scholarly journals “The body of the voice / the voice of the body”. Vocal Performance Art and its connection to the cognitive unconscious

L'arte orale ◽  
2020 ◽  
pp. 245-262
Author(s):  
Theda Weber-Lucks
Keyword(s):  
Performance Art ◽  
The Body ◽  
Vocal Performance ◽  
Cognitive Unconscious ◽  
The Voice

Identity Politics and Vocal “Whitewashing” in Celebrity Lip-Syncs

2021 ◽  
pp. 117-132
Author(s):  
Jennifer O’Meara
Keyword(s):  
Identity Politics ◽  
The Body ◽  
Media Culture ◽  
Vocal Performance ◽  
Cultural Appropriation ◽  
The Us ◽  
Lip Sync ◽  
Contemporary Media ◽  
Gender Based ◽  
The Voice

The popularity of celebrity lip-syncing in contemporary media culture often lies in the presentation of racial and/or gender-based disjunctions between the connotations of the voice that is heard and the body that is seen. This chapter argues that such racial ventriloquism can be conceived as vocal “whitewashing,” which involves changing a preexisting vocal performance by a person of color into one by a white person. With a focus on two performances by white actors (Paul Rudd and Emma Stone) on The Tonight Show Starring Jimmy Fallon and a contrasting performance by a Black actor (Taraji P. Henson) on Lip Sync Battle, the chapter contextualizes and historicizes the trend in which white celebrities “try on” the voices of singers of color. It demonstrates how the racial ventriloquism involved in such lip-syncs intersects problematically with histories of cultural appropriation in the US film and music industries.

‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside

2011 ◽  
Vol 5 (1) ◽  
pp. 18-34 ◽  
Author(s):  
Rick Dolphijn
Keyword(s):  
Performance Art ◽  
Holy Spirit ◽  
The Body ◽  
Deleuze And Guattari ◽  
The Earth ◽  
The Holy Spirit ◽  
Life Itself ◽  
Body Without Organs ◽  
Ways Of Thinking ◽  
And Performance

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.

Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning

2020 ◽  
pp. 291-312
Author(s):  
Marissa Silverman
Keyword(s):  
Social Media ◽  
Music Education ◽  
Case Studies ◽  
Teaching And Learning ◽  
The Body ◽  
The Internet ◽  
Philosophical Investigation ◽  
Music Teaching ◽  
Music Making ◽  
The Voice

This chapter asks an important, yet seemingly illusive, question: In what ways does the internet provide (or not) activist—or, for present purposes “artivist”—opportunities and engagements for musicing, music sharing, and music teaching and learning? According to Asante (2008), an “artivist (artist + activist) uses her artistic talents to fight and struggle against injustice and oppression—by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation” (p. 6). Given this view, can (and should) social media be a means to achieve artivism through online musicing and music sharing, and, therefore, music teaching and learning? Taking a feminist perspective, this chapter interrogates the nature of cyber musical artivism as a potential means to a necessary end: positive transformation. In what ways can social media be a conduit (or hindrance) for cyber musical artivism? What might musicing and music sharing gain (or lose) from engaging with online artivist practices? In addition to a philosophical investigation, this chapter will examine select case studies of online artivist music making and music sharing communities with the above concerns in mind, specifically as they relate to music education.

scholarly journals Optimising outcome assessment of voice interventions, II: sensitivity to change of self-reported and observer-rated measures

2007 ◽  
Vol 122 (1) ◽  
pp. 46-51 ◽  
Author(s):  
I N Steen ◽  
K MacKenzie ◽  
P N Carding ◽  
A Webb ◽  
I J Deary ◽  
...  
Keyword(s):  
General Health ◽  
Voice Quality ◽  
Voice Handicap Index ◽  
Effect Sizes ◽  
Voice Therapy ◽  
Vocal Performance ◽  
Symptom Scale ◽  
Wide Range ◽  
The Voice ◽  
Responsiveness To Change

AbstractObjectives:A wide range of well validated instruments is now available to assess voice quality and voice-related quality of life, but comparative studies of the responsiveness to change of these measures are lacking. The aim of this study was to assess the responsiveness to change of a range of different measures, following voice therapy and surgery.Design:Longitudinal, cohort comparison study.Setting:Two UK voice clinics.Participants:One hundred and forty-four patients referred for treatment of benign voice disorders, 90 undergoing voice therapy and 54 undergoing laryngeal microsurgery.Main outcome measures:Three measures of self-reported voice quality (the vocal performance questionnaire, the voice handicap index and the voice symptom scale), plus the short form 36 (SF 36) general health status measure and the hospital anxiety and depression score. Perceptual, observer-rated analysis of voice quality was performed using the grade–roughness–breathiness–asthenia–strain scale. We compared the effect sizes (i.e. responsiveness to change) of the principal subscales of all measures before and after voice therapy or phonosurgery.Results:All three self-reported voice measures had large effect sizes following either voice therapy or surgery. Outcomes were similar in both treatment groups. The effect sizes for the observer-rated grade–roughness–breathiness–asthenia–strain scale scores were smaller, although still moderate. The roughness subscale in particular showed little change after therapy or surgery. Only small effects were observed in general health and mood measures.Conclusion:The results suggest that the use of a voice-specific questionnaire is essential for assessing the effectiveness of voice interventions. All three self-reported measures tested were capable of detecting change, and scores were highly correlated. On the basis of this evaluation of different measures' sensitivities to change, there is no strong evidence to favour either the vocal performance questionnaire, the voice handicap index or the voice symptom scale.

scholarly journals Archiveras anarquistas: Corporal Testimony in the Work of Diamela Eltit

2013 ◽  
Vol 1 (1) ◽  
pp. 1-17
Author(s):  
Megan Corbin
Keyword(s):  
Feminist Criticism ◽  
The Body ◽  
Diamela Eltit ◽  
Truth Telling ◽  
The Past ◽  
Cultural Texts ◽  
The Subject ◽  
Chilean Dictatorship ◽  
The Voice ◽  
Historical Model

Abstract: There exists a constant within the trajectory of Diamela Eltit’s contributions to New Chilean Fiction: the turn to the body’s revelatory capacity as a corporal archive of human existence. Simultaneously exploring and rejecting the confines of the traditional testimonial reliance on language, Eltit moves the reader to a re-consideration of the truth-telling function of the biological materiality of the body, placing imperfect corporalities on display as a means of speaking, even where the voice itself may falter.  This essay locates Eltit’s move to the corporal within the trajectory of feminist criticism, the traumatic realities of the Chilean dictatorship and post-dictatorship periods, and the search for the recuperation of those bodily knowledges represented by the disappeared.  Next, it turns to Eltit’s Impuesto a la carne as her most recent re-visioning of the importance of corporal textualities, whether or not the subject-matter of the body’s denunciation is connected to the dictatorship.  Lastly, this essay reconsiders the rejective power of the traditional archive, analyzing the effect set models have on those who seek to tell their stories outside of the traditional testimonial model. I argue that the case of Diamela Eltit is an example of the way writers and producers of cultural texts which actively inscribe alternative memories of the past are resisting the authoritative power of the archive and subversively inscribing narrative memory onto bodily materialities, re-orienting the view of the corporal from an evidentiary showing to an active process of re-telling the past. Eltit’s novels, inscribed with her corporal textual model, give voice to survivors, articulating an alternate historical model for the archive, embracing the biological and making it speak against the rigid abuses of authoritarianism.

Body Resonance and the Voice

2016 ◽  
Vol 26 (1) ◽  
pp. 137-157
Author(s):  
Vita Heinrich-Clauer
Keyword(s):  
Self Efficacy ◽  
The Body ◽  
The Other ◽  
Therapeutic Approaches ◽  
Important Distinction ◽  
Vocal Expression ◽  
Psychotherapeutic Process ◽  
Other Hand ◽  
The One ◽  
The Voice

This article focuses on bioenergetic principles and the link between emotions and the voice, discussing various approaches to vocal expression in the psychotherapeutic process. There is an examination of the idiosyncrasies of bioenergetic work with the voice in contrast to therapeutic approaches that work solely with the body. There is an important distinction for practical bioenergetic work between liberating vocal discharge on the one hand and the build-up of tone, boundaries and self-efficacy on the other hand (cf. Shapiro, 2006, 2008, 2009).

Theatres of Terror and Cruelty: From Noise to the Voice

2016 ◽  
Author(s):  
Guillaume Collett
Keyword(s):  
Language Acquisition ◽  
The Body ◽  
Antonin Artaud ◽  
Present Book ◽  
Body Without Organs ◽  
The Voice

While, for many, Deleuze’s philosophy is synonymous with his concept of the ‘body without organs’, and even though he first explicitly develops this concept in The Logic of Sense, a large part of the present book argues that it is rather the organ-ised body – here figuring specifically as incarnated structure, building explicitly on Leclaire – on which his onto-logic of sense hinges. Nonetheless, this body only emerges later on in the ‘dynamic genesis’, the psychoanalytic portion of The Logic of Sense which provides a psycho-sexual account of language acquisition and of the emergence of sense, and first we must turn to the dis-organ-ised body of Klein and Artaud. In The Logic of Sense, Deleuze develops his conception of the body without organs based on a reading of the work of Antonin Artaud.

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