intersubjective voice pedagogy and, specifically developing his work on relational resonance, culminated in an open presentation of choral extracts from Greek tragedy.

Estonia Workshop

For further information:

http://www.ema.edu.ee

http://www.ema.edu.ee/konstantinos-thomaidise-meistrikursused-emta-lavakunstikoolis/

http://lavakas.ee/index.php?sisu=0&mida=746

CIVS wishes to thank Juri Nael for the invitation and for oganising the visit, and Marie Kolle-Laur for administrative support.

Journal of Interdisciplinary Voice Studies 2.1

The Centre for Interdisciplinary Voice Studies is delighted to announce the publication of issue 2.1 of the Journal of Interdisciplinary Voice Studies.

Contributions to this general issue evidence the development of the field of voice studies in various thematic and methodological directions and include:

ARTICLES

‘The voice of eloquence in Kenneth Burke’s rhetoric and its implications for advertising performance’ by Joshua Hill https://doi.org/10.1386/jivs.2.1.7_1

‘Horrorism in the scene of torture: Reading Scarry with Cavarero’ by Timothy J. Huzar https://doi.org/10.1386/jivs.2.1.25_1

‘Children who stutter find their voice onstage and off: The SAY approach to stuttering’ by Ellen Mareneck https://doi.org/10.1386/jivs.2.1.45_1

VOICINGS

‘Space, shape and the Physio-Vocal instrument’ by Robert Lewis https://doi.org/10.1386/jivs.2.1.57_1

‘Tracing voice through the career of a musical pioneer: A conversation with Pauline Oliveros’ by Gelsey Bell and Pauline Oliveros https://doi.org/10.1386/jivs.2.1.67_1

REVIEWS

The Art of Voice Synthesis Symposium, Amsterdam, 11–13 May 2016 http://www.artificialvoice.nl/

The Late Voice: Time, Age, and Experience in Popular Music, Richard Elliott (2015) New York and London: Bloomsbury Publishing Inc., 289 pp., ISBN: 9781628921182, h/bk, $120; e-book, $107.99

Beyond Words: Sobs, Hums, Stutters and Other Vocalizations, Steven Connor (2014) London: Reaktion Books, 240 pp., ISBN: 9781780232584, h/bk, £25.00

Sensing Sound: Singing and Listening as Vibrational Practice, Nina Sun Eidsheim (2015) Durham: Duke University Press, 270 pp., ISBN: 9780822360469, h/bk, $89.95; ISBN: 9780822360612, p/bk, $24.95

Voices in the Media: Performing French Linguistic Otherness, Gaelle Planchenault (2015) London: Bloomsbury, 210 pp., ISBN: 9781472588029, £75.00

Reviews Authors:  Francesco Bentivegna And  Katherine Meizel And  Brandon LaBelle And  Rebecca Lentjes And  Walid Benkhaled

https://doi.org/10.1386/jivs.2.1.79_5

You can read Ben Macpherson’s editorial here: http://www.ingentaconnect.com/content/intellect/jivs/2017/00000002/00000001/art00001

 

 

 

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Roy Hart Voice Workshops by Margaret Pikes

CIVS collaborator Margaret Pikes will be delivering workshops on Roy Hart Voice Work later this year. Please see below for further information:

 

ROY HART VOICE WORK

www.royhartstimme-koeln.com

 

LONDON – Bethnal Green

Eastbourne House Arts, Bullards Place, London E2 0PT

WORKSHOP: VOICE and IMPROVISATION

29 and 30 April 2017 11:00 to 17:00

 

Margaret Pikes (ROY HART voice teacher) will lead this course with Kate Hilder, performer, Action Theatre (TM) teacher and Feldenkraistrainer: www.katehilder.com/

 

Exploring our voices can be a doorway to words and language. We will discover how connecting with the sources from which we produce vocal sound and listening to the qualities and musicality of our voice can generate narrative content. Kate and Margaret will teach in tandem starting each day with a physical and vocal warmup followed by solo, duet and small group improvisations. Margaret will then lead a session centering on vocal work which arises from these improvisations, including short individual guidance. At other times we will start with vocal improvising and then explore movement and mood to fill out the different characters which emerge.

This course is open to participants who have already worked with Margaret or Kate, or who have some experience of Voice/body/improvisation practice.

Cost: £150 (or £130 if a £50 deposit received before 3rd April.)

For more information or to enrol contact Kate Hilder: katejhilder@gmail.com

 

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ROY HART VOICE WORK

S.W. FRANCE

at the Hameau de l’Etoile (Nr. Montpellier) in a wild and beautiful setting.

www.hameaudeletoile.com/en

 

VOICE– BODY INTENSIVE (Intermediate/Advanced Level) 6 day residential Workshop

6 – 11 AUGUST 2017

led by Margaret Pikes (ROY HART voice teacher) with

Neil Paris director, ex-Fabulous Beast performer, teacher and artistic director of SMITHdancetheatre http://www.smithdancetheatre.co.uk/

 

This course is open to participants interested in the Roy Hart approach to developing the range of vocal expression and who have some experience of voice and body work. ROY HART voice work offers a way to experience and develop a deeper connection to your own unique vocal potential. Because vocal sound has its source in the body as well as in the world of our emotions, play and movement can often unexpectedly free up vocal possibilities that lie hidden and unexpressed.

 

Margaret will lead this workshop with Neil Paris. Guided by these two very experienced and supportive teachers, participants in this workshop will explore and develop awareness of the dynamic sources of the voice in the body and the imagination. In the mornings, we will focus on individual voices and movement, then in the afternoons on group improvisation, play and the development of individual themes including work on texts or singing songs.

 

Full board and lodging must be booked separately at the Hameau de l’Etoile, prices starting from 65€ per night. Participants will then be able to relax between classes in a beautiful, wild setting, enjoying comfortable accommodation, excellent food (full board) and unlimited use of the large swimming pool. (Having this time and space to absorb the day’s work, can be particularly helpful on such an intensive course.)

Price of workshop (36 hours): .

Early bird price: 540€ if deposit of 120€ received before 1 March 201. After this date the price is 580€ .

Maximum number of participants: 12

(Accommodation not included in this price.)

Contact Margaret by email for more detailed information and to enroll.

mpikes2000@yahoo.com

www.royhartstimme-koeln.com

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