RESEARCH-CREATION & OTHER WORK


RESEARCH-CREATION IN ORAL HISTORY, MUSIC & INTERMEDIA PERFORMANCE OF TESTIMONIES

To embody otherness : Oral history, music and intermedia performance as a transdisciplinarity method of staging life stories

• Headphone verbatim musician-performer alongside Tahlia Stacey (soprano) and Isaac Rufus Rosen-Purcell (corporal expression) within the “aural” history performance piece Empathy based on the testimony of Fal, a sign langage translator. The performance was part of the Transdisciplinary Creation and Performance class at Concordia University’s Department of Music (April 2019), Montréal QC, Canada

Photo prise par Aprajita Saxena au cours de la performance (2019)

Photo taken by Aprajita Saxena during the performance (2019)

The ethics and aesthetics of the vulnerability of storytelling : Oral history performance in the context of restorative justice, survivor narratives and social change


• Co-director with artist Noa Haran of a collective vocal expression workshop Pour que nos voix portent in collaboration with the Centre for restorative justice held at Concordia University’s Theatre Department.

Présentation de l’atelier par Mathieu Lavigne sur le site du Centre de Services de Justice Réparatrice (2019)

Presentation of the workshop by Mathieu Lavigne on the Centre for Services in Restorative Justice website (2019)

The workshop was part of an independent study on oral history performance, music and deep listening in the accompaniment of survivors of violence (May – June 2019), Montréal QC, Canada


• Invited speaker within the round table How can oral history performance support restorative justice efforts ? held during the Oral History Association annual meeting Oral History in Our Challenging Times at Concordia University (October 2018), Montréal QC, Canada

L’affiche officielle de la rencontre annuelle de 2018 de l’Association d’Histoire Orale (2018)

The Oral History Association’s 2018 Annual Meeting Official Poster (2018)

• Composer and headphone verbatim musician-performer within the oral history performance piece Untitled in collaboration, and based on testimonies from the Center for Services in Restorative Justice notably dealing with subjects domestic violence, Concordia University’s Theatre department and artist-researcher Dr. Luis Carlos Sotelo. The performance was held during the Oral History Association annual meetings Oral History in Our Challenging Times at Concordia University.

Also part of an independent study on the role of music in oral history performance : bridging methods between verbatim theatre & contemporary music composition approaches (January – October 2018), Montréal QC, Canada


Performance of the self or self-performance ? Oral history performance in the context of auto-ethnographic staged testimonies of war and trauma

• Composer and music improviser within Zeina Ismail-Allouche’s auto-ethnographic piece A draft story of invisibility II, my mother, performing her own stories of violence and loss during the Lebanese civil war, held during the Oral History Association annual meetings Oral History in Our Challenging Times at Concordia University (October 2018), Montréal QC, Canada


SHARING SILENCES IN TIMES OF GLOBAL CRISIS & CONFINEMENT : 4’33” BY JOHN CAGE ON ZOOM (CANADA, FRANCE, LEBANON)

• Ongoing volunteer-based project that explores the shared silences and the soundscapes of the environments in which we are confined in during the current COVID-19 pandemic using the recently popularized videoconference application Zoom (April 2020 -)

Enregistrement amplifié de la performance de 4’33” sur Zoom (2020)

Amplified recording of the 4’33” performance on Zoom (2020)

SYMPOSIUMS & PUBLICATIONS


La question de l’auteur et le rapport de pouvoir entre le compositeur et l’interprète musicale : Du Bel Canto à Om Kalthoum (“The question of the auteur and the power dynamics between the composer and women performers : From Bel Canto till Om Kalthoum”) at the Université de Montréal, presented during the conference Questions de société, perspectives féministes, also published as an opinion piece in the feminist art and art history magazine Yiara Magazine vol. 7 (March 2019), Montréal QC, Canada

Page de couverture de mon texte d’opinion dans le journal Yiara Magazine vol.7 (2019)

Cover page of my opinion piece in the journal Yiara Magazine vol. 7 (2019)


Qui pour porter la parole d’autrui dans l’art? Kanata et ses controversies (“Who can embody the voice of the other in art? Kanata and its controversies”) at the Université de Montréal, presented during the conference Philo Polis (February 2019), Montréal QC, Canada



Comment apprécier l’œuvre d’un monstre? (“How can we appreciate the monster’s art?”) at the Université du Québec à Montréal, presented during the conference Philo Polis (February 2018), Montréal QC, Canada

Photo prise par Rabih Chami au cours de la discussion (2018)

Photo taken by Rabih Chami during the discussion (2018)

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