embodied voice techniques

 

EMBODIED VOICE; a three-step process that starts with 1) sourcing a given energy,
2) resonating a sound that matches the frequency of that source and 3) allowing the
sound to dictate physical movement. Motivated sound as movement resource.
With practice, sound, song, and movement blend and become unified.

VERTICAL SOURCE; two-way column of energy extending down from above
the head and through the body and down into the earth below, alongside
energy extending up from the earth below, up through the body and up
above the head. Accessed in the jog and in the personal space.

IMPULSES; process of allowing free expression of the body’s spontaneous
responses to stimulus such as singing your song; unplanned and undirected
movements of innate responses to the song

EARTH; source of stabilizing current often incorporated during the jog
to anchor the attention in the body and resonate sounds and tones
that match the earth energy in the body

MICRO MOVEMENTS; very small, and sometimes imperceptibly small,
movements dictated exclusively by the song’s melody

PRECISION; clarifying the form and direction of any movement or sound
by paring away the excess; any unveiling of the essence of a movement,
sound or gesture; economy

SONG ESSENCE; the silent source of the song showing its own distinct force,
quality and tone; with enough commitment to this silent essence,
one can find resonance with its essential tone

ESSENTIAL TONE; the tonal essence of the song as discovered through
resonating a sound to match the song essence; the essential tone is not
the melody of the song but a pre-melodic sound or series of tones

ANCESTRAL SOURCES; any personal and intuitive access to the emotional
and spiritual wellsprings of your genetic lineage as represented by your
chosen song; various modes of song as ancestral vehicle include:
asking them questions, relating to them, singing your song to them,
praying to them, embodying them.

HEAD/HEART/GUT; technique for singing (or toning) the melody of
your song through the three major centers in the body and then,
the three minor centers within each. HEAD: throat, mouth, back of head;
HEART: lungs, upper chest, upper back; GUT: belly, pelvic basin, solar plexus.

RITUAL ACTION; core motivation (why you are singing the song) revealed
and expressed in action while singing, ie., I am singing the song for courage
to endure my losses or I am singing to stay warm or I am singing to fight
my battle or I am singing to honor my ancestors. click this for more info

CALL & RESPONSE; using your song as the only language you have to
reach others; requiring moment-to-moment listening and responding;

LAMENT -- CELEBRANT; dynamic song polarity; using your song-as-vehicle
to lament and/or celebrate; usually done in groups of three or more

 

ADDITIONAL PARATHEATRE TECHNIQUES

 

 


five levels of song-as-vehicle

 

towards the embodiment of a song

1) STRUCTURAL (developed away from the lab)
learn to sing the song with special attention to hitting each note of the melody

2) PHYSICAL/EMOTIONAL
find the micro-movements, the dance and the ritual action innate to the melody

3) INTUITIVE
discover the silent essence of the song towards accessing it as a movement resource

4) SPIRITUAL
discover who or what you are actually singing for and why you must sing this song

5) INTERACTIVE/CONCENTRATION
maintain the integrity of your song amidst the cacophony of other songs

 

 


 


Finnish Brotherhood Hall, Winter Solstice 2004

 

SONGS-AS-VEHICLES PERFORMANCE
12/20, Berkeley; program notes

SONGS-AS-VEHICLES: THE CD
recorded in the Marin Headlands bunkers

SONG-AS-VEHICLE PARTICIPANT LIST
plus field trip photos and lab overview

Voice as Instrument: Paul Oertel
Interview: recommended reading

PREVIOUS LAB THEMES & RITUAL JOURNALS
since 1999

 

 

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