Flow, Fissure, Mesh

Home » Posts tagged 'Bronwyn Malloy'

Tag Archives: Bronwyn Malloy

Breath, Blood, Throat, Voice: Tanya Tagaq and the Politics of Song

This is an audio capture of a collaborative presentation by Bronwyn Malloy and me—both affiliated with the University of British Columbia—on the music of Tanya Tagaq (along with that of Jesse Zubot, Jean Martin and Christine Duncan). The talk, called “Breath, Blood, Throat, Voice: Tanya Tagaq and the Politics of Song,” took place on Friday, 24 March 2017 at the University of British Columbia. In keeping with our subject matter—Tagaq’s recent music, especially from the album Retribution, and live performances—we tried to design our own presentation as a co-creative duo, moving back and forth between voices and approaches. Our intention is to revise and expand this material into a collaborative scholarly-critical essay. We’re focusing in on the collisions of indigeneity and alterity/plurality/community through the co-creative practice(s) of improvised musicking.

Extraordinary Presences: Women, Poetry, Art Song

Following the performance of The Muted Note: Songs Based on Poems by P. K. Page by Scott Thomson and Susanna Hood, the International Institute for Critical Studies in Improvisation is convening a colloquium called “Extraordinary Presences: Women, Poetry, Art Song” from 2:00 to 5:00 on Thursday, 16 October 2014 in the Dodson Room of the Irving K. Barber Learning Centre at the University of British Columbia. Two panels of poets, composers, performers and scholars will talk about their own work and their collaborations. Presenters will be investigating the cultural politics of contemporary composition and performance by women: are there particular constraints or challenges that contemporary women artists face? Are there specific musical, textual or performative strategies that women employ in their creative work when faced with such challenges? Is it still necessary or even possible to address artistic work, as performers, composers and listeners, with attention to the complex cultural politics of gender and sexuality? In addition to the two discussion panels, there will be a performance by Lisa Cay Miller of her text-based improvisations for piano, “Lessing Stories.” Admission is free, and the colloquium is open to all, students, artists, academics and the general public.

Colloquium Schedule

2:00-3:00 Panel: Extending the Poetics of Song

Scott Thomson, composer and improviser, Montréal and Toronto

Susanna Hood, vocalist, choreographer, Montréal and Toronto

Sandra Djwa, P. K. Page biographer, Vancouver

Phanuel Antwi, Department of English, UBC

3:00-3:30

Lisa Cay Miller, “Lessing Stories”

3:30-4:30 Panel: Collaborations and Challenges, Sounding Out

Rachel Rose, Vancouver Poet Laureate

Jacquie Leggatt, composer, Vancouver

Bronwyn Malloy, Department of English, UBC

A downloadable PDF version of the colloquium schedule can be found here: Extraordinary Presences schedule