The pleasure of voice dancing and Contact Improvisation

possibilities for a Voice Jam Session

Authors

DOI:

https://doi.org/10.26512/vozcen.v4i01.48317

Keywords:

Voice, Vocal practices, Dance, Contact Improvisation, Somatic education

Abstract

This article intends to analyze aspects of the language of the Contact Improvisation dance technique and bring them closer to vocal practices and pedagogies permeated by elements of somatic education. With this in mind, this article presents experiences developed as a performer in a rehearsal room with the research group Corpolumen. A subsequent personal and internal investigation raised possibilities for researching the voice as a dance act, which led to developing, as a teacher and vocal coach, experiments between voice and dances with interpreters from the Universidade Livre, which resulted in a Voice Jam Session. Such discoveries contribute to expanding investigations about practices and pedagogies for the voice on stage, revealing how, through perception, sensitivity, and subjectivity of movement, the interpreter leverages means to trigger his voice.

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Author Biography

Valéria Cristina Machado Rocha, University of Bahia-UFBA, Salvador/BA

Valeria is an artist and teacher. Bachelor of Performing Arts (Faculty of Arts Dulcina de Moraes. Brasília-DF), Degree in Visual Arts (Claretian. Brasília-DF), Specialization in School Physical Education (Faculty Alvorada Brasília-DF), Master's Degree from the Federal University of Uberlândia (UFU) ), in Vocal Practices and Poetics, in which he investigated the teaching, learning and creation processes with an emphasis on the voice. She is currently a doctoral student at the PPGAC at the Federal University of Bahia (UFBA) in which she investigates poetics and vocal pedagogical processes. She was a professor at the Faculty of Arts Dulcina de Moraes in the areas of visual arts, Performance, Performing Arts, and voice. She develops and transits between artistic practices and pedagogical processes focused on the scene, voice and performance.

References

COHEN, Bonnie Bainbridge. An introduction to body-mind centering, [2017?]. Disponível em: https://www.bodymindcentering.com/files/an_intro_to_body-mind_centering.pdf - Acesso em: 24 abr. 2023.

LESSAC, Arthur. The use and training of the human voice. New York City: McGraw-Hill Higher Education, 1997.

NIETZSCHE, Friedrich. Assim falou Zaratustra. São Paulo: Martin Claret, 2007.

SCHMID, Jörg. Contato Improvisação como uma arte de viver [parte 2]. Tradução de Bruno Garrote. Urdimento, v. 2, n. 29, p. 177-192, Out. 2017. Disponível em: https://www.academia.edu/35263480/Contato_Improvisa%C3%A7%C3%A3o_como_uma_Arte_de_viver_parte_2_Tradu%C3%A7%C3%A3o - Acesso em: 24 abr. 2023.

VIANNA, Klauss. A dança. São Paulo: Summus, 2005.

Voz e Cena - volume 04 número 01 - janeiro a junho de 2023

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Published

2023-06-29

How to Cite

Rocha, V. C. M. (2023). The pleasure of voice dancing and Contact Improvisation: possibilities for a Voice Jam Session. Voz E Cena (Voice and Scene), 4(01), 257–270. https://doi.org/10.26512/vozcen.v4i01.48317

Issue

Vol. 4 No. 01: Voz e Cena (jan-jun/2023)

Section

Thematic Dossier - Articles

Categories

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Copyright (c) 2023 Voz e Cena (Voice and Scene)

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