weaving Voices 01.04.2025 issuu - Flipbook - Page 22
blowing to pieces this idea of a singular coherent one who
perceives…”
Deborah Hay23
Experience voice workshop 2#
There is a crack, a crack in everything /
That’s how the light gets in.”
Leonard Cohen 37
There is a way in which diving into perception as being
‘the dance/music’ and therefore giving up the search
for it altogether, seemed like a spiritual path without a
religion.
“I experience breathing as a dialogue with all there is. I
believe that my cellular body knows dialogue in a way that I
rarely experience in ordinary life.”
Deborah Hay24
“My work can be traced to the questions
it poses and the answers it rejects. […] “
Deborah Hay38
A new era of formless practice began, where “…art
became what made life more interesting than art.”
Margaret Cameron
A lot of reasons to do art fell away. Life and art were
not separate entities anymore and the practices
suggested by Deborah Hay were full of discovery
and deconstruction of fixation. Everything became
movement, like breathing.
“I place the hands of my voice on words, on you who listen,
and touch a touch that is also within me. Exhalation becomes
inhalation; inhalation becomes exhalation. They are lovers.”
Margaret Cameron25
“I experience breathing as a dialogue
with all there is.”
Deborah Hay
“…art became what made life more
interesting than art.”
Margaret Cameron 39
I thought I had stopped asking what it was that I was
doing, when I found myself in a Hotel Bar in Amsterdam
with Teresa, Walli and Dora, during the Weaving Voices
session in Amsterdam asking exactly that question:
“What is it that we are doing here in the Weaving Voices
Project?”
23 Humble P. and Young, D. (2019) Alignment is Everywhere. [Film]
24 Hay, D., Leigh Foster S., Monni K. and Pichaud L. (2019) RE-Perspective Deborah Hay:
Works from 1968 to the Present. Berlin: Hatje Cantz.
25 Cameron, M. (2016) I Shudder to Think: Performance as Philosophy. Brisbane: Lady昀椀nger Press, p. 41.
. Brisbane: Lady昀椀n
42
“…I feel my whole back, which can move, which warms
up and comes alive, the spine in the middle like a snake
awakening from a long winter’s sleep. The warmth also
flows into my arms and legs and I start to move more
and more. Now my voice spontaneously joins in. I feel
the need to sing long deep notes, notes that reach
deep down into my legs, that ground and root me,
notes that give me strength and fill me completely.
37 Cohen, L. (1992) Anthem. Sony. [Song]
37 Cohen,
(1992)Foster
Anthem.
Sony. [Song]
38
Hay, D.,L.Leigh
S., Monni
K. and Pichaud L. (2019)
38
Hay, D., Leigh
Foster Hay:
S., Monni
and 1968
Pichaud
L. (2019)
RE-Perspective
Deborah
WorksK.from
to the
Present.
Berlin:
RE-Perspective
Hatje Cantz.
Deborah Hay: Works from 1968 to the Present.
Berlin:
Hatje Cantz.
39 Cameron,
M. – paraphrased from memory by Walli
My partner is working my lower back now, firmly and
steadily and I feel like roaring now, going even deeper
to feel my legs. Yes, my legs want to roar like a wild
animal that has been caged for too long, simply out of
the desire to roar, out of the desire to manifest my own
power and presence.
I hesitate for a moment, because I am afraid of being
too loud, too striking, but the desire is stronger. So
I take a deep breath, a growling sound escapes my
throat, a vibration in my throat that makes its way
down my windpipe into my body, I inhale and growl
again, then I open the voice channel and harsh broken
sounds make their way out of my throat, now I feel my
diaphragm and stomach.
I continue to follow the wild energy that is now
manifesting in my voice. The sounds are getting louder
and louder, rubbing and vibrating in my throat and
chest, making me hot, and I support myself with my
arms on my knees, which gives me even more strength.
39 Cameron, M. – paraphrased from memory by Walli
Hö昀椀nger.
Hö昀椀nger.
43
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