These sessions will focus on theory and will take the form of a lecture by Fátima Miranda on her understanding of the Voice as Art. The lecture will follow her line of thought, focusing on a selection of the topics typically associated with the voice and based on the following premises:
- There are no aesthetic canons in singing. We know of broken voices such as those in certain African Griots, or those of Chavela Vargas, Carmarón, Tom Waits or Roy Hart. These voices are as faltering as they are moving, as are the singing of Maria Callas, Victoria de los Ángeles or Cathy Berberian. Some are more academic and others have a greater popularity, but they are all equally pleasing.
- There are no issues of compatibility between vocal techniques as long as there is freedom of thought, conscious study, and an absence of the fear of being overwhelmed by the world of possibilities that is the voice, even when the sounds produced are risky in theoretical terms.
- Singing is produced through air (breathing), listening and the appropriate balance between relaxation and posture. These are all crucial areas that we should prioritise. The vocal chords are only the final piece of the jigsaw.
- In all creative processes, and in this case with the voice, what is unknown is more important than what is known. A conscious and directed effort can push unconscious qualities towards consciousness, feeding the imagination and intuition, both essential to driving personal development and freedom.
- Many professionals who use their voice as their main work instrument do not give it any special professional attention. Cultivating it, educating it and making it conscious should not be a hobby. It is a responsibility.
- A singer is like an athlete of the voice. Fulfilment comes through practice and training. Repetition allows singers to transcend the technique and forget it, to allow the ideas that have become known as inspiration to emerge.
Photo: © Nancy Arias
ILLUSTRATED LECTURES
- Length: 2’30 to 3 hours.
- Content: the focus of the conference will be determined by its particular context and audience. It will be based on the premises mentioned in the general introduction to this section and it will include the following elements:
- Lecture on Fatima Miranda´s research and her understanding the Voice as Art. This lecture will explore several of the numerous subjects that surround the world of this inexhaustible instrument. This includes: techniques, vocals, gestures, body, creative process, unconventional music sheets, the importance of training and repetition as a way of awakening the genuine qualities of individuals and to encourage inspiration and explore the musical, poetic and technical scope of onomatopoeias, vocal and everyday oral sounds generally not considered “singing” or music.
- Each topic in the lecture will be illustrated with complimentary artwork or other pieces by Fátima Miranda, such as films of her performances and graphic music sheets.
- The session will end with a discussion on the lectures and repertoire of Fátima Miranda that will be guided by the particular interests of the audience, generating a space for reflection for all participants.
- If relevant, Fátima could also illustrate the conference with some of her own vocal qualities.
Photo: © Nancy Arias
LECTURE
- Length: 1h30min approx.
- Content: this will be determined by the context and audience of the time. The conference will be introduced by a teaser video that will show sections of Fátima Miranda´s concerts.
- If desirable, a question and answer session could be included.
Photo: © Nancy Arias
IN CONVERSATION
This is a 1h30min to 2h session with the artist and audience. The conversation will begin with an interview with Fátima that will be conducted by an artistic or musical professional well acquainted with her work. This may be a journalist, writer, musician, or the director of the centre where the encounter takes place. The interviewer will also be the moderator of the conversation.