weaving Voices 01.04.2025 issuu - Flipbook - Page 95
Wendela Löfquist (Solsidans Kulturförening) is a singer and
songwriter, settled in the lush Swedish forest. She is a teacher, health
practitioner, and cultural event coordinator, currently organising
the music and crafts festival Into the Woods. She is also a member
of, and writes music for, the band Fågelvägen. Her experience
includes participation in numerous choirs and vocal projects,
such as the project Gränsland, with Ann-Louise Liljedahl’s music
based on the works of Swedish poet Albert Olsson, and the choir
Carolinae. Wendela loves the playfulness of exploring the voice and
is passionate about music and culture as means of bringing people
together. Singing and teaching are two of her biggest passions, as
well as organizing events that foster community and connection.
Géza Pintér-Németh (Sinum Theatre Laboratory Association)
studied at the University of Pécs, in Hungary, at the department of
Italian Literature and Film Studies from 2003 and graduated in 2010.
He worked with several street theatre companies in Germany and
in Italy between 2008 and 2016. He is a theoretical and practical
researcher of the intercultural aspect of theatre events in rural
areas. In this field he has managed Erasmus+ and Creative Europe
projects since 2016 (RIOTE, ATIPIA, Weaving Voices, SPARSE). He has
been doing a DLA program at the University of Film and Theatre in
Budapest (SZFE) since 2023.
She co-translated the books: Why Don’t We Do It in the Road (2021)
by Vida Cerkvenik Bren, and The Five Continents of Theatre by
Eugenio Barba and Nicola Savarese. Her papers have been published
e.g. in the periodicals Theatron (2023), and Imágó Budapest (2022).
Rosa Smits (TuYo Foundation) is a textile and participative artist
based in Amsterdam. She is captivated by the social, tactile, and
procedural nature of weaving. Inspired by communities living
harmoniously with each other and their environment, her work
explores the fundamental question of how to live and work together.
Rosa extends her creative vision by involving local residents in
the collaborative process of weaving tapestries, fostering a new
collective language. This collaborative approach strengthens
social and tactile bonds, uniting people from diverse cultural,
socio-economic, and professional backgrounds. Her projects have
created contemporary collectives in rural areas, from working with
Amazigh women in Morocco to engaging her suburban neighbours.
Additionally, Rosa conducts workshops, collaborates on various
projects, and develops and exhibits her own textile art. Her work
demonstrates the richness of textile art by emphasising the process
over the final result, enabling multiple hands to freely create new
surfaces of connection.
Nikolett Pintér-Németh (Sinum Theatre Laboratory Association)
is a PhD candidate at the University of Pécs – Doctoral School of
Literary and Cultural Studies. In her research she engages with
Voice Studies, the performative voice in relation to subjectivity, and
the constructing/deconstructing of meaning in a broad theatrical
context. She completed her former studies in Cultural Analysis (MA)
at the University of Amsterdam. Empirical research is central to her
work. She collaborated as a performer, voice trainer and project
writer with independent theatre groups (e.g. Shoshin Theatre,
UtcaSzAK) and was the project manager of the European Partnership
and Mobility Projects ATIPIA (2018-2019), and VoiceWell (2019-2020).
She is a co-founder of Sinum Theatre and the initiator of the present
project.
Laurent Stéphan (Centre Artistique International Roy Hart) is a
body-oriented voice teacher who holds a National Diploma for
Teaching Theatre. He is living and working in the Roy Hart Voice
Centre, in France. He is highly interested in understanding what
expands presence in a person and in a performer. His unique
approach and perspective is informed by his professional expertise
as a theatre performer, a massage practitioner and singer,
specialising in traditional polyphony of Georgia (4 CDs and over
250 concerts in three decades). To enhance his goal of inviting
each person and voice to arise and sound freely, he is a facilitating
teacher who uses playfulness and spontaneity and then combines
this non-judgmental approach with a rigorous teaching of three-part
harmonies from Georgia, to develop musical and rhythmic accuracy
in his students.
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