Performance: Presence – Precencia - Tilstedeværelse - to connect
Performance: Vocal and silence
The women of Juárez have been described as voiceless. They are not. Women are not. Expression of strength and courage can be expressed without words, using precisely the voice.
Our voice is as individual as our fingerprints. Our voice grounds us and the tone of our voice tells more than the words we express.
In the performance Presence – Precencia - Tilstedeværelse - to connect, I am interested in how my voice in intervals with prolonged silence can be used to express strength and vulnerability.
Without using words, I hold one tone load in order to communicate and create space. When faced with purely the voice, and the sound of one tone, the audience cannot relate to words, a musical score or other interpretations. Thus, our defense system is lowered and we are left more vulnerable forcing us to become more present. Just as embroidering was a way to create openness and connection, I see the voice to be a similar vehicle. By also integrating silence of varied length, a tension is created. My vehicle for connection through this performance is my ability to be present and grounded.
The performance at the opening of Frontera 450+, included a collaboration with the performing artist Elia Acre, from Central America. I started the performance in one part of the museum by stepping out of the crowd, first standing in silence, before I did the first sounding. After a couple of repetition of my voice, Elia’s voice echoed from another part of the museum. Slowly she moved through the museum to meet me as our voices met, echoed each other, or challenged each other.
By inviting another woman from South America to participate in this performance we are symbolically exchanging traces and crossing continents. In the museum our voices meet, connect and pass each other.
The women of Juárez have been described as voiceless. They are not. Women are not. Expression of strength and courage can be expressed without words, using precisely the voice.
Our voice is as individual as our fingerprints. Our voice grounds us and the tone of our voice tells more than the words we express.
In the performance Presence – Precencia - Tilstedeværelse - to connect, I am interested in how my voice in intervals with prolonged silence can be used to express strength and vulnerability.
Without using words, I hold one tone load in order to communicate and create space. When faced with purely the voice, and the sound of one tone, the audience cannot relate to words, a musical score or other interpretations. Thus, our defense system is lowered and we are left more vulnerable forcing us to become more present. Just as embroidering was a way to create openness and connection, I see the voice to be a similar vehicle. By also integrating silence of varied length, a tension is created. My vehicle for connection through this performance is my ability to be present and grounded.
The performance at the opening of Frontera 450+, included a collaboration with the performing artist Elia Acre, from Central America. I started the performance in one part of the museum by stepping out of the crowd, first standing in silence, before I did the first sounding. After a couple of repetition of my voice, Elia’s voice echoed from another part of the museum. Slowly she moved through the museum to meet me as our voices met, echoed each other, or challenged each other.
By inviting another woman from South America to participate in this performance we are symbolically exchanging traces and crossing continents. In the museum our voices meet, connect and pass each other.
posted by Lise Bjorne Linnert at 5:33 PM
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