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Biography

Yvon is Programme Leader for the Doctor of Creative Arts (Performing Arts). He likes voices that do what voices don't usually do. He likes unruly bodies. He makes artworks starting from these voices and bodies. He currently holds a Large Arts Award from the Wellcome Trust and funding from Arts Council England to collaborate with speech scientists on the development of a series of participatory, extra-normal voice artworks for children and families, including the Voice Bubbles iPad app. His publications range from traditional academic formats to creative and online alternatives. He has presented, shown work and guest taught in numerous countries.

Recently Yvon has begun exploring work for underserved audiences, including experimental works for children and R&D for artworks with persons of different 'ability' levels. He is increasingly collaborating with digital and visual artists, and is also enjoying working with voice and speech scientists and experts to develop metaphors that inspire his current projects.

He is the Convener of the Centre for Performance Practice and Research, a focus for researchers in the Department of Performing Arts with a range of research interests in the fields of theatre, dance and performance studies. 

Areas of expertise

  • Artistic processes, including innovation
  • Artistic approaches to research and practice-led/practice-as-research
  • Crossing discipinary boundaries both within and outside the arts
  • Voice, especially extended voice
  • Performance and activist intervention

Publications

Books and sound recordings

Bonenfant, Y. (2009) [editor, artistic director, sound] Soie soyeuse (Silky Silk). Paris: Editions Talmart. With textile art contributions by Lorna Dallas-Conté, Caroline Mercier, Casey Wasniewski. and photography by Caroline Mercier ISBN 2-903911-91-1.

Articles in journals

  • Bonenfant, Y. (2013) Writing touch in textile: Talking touch in tactility. Journal of Dance and Somatic Practices 5:2, pp. 121-140.
  • Bonenfant, Y. (2012) Architecting sensation: voice, light and touch. Choreographic Practices 2:1, pp. 43-67.
  • Bonenfant, Y. (2010) Queer listening to queer vocal timbres. Performance Research 15:3, 2010, pp. 74-80
  • Bonenfant, Y. (2009) Enskinning between extended voice and movement: somatics, touch, contact and the camera. Journal of Dance and Somatic Practice, 1:1, pp. 67-87.
  • Allegue, L. & Bonenfant, Y (2009) Textures and translations: B(earth) in between extended voice and visual arts. Journal of Adaptation in Film and Performance 2 (1), Intellect, pp. 239-256.
  • Bonenfant, Y. (2008) Meditations on the challenge of skin and bone: creating between extended voice and costume. EPARTS: Études et pratiques des arts, 1 :2, Presses de l’Université du Québec, pp. 63-89
  • Bonenfant, Y. (2008) Toward a politics of felt pulsation: de-disciplining voice and movement in the making of a musi-dance performance. Studies in Theatre and Performance, spring 2008, Intellect, pp. 39-58.
  • Bonenfant, Y.(2008) Sound, touch, the felt body and emotion: Toward a haptic art of voice. SCAN Journal, 5 (3)
  • Bonenfant, Y. (2006). The embodied politics of intention, therapeutic intervention and artistic practice. Body, Movement and Dance in Psychotherapy, 1. (2). 115-127.
  • Bonenfant, Y and Maclaurin, A. (2006). Acoustic/Electric : a reflective performance document of an experiment in co-creation. Body, Space, Technology, 6 (1).
  • Bonenfant, Y. (2004). She came and did it and went and I came and people are coming: Gertrude Stein wrote. Performance Research, 9. (1). 6-10.

Chapters/Annotations

  • Bonenfant, Y. & Maclaurin, A. (2009) Acoustic/Electric (excerpt/overview of piece) in Allegue, L., Jones, S. Kershaw, B., Piccini, A. (eds.) 2009 ‘Practice-as-Research in Performance and Screen’, Basingstoke: Palgrave Macmillan, p. 195
  • Bonenfant, Y. ( 2004) The Visceral Voice. In Morgan, K. (ed.) Crossing Over: Negotiating Interdisciplinary Culture. Regina: Canadian Plains Research Institute Press.

Edited/Curated collections

  • Arlander, A. & Bonenfant, Y. with Covey-Krell, M. (2012) (editor-curators) Ex-trauma: The Opposite of the Traumatic. Experiments and Intensities 2, Winchester: Winchester University Press.
  • Bonenfant, Y., Edmondes, W. and Silver, M. (2012) (editor-curators) Cries from the Guts. Experiments and Intensities 1, Winchester: Winchester University Press.

Conferences

Yvon has given more than 40 presentations, performance-lectures, or papers in the last 10+ years.

Performances

Selected performances/installations/artworks

  • Tract and Touch (launched 2016): artworks, environments, interventions and relationships that celebrate the unique qualities of each human voice and that explore the voice’s power to reach out and transform the world. Visit the site for more info.
  • Uluzuzulalia Tour (2014-15), an upgraded tour of Uluzuzulalia to UK venues including artsdepot, mac Birmingham, The Egg (Bath), Spitalfields Music Festival, Royal Northern College of Music. Visit the site for info
  • Voice Bubbles for iPad (2014), an interactive vocal play app for children and their adults. Visit the site for info
  • The Voice Trunk (2014), an interactive voice installation for children and their adults. Visit the site for info. 
  • R & D version of Uluzuzulalia (2012), an interactive intermedia voice playground for children aged 6 to 10, in R & D thanks to funding from the Wellcome Trust. 
  • Masz – extended voice/video – premiered Oct 2011 at MIX 2011 Queer Experimental Film Festival, New York City
  • Beacons – live show (toured UK autumn 2011, to venues including Arnolfini, Rich Mix, The Arches) (created 2009-10 in residence at EMPAC, Albany, NY; Webber-Douglas Theatre, Central School for Speech and Drama, London; ‘Song, stage and screen 9’ conference, University of Winchester ), ca. 60 min - (for multi-channel live and recorded extended voices, 3 projections of images) Composer, deviser, performer, artistic director. Reviewed METRO, Total Theatre
  • The End of Safari (2009-10), durational/cycling - Extended vocalist and textual contributor for Micah Silver’s installation at Massachusetts Museum of Contemporary Art. 
  • The Opposite of Trauma/Skin Walks (2008), durational, cycling; cycle lasts about 90 min. Composer, choreographic facilitator. Public/street work performed in Paris, Cardiff and London, including the Tate Modern in London; Centre Pompidou (Musée National d’Art Contemporain), Paris.
  • Intimacies (videodance version) (2008), ca. 25 min – Composer, vocal and physical performer, choreographic facilitator, artistic director, visual co-director – shown National Gallery of Nitra, Slovakia; Alsager Gallery, UK; 2e Mostra Internacional de Videodanza, Brazil; Theatre Academy of Finland, Helsinki; Beetroot Tree Gallery, UK, all 2008-9.
  • B(earth) painting, voice, video installation (2007-8), sound ca. 23 min – composer, extended vocalist. Shown at Galerie Talmart, Paris (2007) [with positive media preview]; ATRiUM, Cardiff (2008); Alsager Gallery (2009); Sala da Arte Rey Chico, Granada, Spain (2010).
  • Soie soyeuse (Silky Silk) (2007) performance, 20 min performances in day long repeated runs – for solo performer – composer, extended vocalist, physical performer, for maximum 5 audience at a time. Shown ran 3 days Prisons de Saint-Merry Gallery, produced by Éditions Loris Talmart, 2007 over 3 days. Special 3 day event at the MIX Queer Film and Audio Festival, New York City, 2007. Festival event at Giving Voice 10 Festival, Aberystwyth, 2008; 2nd run at Caves Talmart, Paris, May, 2008. Video of Soie Soyeuse premiered at INPORT Festival, Tallinn, Estonia 2007. Developed into book project. 

 

 

 

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