International Festival of the Voice 2009 18 - 26 April, Wroclaw, Poland

HARMONIC ACCORD: ENCOUNTERS THROUGH SONG

SPOTKANIE W PIESNI´ 2 Giving Voice 11 stanowi specjaln edycję festiwalu; Giving Voice International Festival of the Voice współorganizuj go Center for Performance Research Contents z Walii oraz Instytut im. Jerzego Grotowskiego we Harmonic Accord Wrocławiu.Tegoroczny festiwal odbywa się w ramach Venues & Access - 2 obchodów Roku Grotowskiego 2009. Encounters through Song Przez 7 dni Wrocław będzie go´scił niespotykan ró˙znorodno´s´c tradycji Giving Voice 11: A festival of extraordinary voices from around the world including those from: Armenia, Austria, głosowych całego swiata:´ Armenii, Austrii, Korsyki, Gruzji, Gwinei, Iranu,Włoch, Harmonic Accord - 3 Corsica, Georgia, Guinea, Iran, Italy, Kurdistan, Mongolia, North America, Palestine, Poland, Kurdystanu, Mongolii, Ameryki Północnej, Palestyny, Polski, Sardynii, Serbii, Sardinia, Serbia, Spain, the Ukraine and Wales. Hiszpanii, Ukrainy oraz Walii. Calendar - 4 Poprzez dzielenie się ideami oraz praktyk w ramach ró˙znych warsztatów, How to Create Giving Voice springs from a strong events programmed for the Year of our questions embrace: aesthetics; pokazów i dyskusji, festiwal gromadzi praktyków, nauczycieli, teoretyków, belief in the voice’s ability to Grotowski 2009 in addition to this technique; the culturally specific; uzdrowicieli zainteresowanych prac z głosem, którzy niekoniecznie mieli Your Own Experience - 4 communicate beyond language and special edition of Giving Voice, matters of repertoire; archaism and the okazję do spotkania na drodze swej praktyki. Workshops - 5 - 14 cultural difference, and that working information of which may be found on relationship of tradition to innovation with the voice can allow people, from www.grotowski-institute.art.pl. and mutation; collectivity, polyphony Temat festiwalu - Spotkanie w pie´sni - wywodzi się tak˙ze ze wspólnych dla CPR wherever they come, to enjoy and and chorus; legacy and legitimacy. i Instytutu Grotowskiego, zainteresowa´n pie´sniami i tradycjami pie´sniarskimi, Talks and Presentations - 15 & 16 The theme of this edition - Encounters value the riches of difference as well as a w szczególno´sci zawartym w pie´sni oraz w spiewie´ jako spotkaniu Through Song - springs also from But above all Giving Voice: Harmonic Evening Performances the recognition and celebration of a potencjale wyra˙zania i zbli˙zania ludzi. Spotkanie to dokonuje się nie tylko w mutual and long-held interests of CPR, Accord is simply about ethos, and common humanity. sferze muzyki i na pograniczu kultur, ale jest tak˙ze zdarzeniem o charakterze and presentations - 17 - 24 the Grotowski Institute - and its encounter with others through song; introspekcyjnym i wspólnotowym, w którym uwa˙zny akt spiewania´ oraz Giving Voice is an established biennial associate theatre company,Teatr ZAR - the festival brings together many konieczny akt słuchania mog pomóc nam zrzuci´c wyjałowion z wra˙zliwo´sci Booking Information - 25 international event mounted in Wales on the ‘inspiration’ of song and extraordinary voices from around the by the Centre for Performance traditions of song, and in particular the world.We are delighted to welcome powłokę codzienno´sci i poł czy´c się na nowo z samymi sob . Jest powrotem The Centre for Performance dozród ´ ła, powrotem do dz´więku. Research (CPR). It aims to advance the expressive and connective potential of back some voices returning to Giving Research, Grotowski Institute appreciation and understanding of the song and the act of singing as Voice, and also the many who are new Pytania, jakie zadajemy sobie w poszukiwaniu teatru z ducha muzyki, expressive voice and celebrate its encounter. Encounter that is not only to the festival and who include those obejmuj – cho´c tak˙ze wykraczaj poza - estetykę, technikę,okre´slone przez and Festival Sponsors - 26 - 27 many and varied manifestations across musical and intercultural, but encountered by Teatr ZAR on their kulturę kwestie repertuarowe, relację tradycji i innowacji, wspólnotowo´s´c, time and culture. Sharing ideas and introspective and communal, where expeditions in search of living sources polifonię, dziedzictwo i prawowito´s´c. practice through workshop, the attentive act of singing and of traditional music, some unknown Rok 2009 jest dedykowany Jerzemu Grotowskiemu.Tegoroczna edycja opiera performance, and discussion, the necessary act of listening can help us outside their ethnographic context. się na inspiracji płyn cej z bogatej i pionierskiej pracy Grotowskiego nad festival brings together those - shed the de-sensitised skins of In addition to a feast of performances, pie´sni i głosem w pracy aktorskiej. performers, teachers, scholars, healers - everyday life, and vitally re-connect us concerts and presentations, there will who have an interest in the voice but to ourselves, to others, and to the Informacje o festiwalu, a tak˙ze innych wydarzeniach odbywaj cych się w be a wide array of workshops and work who may not necessarily meet in the present through connecting with the sessions, offering the opportunity to ramach Roku Grotowskiego 2009 znajduj ię na stronie usual course of their practice. past; to re-source, re-sound, re-sonate. www.grotowski-institute.art.pl encounter particular forms of singing Harmonic Accord: Encounters It may be - as asserted by two other practically (the texture, harmonies, through Song is a special edition of voice pioneers, Alfred Wolfsohn and melodies and demands), as well as Giving Voice hosted by the Grotowski Roy Hart - that ‘the voice is the muscle training and practical work on voice Institute in Wroclaw, Poland.The year of the soul’.Despite an increasing focus support and release. WROCLAW Instytut im. Jerzego Grotowskiego 2009 marks several important on the ‘visual’in contemporary theatre Join us for an uplifting and Rynek-Ratusz 27, 50-101 Wroclaw Lower Silesia’s historic capital,WROCLAW is one of anniversaries of the Polish theatre and performance practice, there is a resounding compendium of the oldest and most beautiful cities in Poland. Tel./fax (0048) 71 34 34 267 director, Jerzy Grotowski , and, in growing interest in the performance performances, voice workshops, Situated at the foot of the Sudety Mountains, upon tribute, our aims of resourcing and body being ‘all ears’ (listening, Tel./fax (0048) 71 34 45 320 talks, seminars and lecture- the Odra River and cut through by its numerous resounding in this edition take receiving, sourcing), working beyond demonstrations. Meet with other tributaries and canals, it is an exceptional city of 12 Email: [email protected] inspiration from Grotowski’s profound and with ‘the tyranny of the eye’ voice enthusiasts and artists from - performances - discussion workshops - presentations islands and over one hundred bridges.The city has Web: www.grotowski-institute.art.pl. and pioneering work on song and the (taking, mis-taking, habitualising). In around the world. a vibrant cultural scene, its theatre tradition www.rokgrotowskiego.pl voice in action.There are many other seeking theatre out of the spirit of music, enjoying worldwide renown. Several low cost airlines fly direct to Wroclaw from GIVING VOICE - FOR CHILDREN WITH AUTISM All donations received will be divided a host of international airports. Frequent bus equally to the following charities: services link the airport to the city centre which Autism is one of the most significant but least researched has an extensive bus and tram network.Wroclaw is developmental disorders, characterised by various symptoms: Autism Speaks (UK): a leading autism research foundation investigating the causes and biological also very well connected by road and rail. significantly, impairments in social interaction and communication; about a third to a half of individuals with autism mechanisms of autism. For further information on the city of Wroclaw do not develop enough natural speech to meet their daily Autism Cymru (Wales) promotes the please visit www.wroclaw.pl communication needs. Autism imposes an extremely heavy establishment of high quality services for people financial and emotional burden on those affected and those who with autism spectrum disorders in Wales. care for them, and many families become socially isolated. The Foundation for Children ‘Help on Time’ Please support the GIVING VOICE CAMPAIGN FOR CHILDREN (Poland): a nationwide programme of care WITH AUTISM. There will be an opportunity to make cash for disabled children with the aim to rescue A large print or audio version donations during the Festival, or you can send donations via their lives, bring them back to health, support of any publicity material is Paypal to ‘[email protected]’; (or contact CPR by that email or their education, improve their difficult on +44 (0) 1970 622133 for alternative donation methods). economic situation. available on request. 3 ”: 5 . done’ ,‘ being but they’re . the importance for Decisive of sung We create a flowing space,create a flowing We wherein Voices and songs become the source of the source become and songs Voices rhythm, and also presence of physical of action.the source not only Songs are being “Making songs Shamal calls this process visible” and of the ritual singing in this the voice is that the multidimensionality process through is perceived of the space and hearing the voices,feeling tones and sounds, of space so that a feeling can develop and spatial awareness amongst those present. of Exploration the voice, the human body through aspects of the physical of exploration and individual and cultural the voice origins, of some of the topics comprise this special workshop. “ pleasure.The and songs turn into voices resembles an action always which voice new. something one to discover allows Shamal Amin ”: ” The path of our laboratory leads work Voice for the eye,Voice not only for the ear. “ fusion of voice, of a new to the discovery and life as a whole.Themovement between dissolution of the separation art and life, between aesthetics and values,common factor in is a decisive projects. our research across and teaching Performing Europe, as Egypt,Tunisia, as well Ukraine, Iraq, Japan, Lalish have groups with various collaborated Teatret, Center such as Odin Work the of Jerzy Grotowski, and Kazuo Ohno Company. Dance Workshop Nigar Hasib and Shamal Amin by Led Workshop Description of “ Sing, act! see you so that I may Nigar Hasib (Kurdistan/Austria) (Kurdistan/Austria) . (0048) 71 34 34 267 (0048) 71 34 45 320 [email protected] Tel./fax: Tel./fax: Email: THREE DAY WORKSHOP DAY THREE 22 APRIL WEDNESDAY - 20 MONDAY Theater Lalish Labor Action Vocal and Voice of the Energetic Way The “larynx technique” on Songs and Special work as a Source Shamal Amin and Nigar Hasib,Shamal Amin and exiled south Kurdistan/Iraq,from some years Vienna,ago settled in because Austria of the political situation and of ex- discrimination during the reign dictator Saddam Hussein.Vienna at In space,their theatre created have they LaboratoryTheatre as a the Lalish and theatre for centre research performance culture; their theatre and experimental projects research :“cultural-physical included have concept” ; in 1985-91) (in Iraq of the performative “Investigation its techniques” and culture (1992- 1999) ;“departure of the the source to Celebration” and “process: CreativeNature” (2000-2003) ; from of their research 2003 an intensive “experimental working method own ritual performance” with the process: “Songs as a source” a clear Shamal and Nigar offer and what they definition of their work it : through reach want to

4 Calendar

How to Create Your Own Experience you have chosen.The workshops will run from 9.00am until 1.00pm (or 8.30am to At just 430 Euros (260 Euros unwaged) a Full Festival Carnet offers exceptionally good 12.30pm for the Lalish Theater Labor or 3-day Nataliia Polovynka workshops).The day value for money giving you access to all events 19 - 26 April: each day you can see a life- continues with presentations between 3pm and 5.30pm and evening performances changing performance, immerse yourself in a workshop with a leading teacher and hear from 6.00pm. ground-breaking presentations. If you are unable to attend the full festival, 1- and 3-day We agree that it is very full programme (and so well worth the journey to Wroclaw!); you Festival Carnets are available that include access to all events on the day/s booked for: will have to find your own pace each day and create your own space in between; digestifs your chosen workshop, the talks following on from the workshop and the performances and diversions are offered in the form of the Giving Voice Bookshop, Archive, and that evening, Mleczarnia Cafe, or even the cocktail of fresh air and calm to be found walking along You can choose from a range of different workshops, but note that the workshops are for Wroclaw’s many beautiful rivers. one or three days and you need to book for the total duration of the workshop course 6 THREE DAY WORKSHOP THREE DAY WORKSHOP MONDAY 20 - WEDNESDAY 22 APRIL MONDAY 20 - WEDNESDAY 22 APRIL Tempvs Fvgit… (Corsica) Teatr ZAR (Poland) Polyphonia: Discovery and initiation to sacred and profane Corsican polyphony. INTO THE SOUND

The work of Teatr ZAR is an connection of the breath Teatr ZAR is a multinational attempt to persuade that and the voice, moving group formed in Wroclaw, theatre is not only the greek towards actions. Poland, by apprentices of the ‘thea’ - seeing - but that it is During the workshop, Grotowski Institute during its something that above all participants will be introduced annual research expeditions to should be heard. to the following elements: Georgia in the years 1999-2003. From such hearing, deep Svanetian harmonies (highest During these expeditions, the images are born that would be Caucasus); Georgian Liturgical group collected much musical impossible to create even by songs (Gelati tradition); cries material, the core of which is a group of centuries-old “The “quintessence”,this so-called angelic voice, only releases with extraordinary byzantine ‘colouring’.It is said that this means of the most modern and calls.The work will also its energy if harmony between people exists first…” mass had the power to ‘configure’with sound the face of the theatre technology; where explore rhythm/breath-rhythm polyphonic songs that have Tempvs Fvgit... gathers male singers of Corsican traditional holy virgin, and was the group’s first release, entitled “Nebbiu, even the body of a singing (based on Balkan rhythmic their roots in the beginning of sacred singing of oral tradition. Formed after the first Canti sacri di Corsica”. actor shines and emanates with patterns and improvisations), the human era and are probably meeting in the Cunfraternity of Furiani, the polyphony of the Breathing, energy, elements of transcendance the energy of sound, of the co-ordination and exploration the oldest forms of polyphony.“ group, always in a circle as their symbolic, physical and ZAR ”is the name of the funeral The workshop will explore the fundamental aspects of song that lies within it. of natural rhythmic tendencies, spiritual repertoire, represents a choir of four voices singing Corsican sacred polyphony practice.Workshop participants songs performed by the Svaneti the connection of physical closely as one resonating body. are offered a rich sensorial journey through several songs In this workshop elements of tribe who inhabit the high rhythms to the breath, in With the help of the musicologist Corinne Bartolini, they including some from the Nebbiu area, and will experience a natural, harmonic rhythmic regions of the Caucasus, in possible connection with have collected and brought back to life many lost songs flavour of an ancestral practice with the possibility to dive breath patterns will be North-West Georgia. from the Nebbiu (in North Corsica), for instance the whole into the heart of tradition: to touch for a moment the explored through the acrobatic elements. Vultum Tuum Mass, a roman piece from the 11th century essence of Corsican polyphonic singing.

THREE DAY WORKSHOP MONDAY 20 - WEDNESDAY 22 APRIL Hasmik Harutyunyan (Armenia) Lullabies and Children’s Songs:Traditional Armenian Folk Dances

As one of Armenia’s leading folk singers, for In Armenia, Hasmik Harutyunyan is Hasmik, music is life itself — its happiness, well-known for her deeply touching sadness, and struggle. She feels it is her renditions of the Armenian lullaby, often responsibility to keep traditional Armenian broadcast on Armenian National Radio or music alive, and to keep it free from alien performed by Hasmik in concerts and at influence. She believes Armenian music is a traditional music festivals and ceremonies. living thing, not meant for history books. Her CD Armenian Lullabies (released in Hasmik still draws strength and inspiration 2004 by Traditional Crossroads) - on which from her ancestors in the province of she sings a cappella as well as with the Moush in Historic Armenia — especially Shoghaken Folk Ensemble - was noted in a her grandmother, who sang to her when New York Times review as the best she was a child. Another great influence Armenian recording worldwide in 2004. was her teacher, Hayrik Mouradian, the late Hasmik’s workshop offers a full body and folklore singer and historian from Shatakh, voice immersion into Armenian song and near Lake Van. In Hayrik’s honour, and to life, through the singing and carry on his important work, Hasmik has understanding of the Armenian lullaby established the Hayrik Mouradian traditions. Come prepared to dance as well! Children’s Folk Song and Dance Ensemble. photo: Ken Reynolds 7 8 THREE DAY WORKSHOP THREE DAY WORKSHOP MONDAY 20 - WEDNESDAY 22 APRIL FRIDAY 24 - SUNDAY 26 N’Faly Kouyate (Guinea) THREE DAY WORKSHOP Maryana MONDAY 20 - WEDNESDAY African polyphonic singing Sadovska (Ukraine) 22 APRIL Polyphonic singing Kristin Linklater (USA) N’Faly Kouyate was born into one of the most in both his recorded and live work.To from the Ukraine famous families of griots from the heart of the this end, he has established a non-profit Freeing the Natural Voice Mandingue in West Africa, an area which Namunkanda (The Defense of Culture). AND includes Guinea-Conakry, Mali, the Gambia, He also pursues his career and goals Senegal, and Burkina Faso. As one of the most ONE DAY WORKSHOP One of the world’s leading voice practitioners, the celebrated author through his work with his own THURSDAY 23 of Freeing the Natural Voice, and an associate of Giving Voice since its charismatic performers of his generation, ensemble Dunyakan (“The Voice of inception, Kristin returns to Giving Voice to offer actors and singers N’Faly is ideally placed to carry on the legacy the World”) in which blues, world music, Introduction to of his father and also to help promote her unique method of voice training and discovery: a method which jazz and the traditional music of Guinea Open Throat Singing aims to develop a voice that is resonant, clear and responsive to knowledge, enjoyment, and respect for are intermingled. his culture. impulse and emotion, connecting the performer to their inner self With the release of his CD, a floodgate of and allowing the outward expression of that self. Kristin’s work aims For many years, Maryana Through his performances, he uses music and sorts was opened, as the combination of Sadovska has been leading to reconnect speaking with the performer’s impulsive centre. storytelling as a way to open doors between international distribution, great review workshops focused on the so Emphasis is placed on freedom and release rather than control, different peoples and cultures, striving always attention, and airplay of the music called “white voice“ (open throat) photo: Raymond van Tassel freeing the voice to follow the performer’s intuition and imagination. to tell about his culture while embracing increased N’Faly’s international visibility drawing from the East-European (Note: Kristin’s workshops for Giving Voice are hugely popular and others, with a profound sense of inclusion greatly, setting him as an important tradition. Based on her experiences with the Polish always over-subscribed and we therefore advise early booking to rather than exclusion, of unity between international artist aside from his ensure a place.) cultures and finally, our shared humanity. Theatre Gardzienice she developed a system of exercises respected work with the AfroCelts. His enabling the discovery of the bonds between movement and The workshop will cover the arc of the work described in Kristin’s He is a tireless advocate of his culture, yet his passion to continue to build and develop singing, gesture and voice, rhythm and breath. She looks for the book Freeing the Natural Voice:‘We will begin with physical love of collaboration and discovering new his group and his own music is a essence of every song and strives for a true expression, as well as awareness and awareness of natural breathing rhythms, and finding worlds leaves him open to all experiences. continual process, and since 2003, the stimulates imagination: She acquaints us with the rituals, social the connection between impulse, breath and sound we will expand Comfortable in many worlds, he lives by his international touring has became very origins and basis of everyday life contained in the individual the experience of vibrations in the body.Then we will find ways to intense. In addition, one of his dreams, songs - e.g. calling songs, wedding songs, lullabys, ballads and father’s early counsel to respect and embrace healing songs. free the channel from habitual tensions (soft palate, jaw, tongue) and new ideas; this viewpoint is deeply embodied the founding of a music school, Cadence to explore the resonating ladder (chest, mouth, teeth, sinus, nose, Mandingue, was realized. Born in Lviv, Ukraine, singer, composer, actress, Maryana skull) so that the whole range of voice is available.The aim of the Sadovska now lives in Cologne, Germany, and works throughout In this workshop participants will be work is to free the voice from habitual tensions that inhibit its Europe and the USA performing, directing workshops, proposed a journey through African natural ability to express through 3 to 4 octaves of speaking notes participating in theatre projects, composing music. Her work in polyphony. Complementing this input music and theatre has always been inspired by indigenous the full range of emotions and all the subtleties and nuances of will be a strand of roots vocals from cultures. Her aspiration is to bridge the gap between ancient, thought.While most of the work will focus on pure wordless voice, South Africa. traditional sounds and the contemporary. Creating her own participants are asked to bring a lullaby and a nursery rhyme to use innovative compositions and arrangements in dialogue with as “text.”’ ancient traditions, Maryana approaches each piece with a fresh KRISTIN LINKLATER is currently head of acting for Columbia and uniquely personal vision. University’s graduate professional actor-training programme. She She began her work with Les Kurbas Theater (Lviv, Ukraine) . has taught voice, text and Shakespeare in the United States since There she was selected for the “Slavic Pilgrim Project” by Jerzy Grotowski in Pontedera, Italy. Later that year, she was invited to 1963, at New York University, Emerson College, the Stratford Festival, join the Gardzienice Theatre Association where she worked for Ontario, the Guthrie Theatre and for Shakespeare & Company in 10 years as an actor and Music Director. During that time, she Lenox, MA. She has worked with experimental and classical theatre began her exploration of indigenous music and cultures, with directors from Joseph Chaikin to Peter Brook and Tyrone Guthrie. expeditions in the Ukraine, to Ireland, Egypt, Cuba, Brazil, Lapland She has been the artistic director of her own Company of Women and Afganistan. She has since organized many cultural dedicated to changing the harmonics of Shakespeare within the exchanges between contemporary artists from Europe and the cathedral of the culture. Her book Freeing the Natural Voice (pub. US with native singers from Ukraine. 1976) has sold over 100,000 copies and has been translated into In 2001, she moved to New York with a grant from Earth German and Russian.The revised and expanded edition was Foundation.There she worked as a music director with La Mama published November 2006 and is being currently translated into E.T.C.’s resident theater company,Yara Arts Group. In the Spring French, Korean, Spanish, Italian and Finnish. Her second book Freeing of 2006 she was a Guest Musical Director for the Art Atelier Program curated by Toni Morrison at Princeton University. In Shakespeare’s Voice: An Actor’s Guide to Talking the Text was published 2008 Sadovska became a Fullbright scholar. in 1992. She teaches in Germany, Italy, Sweden, Holland, Belgium, Switzerland, Australia and the UK. She is also an actress. “Sometimes a musician has such an inborn desire to communicate that her message naturally becomes universal…the responsibilities, protocol and tradition of whatever style she is working in just Tel./fax: (0048) 71 34 34 267 vanish; she replaces them with pure vitality. Such is the case with photo:Thomas Dorn the Ukrainian singer Maryana Sadovska.” Tel./fax: (0048) 71 34 45 320 Ben Ratliff,The New York Times Email: [email protected] 9 10

ONE DAY WORKSHOP ONE DAY WORKSHOP ONE DAY WORKSHOP THURSDAY 23 THURSDAY 23 THURSDAY 23 Tserendaava (Mongolia) Ermanna Montanari Meredith Monk (USA) Michael Ormiston (UK) and Marco Martinelli Dancing Voice, Singing Body (Italy) Mongolian Khoomii (Overtone) Singing Teatro delle Albe ‘Modesty of the Voice’ MEREDITH MONK is a composer, singer, director/choreographer and creator of new opera, music theater works, films and installations, and a In 1983 Marco Martinelli, Ermanna Montanari, Luigi pioneer in site-specific performance. She is as well a Dadina and Marcella Nonni founded the Teatro delle Albe. pioneer in what is now called “extended vocal The company’s development was based on interweaving a technique” and “interdisciplinary performance.” Monk search for the “new” with the teachings of theatre tradition: creates works that thrive at the intersection of music playwright and director Martinelli draws his inspiration from and movement, image and object, light and sound in the classics and the present day, his stories tailor-made for the an effort to discover and weave together new modes actors who thus become actual co-authors of the plays. In 1988 the company started working with Senegalese griots: of perception. Mandiaye N’Diaye (since then the company’s African She has been proclaimed as a “magician of the voice”. “keystone”), Mor Awa Niang and El Hadji Niang.The formation During a career that spans more than 40 years she has Tserendaava is a living tradition. He was born in, and still lives and became Afro-Romagnol, practising an original theatrical been acclaimed by audiences and critics as a major breathes the sounds of, the legendary landscape of Khöömii. He is hybridism involving dramaturgy and dance, music and creative force in the performing arts. In 1968 Ms. Monk respected within his community as a performer and teacher of his dialects, invention and roots. Delle Albe’s performances have founded The House, a company dedicated to an seven styles of Khöömii and has been a key informer for both won the company national and international prizes and interdisciplinary approach to performance. In 1978 she Mongolian and European ethnomusicologists. Born in 1954 in recognition, highlighting a rigorous, refined and exciting formed Meredith Monk & Vocal Ensemble to expand Chandman (called the “cradle of khoomii”), province of Khovd, in poetics capable of restoring to the stage its ancient and her musical textures and forms. She has made more west Mongolia,Tserendavaa has always lived in this region. He is a powerful narrative function. than a dozen recordings, most of which are on the nomadic shepherd, and trained his practice in a pastoral Fundamental elements of the company, aside from artistic ECM New Series label. Her music has been performed framework, imitating other singers. Along with several singers director Martinelli, are the visionary flights and disturbing from the West of the country,Tserendavaa has been one of the by numerous soloists and groups including The vocality of Ermanna Montanari, the work of actor-author Luigi Chorus of the San Francisco Symphony, Musica Sacra, main players in the development of throat singing in Mongolia Dadina (who is also President of the cooperative) and the over the last thirty years. He performs seven types of Khöömii,as The Pacific Mozart Ensemble, Double Edge, Björk, and contribution of the actors and actresses who grew up in the Bang On A Can All-Stars, among others. She is currently well as Khosmoljin Khöömii, which is the name he has given to his forge of the non-school: Alessandro Argnani, Cinzia Dezi, Luca publishing a piano album of her scores and working personal style. He also knows the Urtiin Duu long songs, which are Fagioli, Roberto Magnani, Michela Marangoni, Laura Redaelli usually sung at traditional ceremonies.With a view to develop the and Alessandro Renda whose presence onstage has marked on a new piece for her Vocal Ensemble in collaboration art of Khöömii, he is singing these long songs in his Khosmoljin the company’s progress since ’98 with visual artist Ann Hamilton. style, being one of the only khoomii singers to do this. Modesty of the Voice Workshop: “The voice as modesty and Meredith Monk has spent four decades challenging Composer, performer, teacher and writer about music for many as question; the scorned voice of actors who celebrate having audiences and winning awards with her unusual fusion years, Michael Ormiston is a multi-instrumentalist specializing in been outlawed by an exhibitionist-egoistic-varnished society. of song, theater, dance and film. She’s won Obie Awards Mongolian Khöömii (overtone) singing. He works as a solo The voice certainly is a “coming out”, a manifestation of being and a “genius grant”from the MacArthur Foundation. performer, in a duo with Candida Valentino and as a member of in its monstrosity, yet it is also a waste product, another bodily For the most part, Monk composes with herself in mind Miraca,Boundless,Hyperyak,Mysterious Tremendum,Praying for the secretion. Hence the modesty of defining perimeters for the as the performer. But lately she’s begun to consider how Rain music groups. His compositions have been used on TV (BBC voice that inhabits us, for that which is its concealment in the her work will last after she’s gone, and her latest and Channel 4), in theatre (Theatre de Complicite), Dance (Ballet flesh. In the specific case of Ouverture Alcina I’ve worked with recording is called Impermanence. From its sombre Frankfurt, Spiral Dance) and performance (London Jazz Festival). the Romagnol dialect (my mother tongue, which may be beginning (“Last Song”), anchored by two simple Michael’s throat singing has been used in Hollywood Films, and he considered a “dead language” since it is spoken by just a few chords, Impermanence explores the flux of life. Like has performed around the world, including for His Holiness The thousand people, mostly old) as if it were a map of psychic Joan Didion’s Year of Magical Thinking, Monk’s Dalai Lama. Michael specializes in Mongolian Khöömii (overtone) sounds: sounds that belong to a parallel or archaic world; and composition captures the pangs of loss that come with singing, being one of the few non-Mongolians able to sing it. He the words pronounced no longer have anything to the passage of time and the passing of beloved has been studying Khöömii since 1988, partly in Mongolia with communicate but can only evoke, elicit by way of an inflamed companions. Impermanence was triggered by the Tserendavaa, Gereltsogt, Ganbold, Sengedorj, and Tsogtbaatar. In throat such excessive, bewitching and murderous feelings as unexpected death of her partner, Mieke van Hoek, 1994 Michael was given the blessing by Gereltsogt to teach the Alcina’s”. (Ermanna Montanari) basic practices of Khöömii Singing, since when he has given in 2002. workshops, lectures and individual lessons worldwide. Alcina Teatro delleAlbe, Meredith’s Dancing Voice, Singing Body workshop

WORKSHOP photo by Enrico Fedrigoli , offers a place where voice, movement and image Khöömii is an amazing style of overtone/harmonic singing where intersect, creating a unique opportunity for one person sings two or more distinct pitches at the same time. It participants to discover their own personal inner

originates among the nomads of the central Asian plateau, L'isola di richness. After beginning with breathing techniques particularly the Altai and Sayan mountain regions of Mongolia and a detailed vocal and movement warm-up, and Tuva.The nomads of these parts have discovered how to participants work with the voice and body as sing melodies that arise from the universal overtone or harmonic instruments for exploring range, timbre, gesture, series. Listen to your own overtones as you discover the resonance, character, landscape and rhythm to unknown depths and heights of your own voice through these uncover the fundamentals of performance of enchanting sounds. connecting to the world. photo: Cameron Wittig, courtesy Walker Art Centre 11 12 photo: A.Kiselev 13 THREE DAY WORKSHOP FRIDAY 24 - SUNDAY 26 Pilpani Family (Georgia)

Vocal polyphonies from Svaneti photo credit:T.Wierzbowski (Mestia)

Edisher Garaknidze, the renowned late extraordinary songs has improved my ‘ear’, residents of villages in the region of Mestia Georgian ethnomusicologist once wrote for my sense of structure and rhythm, in the heart of Svaneti and most of them a project he was doing with CPR: understanding of modes and intervals, my come from families with long traditions of ‘Everybody without exception has the ability vocal tone’ (Joan Mills, CPR Voice Director). folk singing.While Eptime Pilpani studied to sing, just as the same as to laugh, cry and And so it is with great pleasure - and music in Tbilisi, the capital of Georgia, most run. It is from God. Many people sing only happiness - that we welcome to Giving of the singers have learned the songs when they are alone, never for or with other Voice the Pilpani Family from Svaneti, entirely through oral tradition.With people (because of shyness). But it is not Georgia, who come to share their songs questions of living tradition/s and the next even half the joy the music brings. Singing with us.The ‘Pilpanis’ were encountered in generation very much in mind, Eptime also together is completely different. Singing in the mountains of Svaneti by Teatr ZAR on leads a children’s chorus in Mestia. But the common gives the occasion to take into their expeditions conducting research into Pilpanis are not teachers as such [although consideration another person, to give him or the oldest forms of religious music of of course they are] and do not travel as ONE DAY WORKSHOP her something, but at the same time also to Eastern Christianity, the essence of which such; their visit to Giving Voice - their THURSDAY 23 find pleasure oneself. And my and your are polyphonic songs of centuries-old workshop and performance - offers a very pleasure together - is a happiness!” traditions that have their roots in the special and rare opportunity to ‘sing Nataliia Polovynka (Ukraine) beginning of our era and are probably the together’ in the mountains of Svaneti: ‘Speaking for myself, sharing in this their and your pleasure together. In fact, everything is in another way happiness has become a vital ingredient in oldest forms of polyphony. my life; I have learned so much from Coming from Georgia, the region of Svaneti A part of the income of this workshop will AND singing Georgian songs and from teaching in the High Caucasus, the Pilpanis are a be given to the School for cultural THREE DAY WORKSHOP them to others. I am a singer but not a group of some thirteen singers led by education of Mestia - Georgia. trained musician; singing these Eptime Pilpani. All of the singers are http://lagusheda.narod.ru FRIDAY 24 - SUNDAY 26 Nataliia Polovynka (Ukraine) THREE DAY WORKSHOP The Voice of the Performer FRIDAY 24 - SUNDAY 26 Cuncordu de Orosei (Italy) Nataliia Polovynka is a singer, actress, pedagogue. DESCRIPTION OF THE WORKSHOP Voices and Songs of Sardinia Laureat.of T.G.Shevchenko National Prize, who works Singing is a mirror and possibility through both theatre and music, and who performs ancient spiritual music, folk songs, romance, and music of choice by contemporary and improvisational composers. Her of will to life Sardinian singing is one of the most popular polyphonic forms placed tension in the throat (not dissimilar to voice production search in and through song is a spiritual one as well as in the Mediterranean, heard throughout the year, in daily life, in for Mongolian overtones) the singers produce harmonics, and of will to artistic act the liturgy, on peasants’ holidays, in between the sacred and artistic, and she is interested in traditional singing in all amplified through a particular vibration between the bass The possibility of personal expression profane. Cuncordu de Orosei is one of the foremost groups of harmonies and the higher voice. its genres including the ancient sacred songs of Sardinian polyphony, serving a religious function as well as the Ukraine, traditional Ukrainian song, cants, psalms, among other people The origins of the a tenore song is one of the must difficult and preservation of a living memory of their village. Orosei, on the Ukrainian classical romance. Formerly principal actress uncertain subject among the experts. One thesis, perhaps the Participants will work with 2-3 traditional Ukrainian east coast, is one of the few villages (with Castelsardo, Cuglieri and Musical Director with Les Kurbas Theatre, a key songs, and with their own songs (Participants should and Santulussurgiu) where the repertoire has been continuously most poetic, but not the most scientific one, claims that the a turning point in her artistic exploration was her prepare 3 personal songs, and at least one should be handed down by oral transmission without interruption. tenore song originated a long time ago among the Sardinian shepherds in the lonely countryside; su bassu may reproduce, participation in workshops at the Workcenter of Jerzy in their native language).The workshop programme The Sardinian canto a tenore is considered so important that it by imitation, the lowing of the ox, sa contra, the bleating of the Grotowski in Pontedera in Italy. Since 2003 she has will include : training-ritual ; the technology of work was added to the list of oral traditions as part of the Intangible sheep, and sa mesu oghe the sound of the wind. been the founding and Artistic Director of the Art with song / space, and the creation of Heritage of Humanity by UNESCO in 2008 The uniqueness of the repertoire of Orosei is that it includes Centre, Maisternia Pisni. As well as her performance personal/collective etudes. and teaching work and her work with Maisternia Pisni, The a tenore song is a “polyvocal”form in four parts, typical of also profane singing with the very specific technique of Tenores At the end of the workshop, there will be - action. the middle-north of Sardinia, where each part is sung by one (throat singing, in a very rhythmical way, for dances, love songs, Nataliia is also soloist and pedagogue with Lviv State single male singer (cantore). As each part cannot absolutely poetry about pain...). It will be presented by a group of young Boy’s and Men’s Choir “Dudaryk”, and has collaborated be doubled, the group of tenores has to be composed of singers,Tenores Antoni Milia, continuing the tradition of the with many musicians including the State Men’s Choir four people. Tenores in direct relation to the patrimony of their village. M.Revutskyj Choir (Kiev). One of the peculiarities which makes the a tenore song a Orosei’s special workshop for Giving Voice will explore the characteristic and well known genre is the particular timbre of differences in the various types of oral tradition songs of bassu and contra.These two parts use, in fact, a guttural timbre, Sardinia as well as voice technique and will focus on the Tel./fax: (0048) 71 34 34 267 obtained by employing the resonance of the oral cavity and the Orosei traditional songs:“Miserere”,“Ave Maria”,“Stabat Tel./fax: (0048) 71 34 45 320 nasal one, in a particular way. Using the technique of carefully- Mater”, and “Gotzos de sas Rughes”. Email: [email protected] 14 Talks & Presentations

In addition to the programme of workshops there are “When a society moves from the oral to

photo: Crawford Catherine informative and entertaining presentations and performances. the literate, it loses the ability to The afternoon programme of talks and presentations will remember without written records; the enable a number of the performers and teachers at Giving arts of storytelling and ballad singing Voice and other special guests to present the philosophy and wither and die.As the world becomes more and more musically literate, and as ideas which inform their practice and research, to be open to the performer moves further away from THREE DAY WORKSHOP THREE DAY WORKSHOP questions and to provoke discussion and debate amongst his audience, are we beginning to lose FRIDAY 24 - SUNDAY 26 FRIDAY 24 - SUNDAY 26 contributors, participants, and public. from our storytelling and music these vital Mahsa and Marjan Vahdat (Iran) Jonathan Hart Makwaia (USA) Presentations will take the form of performances or talks, sometimes elements - the things which cannot be illustrated by live demonstration, video and taped examples and slides. written down in tablature?” A Blessing of Song from a Persian Garden Your Voice and Music

Traditional Persian music draws from many sources, including Jonathan Hart Makwaia has been teaching voice All afternoon talks and presentations will take place in Teatr Swiebodski regional music styles, religious genres of melody and chant and for over 30 years, leading workshops and seminars popular songs that have been reworked by master musicians and in more than 20 countries. seemed the ideal point of contact their students.These melodies existed as the basis of creative Stepson of Roy Hart, Jonathan grew up in 60’s Monday 20 April Tuesday 21 April between these two apparently performance, or improvisation, similar to the use of melodies in jazz London around the work of the Roy Hart Theatre, 3.00 - 4.00 pm 3.00 - 4.00 pm distant worlds”. Luigi Ceccarelli improvisation in the West.The music reflects central concepts in beginning voice training with the group at age 14. Maisternia Pisni: Method NAMING THE SOUND: a forum and Source with ‘Drevo’ on voice training for the Iranian culture, particularly Islamic mysticism, and also reflects He moved with the company to southern France in Wednesday 22 April cultural themes found in other art forms, and has been associated 1975 shortly before the death of Roy and Dorothy Nataliia Polovynka will talk about her contemporary practitioner 3.00 - 4.00 pm with Sufi philosophy, particularly through poetic themes. It is based Hart. Between 1975 and 1988 he served as work with Maisternia Pisni, the research Forum Chair: Joan Mills (Wales), singer, Dashdorjin Tserendavaa/ Michael upon a modal system and places particular priority on composer, musical director and performer in most of the group and their sources and theatre director, and Director CPR Ormiston (Mongolia/UK) improvisation and ornamentation; vocal parts are often decorated of the Roy Hart Theatre’s productions including De present the documentary film,“Drevo” Giving Voice Festival series, and Fellow Mongolian Khoomii (overtone) Singing with Tahrir, a vocal ornamentation similar to yodelling.The Vive Voix, chosen by the Ministry of Culture to (dir. P.Fareniuk), a film about the women in Voice and Performance, Aberystwyth Performance Lecture flexibility of the musical forms and the extent of the improvisatory represent France on a tour of South America 1979, singers from Kriachkivky in the Poltava University,Wales. freedom is such that a piece played twice by the same performer, at Maestro Dashdorjin Tserendavaa will Kaspar (1st prize Rencontres Charles Dullin in Paris region of the Ukraine, one of the direct The Forum will include a 30 minute the same sitting, will be different in melodic composition, form, explain the history of Mongolian 1984), OBIE award-winning Pagliacci in New York sources of Maisternia Pisni’s inspiration presentation by Electa Behrens (USA), duration and emotional impact. Khoomii, its relationship to the 1985 and Moby Dick (Jean Vilar prize in Montpellier and repertoire. (University of Kent and CPR Giving landscape and to the spirit world, and This workshop offers a practical introduction to the techniques, 1988). In 1977 he spent a year in Tanzania Voice associate), of her ongoing 4.30 - 5.30pm his pupil, Michael Ormiston, will talk modes, and repertoire of Persian song, a rare chance to developing the relationship with his biological research into Vocal Actions, Tomek Rodowicz and Chorea about his personal history with immerse yourself in this beautiful and unique Middle Eastern father David Kidaha Makwaia, chief of the Sukuma accompanied by archive footage of Theatre Association (Poland) Khoomii and how it changed his aural music tradition. tribe and exploring East African culture. Giving Voice and live demonstration. THE NEW CHOREA – THE BODY,THE world.The presentation will be Sisters Mahsa and Marjan Vahdat were both trained in classical During the 1980s Jonathan began performing solo VOICE,THE MOVEMENT – SINCE 4.30 - 5.30 pm illustrated with traditional songs and Persian singing by master musicians in Iran as well as in regional concerts for voice and piano. Integrating ANTIQUITY UNTIL THE PRESENT: Ermanna Montanari and Marco Martinelli, contemporary adaptations of songs and traditional Iranian music. After the Islamic Revolution in 1979 in contemporary and classical influences with A presentation of the work method. Teatro delle Albe (Italy) Luigi Ceccarelli, and styles. Iran, the female voice was banned in public and even some years experimental and African vocal styles he evolved Edisonstudio (Italy) after the revolution female singers can only perform for women- his own genre. He has performed music from his CD One of the aims of Chorea Theatre Ouverture Alcina (solo performance) 4.30 - 5.30 pm only audiences or alongside a male voice, and can never perform The Wild is Rising (2000) and other original works in Association is to implement the with an open discussion Nigar Hasib and Shamal Amin solo in public; a process of elimination of the female voice in the the US, England,Wales, Holland, Italy, Germany and principles of the ancient Chorea trinity Lalish Theater Labor (Kurdistan/Austria) “…Give me a theatre for all those damned, performing cultural heritage in Iran. But many female singers in Iran France. In 1988 Jonathan moved to New York City of music, word and physical gesture Demonstration of Methodology - with like me,who don’t know what a village is, have continued singing regardless, as have Mahsa and Marjan, who where he has been active as a composer, director, into a contemporary theatre, and an Open Discussion performer, and teacher, presenting solo concerts, combine the ongoing work on the who don’t know what “roots” and “people” give private concerts in Iran but mostly perform outside of the Presentation of fragments of Lalish’s defining his personal vision of the voice as well as study of the antique iconography with are,who only know flats and their crushed country.Their repertoire is inspired by regional and traditional research projects 2004-2009:“land of collaborating with artists and pioneers from various the search for new forms of expression. horizons……who share the place they live music from Iran with their own musical expression; their lyrics are with a refrigerator,a washing machine and ashes and songs,”“the beginning of fields. He continues to teach and present new work Chorea will present the methods of mostly mystical and love poems from great Persian poets like a television.”(Marco Martinelli) speech”, “no shadow” and “the song is at the Roy Hart Centre in France each summer. their work by showing selected Hafez, Rumi, Saadi from several centuries ago, as well as ‘No action, no show, just a ghost howling back”, where the sources of songs and Since 1988 he has been on the faculty of the fragments of a concert of the Antique contemporary Iranian poetry speaking about Iranian society. An an unhealable pain. It was important for voice are: Old Kurdish Zarathustra ritual Experimental Theater Wing at New York University Orchestra and The Dances of the active campaigner for human rights, Mahsa gives numerous benefit me to keep alive both the figure of this larynx techniques, old Kurdish Zaza Labyrinth, as well as fragments of the concerts and, with Marjan, is also one of the ambassadors of The workshop explores the unique qualities of old “lady”of Ariosto’s poem - set in the vibration songs, the own singing and performances: The Songs of Euripides, Freemuse, an independent international organisation advocating your voice, (range, character and natural music) depths of the Romagna countryside in voice technique of Nigar Hasib, own and Playing Mr. Cogito, based on the freedom of expression for musicians and composers worldwide. and develops the discoveries within musical the early 20th century - and her “ultra- experimental composed singing and works of the Polish poet She has attracted considerable attention recently with her work on structure. Exercises include solo and ensemble local”language which makes a voice technique of Nigar Hasib and Zbigniew Herbert. the Lullabies from the Axis of Evil CD and series of concerts. work, creating in the moment and playing with strongpoint of its incommunicability, Shamal Amin; and the sources of the “‘Songs From a Persian Garden’ [CD release by the Vahdat Sisters] pre-existing music. Jonathan’s work is rooted in objective music. Like some mysterious texts are:.The Gilgamesh epic Sumerian promises to delight its Western audiences with its poetic charm, lavish Roy Hart Theatre training, focusing particularly memorial stone.”(Ermanna Montanari) literature, Jesna the first Scriptures instrumentation and exquisite traditional vocals.The album could lend on the dynamic between performer and form. “My collaboration with Ermanna of Zarathustra, Kurdish classical Sufi itself towards cultural awareness, building bridges, or just act as a Montanari began with the shows of poems of Mahwy, old texts from musical respite for someone seeking something more exotic.And in the Teatro delle Albe who courageously Baghdad, texts of Amin Shamal, realm of global music, let us welcome two more superb women vocalists accepted the fusion between my materic texts by Lalish, as well as Kurdish to the table.These sisters are always welcome at my table”. music and their research into theatre and Arabic modern poetry in Exile. Global Music Consciousness ) language. Ermanna’s voice at once Photo: Chorea 15 16 Talks & Presentations Performances

Thursday 23 April Friday 24 April Saturday 25 April ISLAND VOICES OF 3.00 - 4.00 pm 4.30 - 5.30pm THE MEDITERRANEAN Mher Navoyan (Armenia) Bragod (Wales) 3.00 - 4.00 pm The outlines of Armenian Voice, Lyre and Crwth:Welsh poetry Voices of Corsica monodic music and Music from the 6th-18th Century Presentation and forum led by Mher Navoyan is Doctor of arts, Bragod is a musical collaboration Dr Caroline Bithell (UK), in professor and researcher in the field between a Welsh musician, Robert presence of the group Tempvs of musicology in Yerevan and Director Evans and a Trinidadian singer, Mary- Fvgit... from Bastia. of the State Centre of Armenian Anne Roberts.They interpret Welsh Caroline Bithell is Senior Lecturer Sacred music. His presentation will music and poetry from the 6th in Ethnomusicology and Arts illuminate the characteristics, forms of century to the 19th century, using Saturday 18 and Sunday 19 April, 8pm Management at the University of melodic thinking and developments original instruments and sources. Manchester and Chair of the British of three main branches of Armenian They play both the strummed, six- Teatr ZAR (Poland) Forum for Ethnomusicology. She has Monodic Music: Armenian ethnic stringed lyre of North-Western written and presented extensively music; Armenian folk-professional (or Europe and the crwth, a six-stringed CAESAREAN SECTION. ESSAYS ON SUICIDE about her research of traditional and secular professional) musical art; bowed lyre, esteemed in Wales for contemporary music in Corsica, Armenian medieval professional (or 800 years. Mary-Anne Roberts has Sardinia and the Mediterranean, sacred) musical art. evolved a striking voice production Teatr ZAR brings together stirring of the necessary ability to prolong Through its contact with and which combines with the close including the publication of a book 4.30 - 5.30 pm harmonies and dissonance in powerful one’s breathing at the moment when integration into this contemporary Transported by Song: Corsican Voices harmonies and the buzzing tone of music theatre.Their performance, one feels in the veins the pieces of theatre piece the traditional music Open meeting with Jaroslaw Fret the crwth. For this work from Oral Tradition to World Stage. Pneumatics of an Actor.Theatre out Caesarean Section, is built on a base of glass that haven’t yet managed to material has been transformed and demonstration, Bragod will perform polyphonic Corsican songs, in which reach the heart. It is an exploration taken on a new form, becoming Her new book,‘So Many Voices within of the Spirit of Music elegies, praise poetry, satirical verse Us’ (working title) reflects her long- Bulgarian, Romanian , Icelandic and of the liminal space between seamlessly interwoven with an As well as Director of the Grotowski and a largely 12th century,Welsh Chechen songs are woven. two impulses. intensive movement score. held interest in the natural voice, Institute in Wroclaw, Jaroslaw is the version of the Tristan story, contrasted community choirs and world song founder and leader of Teatr ZAR. From with new 16th century ballads The title of the performance is a Caesarean Section is the second We cannot say how much in the UK. 1999 he has organized numerous and dance tunes from England metaphor for the compulsion towards performance from Teatr ZAR, which the performance owes to and the condition of suicide, and the further develops the group’s work with Aglaya Veteranyi. 4.30 - 5.30 pm expeditions (in particular to the Near and beyond. and Middle East to explore the old involuntary force that pulls one back polyphony, and its aim to create Martino Corimbi (Italy) and from the brink. It is about the potential ‘theatre out of the spirit of music’. Boz˘ena Muszkalska (Poland) Christian churches and Mandaeans – Sunday 26 April BerkeleyDitte and Kamila Klamut, photo: Ken Reynolds Voices and Sounds from Sardinia: the last living, ancient Gnostic sect 3.00 - 4.00pm Tenore, Cuncordu and Launeddas surviving in Iran) that are integral part Harmonic Accord Conclusion: of his theatrical work. He has also led A Discussion Plenary Sardinia is one of the most distinctive numerous workshops throughout cultural regions of Italy, and has a rich the world. 4.30 - 5.30pm living musical heritage, considered so Harmonic Accord Conclusion: important that the Sardinian canto a ‘A Blessing and A Rejoicing’. Sunday 19 April, 4.30pm Saturday 25 April tenore was honoured by UNESCO in Maisternia Pisni (Norway) 2005 as a ‘Masterpiece of the Oral and 3.00 - 4.00 pm IRMOS: Rejoice, Songs to Theotocos Bente Kahan Erik Hillestad (Norway) Intangible Heritage of Humanity’.This Maisternia Pisni’s Concert Rejoice SONGS FROM THE GHETTO presentation will illuminate the Lullabies from the Axis of Evil: Music, Dialogue and Human Liberation comprises ancient sacred songs to complex harmonies, and sound Theotocos from manuscript and Bente Kahan is a Jewish-Norwegian performing artist, multiplicities of the Sardinian voice A talk by Erik Hillestad about his work old printings of Ukraine of 17-19 whose production company Teater Dybbuk - Oslo, aims and launeddas (bagpipe) traditions, with artists and musicians, poets and centuries in the form of Irmological to convey Jewish-European culture and history through where, using extensive variations on a composers collaborating across singing – a traditional Christian drama and music. She also appears alone with her guitar few melodic phrases, a single song borders between religions and spiritual practice of singing or collaborates with European klezmer bands such as can last over an hour. cultures. Erik Hillestad is the leader of in Ukraine. Gjertrud’s Gypsy Orchestra (Norway), Di Gojim (The Kirkelig Kulturverksted (KKV Records), Netherlands), Jowel Klezmorim (Germany),“Sabbath Hela a music producer of recordings, The IRMOS project is an artistic Veckan”(Sweden) and Chudoba (Poland). anthropological project, exploring initiator of cultural and musical Bente tours internationally and is also repeatedly called projects and processes, and an author irmos, orthodox spiritual practice, in contemporary social-cultural context upon to perform in connection with official of a number of song texts. Erik has commemorations paying homage to the victims of the over recent years concentrated his and embodying contemporary artistic forms.The project aims to Holocaust. Her work unfailingly receives critical praise by work as a record producer on the newspapers and audiences alike. possibilities of music being a tool in renew the singing the irmos and working for peace, dialogue and rediscover its personal territory In May 2005, the Jewish Community in Wroclaw, Poland, human rights, through projects such of service and creativity. appointed Bente Kahan as the artistic director of the as “Make me a channel of your peace” Jewish Cultural and Educational Center of the White (2001),“Lullabies from the Axis of Evil” Stork Synagogue, and she is overseeing the renovation (2004) and “Songs across Walls of of the synagogue. Separation”(2008). Bente Kahan’s concert Songs from the Ghetto in th 66 Anniversary of Warsaw Ghetto Uprising. photo: Janne Moeller-Hansen

17 18 Performances Tuesday 21 April, 6.00pm N’Faly Kouyate (Guinea) Monday 20 April, 9.00pm IN SOLO Pie´s´n Kozła N’Faly Kouyate was born into one of the most famous families of griots from the (Song of heart of the Mandingue in West Africa. As one of the most charismatic performers of his generation, N’Faly uses music and storytelling as a way to open doors the Goat) between different peoples and cultures, striving always to tell about his culture (Poland) while embracing others, with a profound sense of inclusion rather than exclusion, MACBETH of unity between cultures and finally, our shared humanity. With the release of the CD, a floodgate of sorts was opened, as the combination of international distribution, great review attention, and airplay of the music Pie´s´n Kozła Theatre Company has increased N’faly’s international visibility greatly, setting him as an important been hailed as the most exciting and innovative of the new photo:Thomas Dorn international artist aside from his respected work with the AfroCelts Avant-garde theatre movement in Poland and continues the long tradition of Polish ensemble theatre work; through its dedication to ongoing research in the actor’s craft and its vocal and movement Tuesday 21 April, 9.00pm The artistic activity of Maisternia Pisni – the techniques Pie´s´n Kosła has created ‘Workshop of the Song’ – locates itself on the a unique performance style. Maisternia Pisni (Ukraine) borderline between theatre and traditional music, and oscillates around processes taking place Their performance of MACBETH, ON SUNDAY MORNING within human consciousness, as well as around borne out of Pie´s´n Kozła’s fundamental principles that shape changes within collaboration with the Royal culture. In such a context, the singing becomes a Shakespeare Company, explores service and an instrument providing access to the musicality, colours and sounds traditional ways of thinking and paths marked out of Shakespeare’s poetry at the same by generations. time as digging deep into the “Sunday… morning...” - a moment of being, tragedy of the story. when consciousness awakes, dawn, the sun has just risen, the time of not-doing, so time is very

photo: Bartlomiej Sowa present…on Sunday…morning. The Ukrainian songs of the Maiden Ritual of the Year, on which the performance is built, came to us in the memory of our body.They didn’t ask us if we wanted to sing it, if we understood …in any case nowadays such songs with no pragmatic Sunday 19 April, 6.00pm meaning maybe help us to live. There is no narrative ‘plot’ in the performance. Hasmik Harutyunyan It is a Story of Time, of Tree, of Songs. The Maiden plot is always one the same: (Armenia) She is waiting, He is leaving. Going all his life. ARMENIAN LULLABIES Monday 20 April, 7.00pm On Sunday morning it is snowing. Tempvs Fvgit… (Corsica) But actually there IS plot: In Armenia, traditional singer, Hasmik photo: Ostap Kostyuk Harutyunyan is famous for her deeply E CVSI SIA... (SO BE IT...) “On Sunday morning… she stood on the footbridge…” touching renditions of the Armenian lullaby, often broadcast on Armenian “to sing, for us, represents a way of leaving National Radio or performed by Hasmik in time, and also to even enter it fully”. concerts and at traditional music festivals and ceremonies. Her CD Armenian Giving voice to time: the angelic voice of Lullabies (released in 2004 by Traditional Tempvs Fvgit... soars through the Crossroads) – on which she sings a harmonics of human and musical cappella as well as with the Shoghaken authenticity, the continuum of Folk Ensemble - was noted in a New York modernity and tradition, and resounds Times review as the best Armenian eternally in the exquisite quarrel of recording worldwide in 2004. creation and re-creation. 19 20 Performances

Thursday 23 April, 6.00pm Wednesday 22 April, 6.00pm Vahdat Ensemble (Iran) Kitka (USA) SCENT OF REUNION THE RUSALKA CYCLE: SONGS BETWEEN THE WORLDS “Even God stops to listen when KITKA—unamplified, Here they become the Rusalski, the restless spirits of Traditional and regional Persian music is based upon a without sets, props, instruments, or even lyrics most women who inhabit the waters, forests, and fields, modal system and places particular priority on people can understand—opens its collective mouth. luring people to them with their mesmerizing songs improvisation and ornamentation; vocal parts are often The sound is so chillingly beautiful, by anyone’s and wild laughter.The project was borne out of their decorated with Tahrir, a vocal ornamentation similar to standards, that the entire audience sits enraptured, field researches, including the songs and oral histories yodelling. A rare chance to immerse yourself in this most of them with eyes shut. My own eyes flooded with from several small groups of grandmothers who were beautiful and unique Middle Eastern music tradition with tears.” Summer Burkes,THE GUARDIAN refugee-evacuees of the Chernobyl catastrophe of sisters Mahsa and Marjan Vahdat whose repertoire 1986.These women are among the few surviving Women’s vocal ensemble, Kitka has a unique includes old Persian traditional songs as well as regional practitioners of Rusalka rituals, rites rooted in a once sound--a sound which explores a vast palette of and folk songs from Iran and their own compositions fertile landscape now contaminated.The irony of their ancient, yet contemporary-sounding vocal effects personal connection to both the Rusalki as nature ‘Songs From a Persian Garden’ [CD release by the Vahdat that evoke a range of subtle to extreme inner states, spirits and one of the greatest environmental disasters Sisters] promises to delight its Western audiences with its instincts, and emotions. of our time infused the project with an intense poetic charm, lavish instrumentation and exquisite poignancy, urgency, and depth. traditional vocals.The album could lend itself towards cultural awareness, building bridges, or just act as a musical respite for someone seeking something more exotic. And in the realm of global music, let us welcome two more superb women vocalists to the table.These sisters are always welcome at my table’. Global Music Consciousness

Kitka’s appearance at the Giving Voice Festival is made possible by grants from the Trust for Mutual

Understanding and USArtists International. www.midatlanticarts.org photo:Tassel Raymond van

Wednesday 22 April, 8.30pm Thursday 23 April, 7.30pm Meredith Monk (USA) SOLO PERFORMANCE Jonathan Hart Makwaia (USA) THE WILD IS RISING “I work in between the cracks, where the voice starts dancing, where the body starts singing, where theatre becomes cinema.” “In Jonathan, East Africa meets the East Village. MEREDITH MONK is a composer, singer, director/choreographer and Tribal raw beauty and ancient rhythms crash right creator of new opera, music theater works, films and installations, and into urban sensibility and sophistication….the a pioneer in site-specific performance, who has been proclaimed as a blend is astounding” (Rosanne Cash) “magician of the voice”. She is primarily known for her vocal innovations, including a wide range of extended techniques, which she first Jonathan Hart Makwaia’s concert celebrates developed in her solo performances prior to forming her own multiple dimensions of the voice. His music ensemble. As well as writing extensively for her vocal ensemble, integrates traditional singing with other forms Meredith has also written for instrumental ensembles and of vocal expression, interweaving the piano as symphony orchestras. an inextricable but distinct voice.The recital is informed by his own background that includes “She develops simple, archaic structures that remain flexible, playful, open Roy Hart voice training, classical piano, two to all changes, as is usual in the folk traditions of the world… patterns decades in New York City and his biological change continually and are kept shimmering through ever new variants roots in the Sukuma tribe of Tanzania. of timbre…Monk’s trademark remains clearly discernible.” (Die Welt) photo: Froman Jessie

21 22 Performances

Thursday 23 April, 9.00pm Pilpani Family (Georgia) Traditional polyphony from Svaneti

It is with great pleasure that we welcome to Giving Voice and Wroclaw the Pilpani Family from Svaneti, Georgia, in the High Caucasus; the Pilpanis are bearers of a long Friday 24 April, 9.00pm tradition of singing, and who have a specific repertoire of songs that is linked to the La Kaita was born into the ‘Porrina’ gipsy family and has name Pilpani. Coming from the region of Mestia in the heart of Svaneti, the Pilpanis La Kaita, Alejandro Vega, become renowned through Tony Gatlif’s Films “Vengo” are led by Eptime Pilpani who is also the founder and leader of the world-renowned El Peregrino & El Nene (Spain) and “Latcho Drom”. She is an interpreter extraordinaire of Riho Ensemble. Keeping in mind the question of transmission, Eptime is also the the extremenian styles – jaleos and tangos – into which leader of the Mestia Children’s Choir.The Pilpani’s concert at Giving Voice offers a Cantes Extremenos: she injects a frenetic rhythm and at the same time a unique opportunity to experience this repertoire in Poland (a repertoire so old that Gypsy Flamenco from Badajoz supernatural ‘queja’ (complaint). the language of the songs is not even understood any more by the singers and Alejandro Vega - Son of ‘La Hinolota’,is an authentic Badajoz, a major city for flamenco is where the two remains as mysterious craft of vowels with a secret meaning). cantaor of pure pinche, always surprising. principal autoctonous cantes – the Jaleos and Tangos – One of the main features of Georgian vocal polyphony is the abundance of dissonant were created and are still celebrated; these cantes that are Antonio Silva (El Pelegrino) - A dancer of enormous chords built on seconds, fourths, fifths and sevenths. In Svan songs, most of the intervals now called Extremenos, and imprinted with the “dejillo”and popularity in the gipsy environment of Badajoz, whose are flexible and do not coincide with the tempered scale intervals. Due to this feature, the print that was left by their primitive interpreters. dance is autodidactic, ingeniously instinctive, anarchic many chord progressions in Svan songs seem strange to European ears, and as well At present the key to these cantes are kept by La Kaita, and always intriguing. because they often contain the interval of the augmented eighth (octave). Alejandro Vega, Antonio Silva, and El Nene, who with As brother of La Kaita, a member of the ‘Porrinas’,El Nene’s their work are bringing them to national and guitar-playing is acutely sensitised to the cry of Kaita’s international audiences. song and El Peregrino’s dance.

Friday 24 April, 6.00pm Saturday 25 April, 6.00pm Cuncordu and Tenores Svetlana Spajic (Serbia) Dedication to the Setting Sun ‘Antoni Milia’ de Orosei (Italy) For eighteen years Svetlana Spajic has been researching Cantandhe Orosei the ancient, orally transmitted vocal traditions and peculiar Sardinian singing is one of the most popular polyphonic expressive idioms of Serbian and Balkan non-tempered, a forms in the Mediterranean, heard throughout the year, in capella singing, its unique vocal techniques and daily life, in the liturgy, on peasants’ holidays, in between ornamentation. But Svetlana is not just and foremost a the sacred and profane. Cuncordu de Orosei is one of singer of traditional ethnic music, but a phenomenon the most foremost groups of Sardinian polyphony, whose imposing stage and artistic presence reveals deep, serving a religious function as well as the preservation of obsessive and elemental dedication and effort to restore a living memory of their village. Orosei, on the east coast, contact with the greatest themes in the history of Western is one of the few villages (with Castelsardo, Cuglieri and civilisation: Eros and Thanatos. Santulussurgiu) where the repertoire has been “I will try to meet the audience with the world of Serbian oral continuously handed down by oral transmission without tradition which vanishes literally every day in front of my eyes interruption.The Sardinian canto a tenore is considered so and pay tribute to some of those great spirits who formed me important that it was added to the list of oral traditions as singing; and so, in dedication to my Setting Suns – my old part of the Intangible Heritage of Humanity by UNESCO friends and teachers from the remote Serbian villages. in 2008. Are we capable of passing over their oral tradition today? The a tenore song is a “polyvocal”form in four voices: How? And what if this effort is in vain, simply because we oche and mesuvoche (more usually called the boche and don’t live in the same world? We will try to answer, and might falzitu) are joined by a bassu and a cronta. For this raise instead hundreds of new questions… again. concert, Cuncordu de Orosei arrive with the harmonic But it doesn’t matter. ‘fifth voice’,the immaterial quintina. What really counts is that, in their quiet, grandmothers will hear from us our love and effort.” 23 24 Performances Booking Information 25

CARNETS – daily Festival participation including workshops, presentations and performances

EUROS Full Price Concession Eastern Line Full Carnet (8 days) 430 260 150 Half Carnet (3 days) 260 150 75 Saturday 25 April, 8.30pm One day Carnet 150 100 60 Jawaher Shofani (Palestine) with Giving Voice friends, Application forms can be found at www.grotowskiyear.pl and www.thecpr.org . LULLABIES: BETWEEN LIFE AND DEATH Completed application forms should be returned to [email protected] by 3 April. “I sing very old songs that describe the way Payment of a deposit will be requested by email on receipt of the application form. of the Palestinian life through the years 1900 until 1975” (Jawaher Shofani) PERFORMANCE TICKETS – individual events A shared evening of women’s voices: Single tickets for performances and presentations will be available from 6 April: re-sounding together the singing of birth online at www.ticketpro.pl or at one of the 300 cash sale points in Poland listed on and death. the site; or at the Grotowski Year Offices: (ul. Swidnicka 2/4Galeria Design BWA Wroclaw)

Please refer to the Festival calendar for the CONCESSION (REDUCED PRICE) full details of events.The programme of Students, unemployed artists, new EU workshops, presentations and contributors countries, Africa, Asia is accurate at the time of going to press. EASTERN LINE SCHOLARSHIP The Festival organisers reserve the right to Assessed individually change the programme. BURSARY BARTERS Workshops must be booked in advance Sunday 26 April, 7.00pm and each workshop followed for its full For applicants in particular financial Teatr ZAR (Poland) term. Places for workshops are limited and hardship we are pleased to offer a small GOSPELS OF CHILDHOOD are allocated on a first come first served number of discretionary bursary places in basis, therefore early booking is advised. return for some practical assistance during Please indicate your second choice of the Festival.To apply for a bursary place Fragments on Intimations of workshop on the application form in case Immortality from Recollections please fill out an application form (as per of Early Childhood. your first choice is already fully subscribed. instructions in Booking Information) You will receive notification of which including detailed information about your ‘Gospels of Childhood’ is an attempt workshop you have been allocated and self and your interests. Please return to tell the ‘late story of the flesh’ - after final confirmation of your place is made on applications by 20th March 2009. love; after humiliation; after death: an payment of the full fee due. impossible story of resurrection. ACCOMMODATION Traditional polyphonic songs of Cancellation: in the event of cancellation Accommodation is not included in the Georgia, Bulgaria and Greece re- after the full fee has been paid the Festival Carnet.The Festival has a deal with arranged by Teatr ZAR are woven with organisers reserve the right to retain the the Mleczarnia Hostel texts from little known apocryphal full fee unless sufficient notice has been www.mleczarniahostel.pl/index_en.php gospels, such as those of Mary given to re-allocate the workshop place. where dormitory rooms will cost 38zl. Magdalene, Phillip and Thomas, and Other rooms are available. fragments from Fyodor Dostoyevsky FULL PRICE Please contact the Hostel directly for and Simone Weil, in a moving and Full-time employed participants from the bookings. Alternatively please contact intimate tableau-vivant of sound and EU countries, North America, Australia

silence, and the flesh immortal. Blaszczak, and Przemyslaw Favreau Jean Francois photo: Ken Reynolds [email protected] for information about other options. 26 CPR - for the Curious Organisers The Grotowski Institute is a cultural institution Agor bydoedd a berfformio which combines artistic and scholarly research projects that correspond to the challenges laid Giving Voice is an established biennial down by Jerzy Grotowski’s creative practice. international event mounted in Wales by the Centre for Performance Research (CPR). The Institute emerged out of the Centre for Study of The Centre for Performance Research is a Jerzy Grotowski’s Work and for Cultural and pioneering and multi-faceted theatre Theatrical Research, which was established at the organisation located and rooted in Wales, former premises of the Laboratory Theatre, at the working nationally and internationally. CPR Old Market in Wrocław in 1989.The originator of the produces innovative performance work: Centre’s programme guidelines was Zbigniew arranges workshops, conferences, lectures and Sponsors Osi´nski, who directed the institution successively masterclasses (for the professional, the with Alina Obidniak and Stanisław Krotoski. amateur and the curious); curates and produces festivals, expositions and exchanges Their successors, Jarosław Fret and Grzegorz with theatre companies from around the Ziółkowski, transformed it into the Grotowski world; publishes and distributes theatre books, Institute, continuing the lines of work run by the as well as the journal Performance Research. Grotowski Centre whilst placing more emphasis on education, promotion, producing and publishing. The CPR Resource Centre is a multi-cultural, The Grotowski Institute runs as well an archive internationally recognised reference library and dedicated to the works of Jerzy Grotowski. archive of books, journals, CDs, DVDs, slides, videos and photographs focusing on theatre The year 2009 marks the 10th anniversary of Jerzy and performance from around the world. Grotowski’s death, 50 years since he took over, together with Ludwik Flaszen, the Theatre of the Performance Books: Media 13 Rows in Opole (later the Laboratory Theatre) The Centre for Performance Research and the 25th anniversary of the dissolution of Bookshop stocks an extensive range of the- the Laboratory Theatre. atre and performance books, DVDs, CDs, CD Roms. Performance Books is available online In November 2007, in recognition of these events, (www.thecpr.org.uk) and will be holding a the General Conference of UNESCO added the voice bookstall at Giving Voice 11. founding of the Laboratory Theatre to the list of anniversaries to be celebrated within its For more information please visit our 2008–2009 programme. website - www.thecpr.org.uk, or email us at [email protected], or call us on The Grotowski Institute is the initiator and the +44 (0) 1970 622 133. principal co-ordinator of the worldwide Grotowski Year 2009 celebrations, aside of three of the co- For the CPR: founders of the Laboratory Theatre: Ludwik Flaszen, Judie Christie – Creative Producer & CPR Director Rena Mirecka and Zygmunt Molik. for Harmonic Accord, Partners Helen Gethin – Administrative and Marketing Director Richard Gough - Artistic Director & General Editor Performance Research Journal Dominika Komaniecka – Resource Centre Manager & Archivist Sandra Laureri – Administrator Performance Research Journal Joan Mills – CPR Voice Director & Jaroslaw Fret - Director Director Giving Voice Izabela Mlynarz - Programme Section Magdalena Madra - Administration Catherine Piquemal – Publications Officer The Grotowski Year 2009 Siu-Lin Rawlinson – Assistant Producer & www.rokgrotowskiego.pl Research Assistant [email protected] Amy Staniforth – CPR Collections Director Festival Club Joanna Klass - Producing Director Piotr Jacyk - Technical Co-ordinator Giving Voice 11. Spotkanie w Piesni. Ditte Berkeley - Artistic Programme Justyna Warecka - Assistant Producer Marie-Geneviève L´Her - Administration The Centre for Performance Research Ltd an educational charity (701544) Jean-Francois Favreau - Publications limited by guarantee (2315790) The Centre for Performance Research at Aberystwyth is a joint venture of Nini Julia Bang - Artists Liaison Aberystwyth University and Centre for Performance Research Ltd, working in close association with AU Department of Theatre, Film and Television Studies. 27 performances gweithdai Presentations perfformiadau Gweithdai Trafodaethau Workshops trafodaethau Perfformiadau Lalish Theater Labor Cyflwyniadau Tempvs Fvgit…

Pilpani Family Design: www.savageandgray.co.uk Michael Ormiston Nataliia Polovynka

warsztaty gweithdai Teatr ZAR Svetlana Spajic perfformiadau Kristin Linklater Vahdat Ensemble

Cuncordu de Orosei glos performacje N’Faly Kouyate Meredith Monk prezentacje Maisternia Pisni La Kaita Jonathan Hart Makwaia Theatro delle Albe gweithdai Bragod Tomasz Rodowicz Maryana Sadovska meetings dyskusja perfformiadau Hasmik Harutyunyan Tserendavaa left right):Tserendavaa, (from Photos to Art Centre), Walker Wittig courtesy - Cameron Meredith Monk (photo Dorn),Thomas - (photo Kouyate N’Faly Bragod, Maisternia Pisni (photo: Ostap Kostyuk),Teatr - Ken Reynolds) ZAR - (photo