strange songs explores the voice as a hyperphysical movement that is constantly dancing: Manifesting somewhere “in between the body” it articulates in form of thought, breath, sound, song and language.
In the workshop, participants explore what the voice is and could be within their performative practice and collective processes of creation. Through durational practices of breathing, speaking, sounding and singing, we will experiment with the making of songs as sensual form of speaking. We will invoke strange vocalities: Voices that don’t seem to belong or fit into the body.
We will intensify, deconstruct and ‘stranger’ the voice, exploring it as a motor from which movement and temporary identities can emerge. The workshop will include physical/vocal practices, conversation and writing.
About the voice
What is the voice? Where does it linger? What if the voice is a consequence of physicality? And what if the moving body is a consequence of a hyperphysical voice?
In strange songs I propose to see the voice as a phenomenon, where both political and poetic expression articulate. In 1977 a Afro- American reverend said: “When it is too dangerous to say something, sing it!” Under specific circumstances and to specific people the use of the voice may be
dangerous. The voice is a political tool, not only to express subjectivity and to speak up for oneself, but also to give and lend our voice, to empower the voices of others, those who are not present or those who cannot speak.
Yet our ways of speaking can take diverse forms and may be other then verbal. “The grain of the voice” as Roland Barthes defines it, marks a split between voice and languages and defines the voice as a form of bodily communication escaping the laws and limits of the linguistic sphere.
The singing and sounding voice breaks with the hierarchy of rational language and paradoxically touches upon the “unsayable”.
As a disembodied organ, manifesting both in – and outside the body, the voice entertains a close relationship with ghosts and invisible forces. Humans can be inhabited, moved and sometimes even manipulated by voices. Which somatic processes are set in motion, when we experience the voice as foreign?
You can either join both days or drop in for a day, though please be aware that the practices well be working on during the days will be in relation to each other and there might be little tasks after the first day ..
There is a possibility to practice outside during the workshop (if the weather allows for it),
please bring along the following things:
- Headphones
- A charged phone
- The SoundCloud app (free to download)
- Comfortable and warm clothes, and comfortable shoes
See her solo performance Velvet at Sydhavn Teater 1-2nd of September as part of yes – dance biennale.
The workshop is held in Studio 3, Dansehallerne, Franciska Clausens Plads 27 DK-1799 Copenhagen V.
Dansehallerne has an elevator with step-free access to all floors. Accessible and gender-neutral toilets and wardrobes are available on the ground floor.
We kindly ask you to arrive 15 minutes prior to class in time for check-in with the QR code on your ticket.
All members can participate in Dansehallerne’s training activities – a year-round program with approximately 5 days of training per week and now also workshops every other week. This is for all professional members regardless of background in dance training, and it is also possible to participate in a drop-in class.
International guests can participate in training for free for up to 1 month. If you have comments or good tips for the training program, you can always send an email to the curators; trainingcurator@dansehallerne.dk
Claire Vivianne Sobottke (D/F) works across choreography, performance and dance. Her practice
explores the body as a turbulent accumulation of concepts, histories, trauma, memories, projections,
identities and magic, while investigating the voice as political tool and poetic phenomenon. Notable
works include à mort (2023), Velvet (2019), WE BODIES (2019), and strange songs (2016). Claire
develops strategies to subvert objectification through a playful sexuality, sensuality and collectivity.
