Vocal Performances & Visual Scores
- Submitting institution
York St John University
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- T - Other
- The Other Room, Manchester
- Brief description of type
- Multiple Performances and publications
- Open access status
- Out of scope for open access requirements
- Supplementary information
- Request cross-referral to
- Output has been delayed by COVID-19
- COVID-19 affected output statement
- Forensic science
- Number of additional authors
- Research group(s)
- Proposed double-weighted
- Reserve for an output with double weighting
- Additional information
- This practice-led research project explores the relationships between performance art and poetry, through sound poetry and page-based scores that foreground the ‘vocal-body’ in performance art. This project considers the specific use of the voice in performance art as a significantly under-theorised and under-documented area of experimental performance and poetry.
In my creative practice the vocal-body is both my material and the initial site of performance. I have experimented with my voice in live performances since 2008 and use these experiences to inform the ideas explored in this research project.
Driven by my own creative practice — through the performances Scaw (2015), Mean (2016), Cope (2018), Low (White Stones) (2018) and Fault (2019), and the performances scores Lilies Under the Tongue (2017), Flax (2017), Styan (2018), Brooch Score (2019), Dark Navigation (2019), Back Hand (2019) and Open Collar (2020) — this research has been disseminated regionally, nationally and internationally and was partly funded internally from the York St John research office. For example, I presented Performances and Performance Scores live in Helsinki as part of the State of Move Festival, Venice as part of the Research Pavilion at the 58th Venice Biennale and in Chicago as part of the visiting artists in the performance department at School of the Arts Institute. The page-based scores were published in academic journals like Mantis (Stanford, USA) and Blackbox Manifold (Sheffield, UK), poetry magazines like Datableed (online) and Tripwire (print USA). These scores were also performed at poetry and performance events internationally English PEN Modern Literature Festival (London) and Poetry Emergency festival (Manchester).
These events and publications enabled the germination of this research to develop my distinct visual and vocal experimentation and enabled this research to consider the position of sound poetry, historically and methodologically, as a hinge between poetry and performance art.
- Author contribution statement
- English abstract