In early 2019, Bad Bunny, a leading urbano latino artist, released the music video to his song ‘Caro’. As a musical track, the song can easily be heard as standard Latin trap fare that centres the ostentatious masculinity of its protagonist. The video, however, definitively disrupts gendered/generic norms by layering the performances of Bad Bunny and Jazmyne Joy, a model featured in the role of Bad Bunny. Their dual performance of a single persona, deploying both drag and ventriloquism, challenges the perceived boundedness of gender and genre by calling into question the boundaries of the body itself. Gender and genre are treated here as conceptual sisters that afford the rupture of their respective boundaries in the elaborative act of performance. Thus, in ‘Caro’, the theories of Judith Butler and Georgina Born are generatively exemplified and mutually illuminated, affirming the contingency and performativity at the centre of both.
{"title":"‘Caro’: Bad Bunny and the symbolic rupture of gender","authors":"Samuel C. Fouts","doi":"10.1386/jivs_00070_1","DOIUrl":"https://doi.org/10.1386/jivs_00070_1","url":null,"abstract":"In early 2019, Bad Bunny, a leading urbano latino artist, released the music video to his song ‘Caro’. As a musical track, the song can easily be heard as standard Latin trap fare that centres the ostentatious masculinity of its protagonist. The video, however, definitively disrupts gendered/generic norms by layering the performances of Bad Bunny and Jazmyne Joy, a model featured in the role of Bad Bunny. Their dual performance of a single persona, deploying both drag and ventriloquism, challenges the perceived boundedness of gender and genre by calling into question the boundaries of the body itself. Gender and genre are treated here as conceptual sisters that afford the rupture of their respective boundaries in the elaborative act of performance. Thus, in ‘Caro’, the theories of Judith Butler and Georgina Born are generatively exemplified and mutually illuminated, affirming the contingency and performativity at the centre of both.","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46812030","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In response to Rosemary Coombe’s provocation ‘Who authors the celebrity?’, this interview with actor, singer and impressionist Christina Bianco considers the process, performance and cultural politics of vocal impressions as a vicarious form of popular entertainment. Responding to Mladen Dolar’s assertion that voice can be located at the juncture of subject and Other (2006: 102) the discussion considers the performer’s reflections on the relationship between her own voice and those she ‘lives in’ during performance, the tensions between visuality and vocality in the creation and reception of impressions and the influence of new creative technologies and changing social mores which are changing whose voice(s) may be authored – and by whom.
{"title":"‘The voice I like to live in’: An interview with impressionist Christina Bianco","authors":"Ben Macpherson","doi":"10.1386/jivs_00074_7","DOIUrl":"https://doi.org/10.1386/jivs_00074_7","url":null,"abstract":"In response to Rosemary Coombe’s provocation ‘Who authors the celebrity?’, this interview with actor, singer and impressionist Christina Bianco considers the process, performance and cultural politics of vocal impressions as a vicarious form of popular entertainment. Responding to Mladen Dolar’s assertion that voice can be located at the juncture of subject and Other (2006: 102) the discussion considers the performer’s reflections on the relationship between her own voice and those she ‘lives in’ during performance, the tensions between visuality and vocality in the creation and reception of impressions and the influence of new creative technologies and changing social mores which are changing whose voice(s) may be authored – and by whom.","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42954447","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Describing his early compositional processes as ‘butchering’ in conversation with Simon Reynolds, the songs and voices that James Leyland Kirby, also known as The Caretaker amongst other aliases, has obsessively reworked, looped, stretched and otherwise deconstructed, appear as ghosts, eternally trapped in auditory labyrinths of melancholy decay; the sonic equivalent of stirring bottomless pools of murky water. Drawing on conceptions of hauntology from the work of Jacques Derrida (1930–2004), Mark Fisher (1968–2017) and others, this article will explore The Caretaker’s use of ‘butchered’ voices in The Haunted Ballroom Trilogy and Patience (After Sebald), to explore the deconstructive labyrinths that are intrinsic to his work in Selected Memories from the Haunted Ballroom (1991) onwards.
{"title":"‘Butchered Voices’: Haunted memories in the work of The Caretaker","authors":"Clare Lesser","doi":"10.1386/jivs_00072_1","DOIUrl":"https://doi.org/10.1386/jivs_00072_1","url":null,"abstract":"Describing his early compositional processes as ‘butchering’ in conversation with Simon Reynolds, the songs and voices that James Leyland Kirby, also known as The Caretaker amongst other aliases, has obsessively reworked, looped, stretched and otherwise deconstructed, appear as ghosts, eternally trapped in auditory labyrinths of melancholy decay; the sonic equivalent of stirring bottomless pools of murky water. Drawing on conceptions of hauntology from the work of Jacques Derrida (1930–2004), Mark Fisher (1968–2017) and others, this article will explore The Caretaker’s use of ‘butchered’ voices in The Haunted Ballroom Trilogy and Patience (After Sebald), to explore the deconstructive labyrinths that are intrinsic to his work in Selected Memories from the Haunted Ballroom (1991) onwards.","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45202830","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Voices in and Out of Place: Misplaced, Displaced, Replaced and Interlaced Voices, Francesco Venturi, Virtual Conference, 6–7 September 2022","authors":"F. Venturi","doi":"10.1386/jivs_00077_5","DOIUrl":"https://doi.org/10.1386/jivs_00077_5","url":null,"abstract":"Review of: Voices in and Out of Place: Misplaced, Displaced, Replaced and Interlaced Voices, Francesco Venturi, Virtual Conference, 6–7 September 2022","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48432654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Education, Music and the Lives of Undergraduates: Collegiate a Cappella and the Pursuit of Happiness, Roger Mantie and Brent C. Talbot (2020) New York: Bloomsbury, 161 pp., ISBN 978-1-35016-922-7, h/bk, £85.50
{"title":"Education, Music and the Lives of Undergraduates: Collegiate a Cappella and the Pursuit of Happiness, Roger Mantie and Brent C. Talbot (2020)","authors":"Joshua S. Duchan","doi":"10.1386/jivs_00075_5","DOIUrl":"https://doi.org/10.1386/jivs_00075_5","url":null,"abstract":"Review of: Education, Music and the Lives of Undergraduates: Collegiate a Cappella and the Pursuit of Happiness, Roger Mantie and Brent C. Talbot (2020)\u0000 New York: Bloomsbury, 161 pp.,\u0000 ISBN 978-1-35016-922-7, h/bk, £85.50","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48619256","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Vicarious vocalities and simulated songs: An editorial","authors":"Ben Macpherson","doi":"10.1386/jivs_00069_2","DOIUrl":"https://doi.org/10.1386/jivs_00069_2","url":null,"abstract":"","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49216358","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In writing the histories of film practitioners such as C. Krishnaveni, one recognizes the value of how their vocalities, literal and metaphoric, as observers, creative artistes and enablers are indicative of the form that cinema has historically taken within specific spaces of language and culture. This article reviews key themes and developments around the encoding of voices of early actors and singers, places their contribution in the cultural and linguistic context of South India and notes their historical position in innovating with cinematic technologies and creating new musical and narrative materials.
{"title":"A vocality is about chords and contexts: The story of C. Krishnaveni and songmaking","authors":"Kiranmayi Indraganti","doi":"10.1386/jivs_00071_1","DOIUrl":"https://doi.org/10.1386/jivs_00071_1","url":null,"abstract":"In writing the histories of film practitioners such as C. Krishnaveni, one recognizes the value of how their vocalities, literal and metaphoric, as observers, creative artistes and enablers are indicative of the form that cinema has historically taken within specific spaces of language and culture. This article reviews key themes and developments around the encoding of voices of early actors and singers, places their contribution in the cultural and linguistic context of South India and notes their historical position in innovating with cinematic technologies and creating new musical and narrative materials.","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45171240","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the stereotype of the ‘tiny girl with the big voice’ and discusses three singers, Jackie Evancho, Hollie Steel and Connie Talbot, who competed in televised talent competitions America’s Got Talent and Britain’s Got Talent at aged 10 or under during the early 2010s. Today, as adults in their twenties, the three women continue to pursue singing careers, navigating the public scrutiny that inevitably follows female child stars as they grow up. The first half of this article explores how the talent competitions framed the apparent incongruence between the young girls’ voices and bodies and their dehumanizing objectification in the press as ‘singing angels’ or ‘freaks’. Adapting a term from Jennifer Fleeger, the article describes these singers as ‘mismatched girls’. The second half of the article examines recent transformative moments in the adult lives of Evancho, Steel and Talbot that demonstrate how the women have used musical performances and social media to reimagine the relationship between their voices, bodies and identities. Managing their own careers and star texts as adults today, they transcend the ‘mismatched girl’ stereotype, refuting the cultural myth that certain voices inherently belong with certain bodies.
{"title":"‘I’m not a 10-year-old girl anymore’: The voices, identities and careers of Got Talent’s mismatched girls","authors":"Melissa Morton","doi":"10.1386/jivs_00073_1","DOIUrl":"https://doi.org/10.1386/jivs_00073_1","url":null,"abstract":"This article explores the stereotype of the ‘tiny girl with the big voice’ and discusses three singers, Jackie Evancho, Hollie Steel and Connie Talbot, who competed in televised talent competitions America’s Got Talent and Britain’s Got Talent at aged 10 or under during the early 2010s. Today, as adults in their twenties, the three women continue to pursue singing careers, navigating the public scrutiny that inevitably follows female child stars as they grow up. The first half of this article explores how the talent competitions framed the apparent incongruence between the young girls’ voices and bodies and their dehumanizing objectification in the press as ‘singing angels’ or ‘freaks’. Adapting a term from Jennifer Fleeger, the article describes these singers as ‘mismatched girls’. The second half of the article examines recent transformative moments in the adult lives of Evancho, Steel and Talbot that demonstrate how the women have used musical performances and social media to reimagine the relationship between their voices, bodies and identities. Managing their own careers and star texts as adults today, they transcend the ‘mismatched girl’ stereotype, refuting the cultural myth that certain voices inherently belong with certain bodies.","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45697245","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article discusses the authoritative voice in traditional Irish singing, examining voice in negotiation with prevailing and conflicting ideologies of practice in this context. Opening with a discussion on vocal identity and vocality in traditional Irish singing, autoethnography is used to present and critically examine an individual process of learning and voicing a macaronic song from the Irish tradition. Findings contribute to further understand the social, participatory and presentational dimensions of Irish traditional song as it is learned, performed and transmitted. Issues of vocal enculturation, identity and construction are negotiated as authoritative voice and stylistic efficacy are conceptualized in voicing Irish traditional song.
{"title":"‘Take it away, sure ’tis your own’: Negotiating authoritative voice in Irish traditional song performance through autoethnography","authors":"Hannah Fahey","doi":"10.1386/jivs_00064_1","DOIUrl":"https://doi.org/10.1386/jivs_00064_1","url":null,"abstract":"This article discusses the authoritative voice in traditional Irish singing, examining voice in negotiation with prevailing and conflicting ideologies of practice in this context. Opening with a discussion on vocal identity and vocality in traditional Irish singing, autoethnography is used to present and critically examine an individual process of learning and voicing a macaronic song from the Irish tradition. Findings contribute to further understand the social, participatory and presentational dimensions of Irish traditional song as it is learned, performed and transmitted. Issues of vocal enculturation, identity and construction are negotiated as authoritative voice and stylistic efficacy are conceptualized in voicing Irish traditional song.","PeriodicalId":36145,"journal":{"name":"Journal of Interdisciplinary Voice Studies","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46054870","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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