What does it mean to use the voice of others within a performance, text or recording? In this episode of Not Strictly Speaking, we look at the ways in which the voice is used both in service of power, and as a way of reclaiming agency.

Prem Sahib’s new sound performance for Assembly, Alleus, takes a speech by former Home Secretary Suella Braverman and renders it into a new form through layers of processing and repetition, suggesting the idea of a curse or malediction. Resisting the idea that one hostile voice can speak for the many, Prem explores how political rhetoric can speak on behalf of others, and take possession of bodies at a distance.

Composer and sound artist Felicia Atkinson, who has composed the sound across the podcast series, considers the boundaries between thought and speech, looking at how recorded speech and text can intertwine. Felicia’s work with voice plays with space, distance and found sound, inviting the everyday into her recordings. In this episode, she discusses the role the voice plays within her work, the writers who live within her and how the recorded voice can be slippery and shapeshifting.

Alleus by Prem Sahib was co-commissioned and presented by the Roberts Institute of Art and Somerset House Studios as part of Assembly, 2024.

The voice is the first sound we encounter and the first instrument we learn to play, we are subject to the disembodied voice of politicians while the communal voice is raised in protest.  In conjunction with this year’s Assembly at Somerset House, this 3 part podcast series explores different manifestations of the voice and how it informs our ways of thinking. 

Each episode follows one artist featured in the 2024 programme, as they unpack their work with the voice in dialogue with another artist. Vocalist and composer Elaine Mitchener is joined by the pioneer of extended vocal technique Joan La Barbara to explore the voice as an instrument, looking at how the human voice can channel meaning without words. Artist Prem Sahib plays with the shape shifting nature of political speech and its potential to inhabit other bodies alongside composer Felicia Atkinson on the mercurial nature of recording, while the vocal work of sound artist Vivienne Griffin is placed in dialogue with artist Helen Cammock on the concept of the voice as a site of resistance. 

The sound for the series is composed by French composer and sound artist Felicia Atkinson who crafts a series of bespoke sound commissions for each episode.

Producer - Alannah Chance

Exec Producer - Eleanor Ritter-Scott

Series Composer - Felicia Atkinson

Mix - Harry Murdoch

Assembly was supported by PRS Foundation’s The Open Fund for Organisations, John S Cohen Foundation, Kitmapper, The Wire Magazine and Goethe Institute London.

The communal voice has a long history within the resistance movement, from African American spirituals, to the protest songs of the civil rights movement and the current pro-Palestine marches. In this episode we explore the enduring power of group singing and how it can embody resistance and resilience with Turner prize winning artist Helen Cammock and artist and Somerset House Studios resident, Vivienne Griffin.  

Vivienne's sound work often centres around the voice, both her own and those of small choral ensembles. For their piece for Assembly they are drawing on the voice of the harp as a symbol of resistance within the history of British colonialism.  The work will be performed by Northern Irish harpist Úna Monaghan alongside a mechanised harp created by Vivienne, who will together interpret a text score. 

Helen Cammock works across film, printmaking, performance and writing. Her work explores the role of the voice within the creation and maintenance of power structures as well as how the communal voice can subvert the dominant narratives of history. Here Helen unpacks how her work with communal voice has interrogated the idea of the voice as a site of resistance and the body as resilience.

The voice is the first sound we encounter and the first instrument we learn to play, we are subject to the disembodied voice of politicians while the communal voice is raised in protest.  In conjunction with this year’s Assembly at Somerset House, this 3 part podcast series explores different manifestations of the voice and how it informs our ways of thinking.

Each episode follows one artist featured in the 2024 programme, as they unpack their work with the voice in dialogue with another artist. Vocalist and composer Elaine Mitchener is joined by the pioneer of extended vocal technique Joan La Barbara to explore the voice as an instrument, looking at how the human voice can channel meaning without words. Artist Prem Sahib plays with the shape shifting nature of political speech and its potential to inhabit other bodies alongside composer Felicia Atkinson on the mercurial nature of recording, while the vocal work of sound artist Vivienne Griffin is placed in dialogue with artist Helen Cammock on the concept of the voice as a site of resistance.

The sound for the series is composed by French composer and sound artist Felicia Atkinson who crafts a series of bespoke sound commissions for each episode.

Producer - Alannah Chance

Exec Producer - Eleanor Ritter-Scott

Series Composer - Felicia Atkinson

Mix - Harry Murdoch

Assembly was supported by PRS Foundation’s The Open Fund for Organisations, John S Cohen Foundation, Kitmapper, The Wire Magazine and Goethe Institute London.

The voice is something we all share and yet rarely do we explore the full range of our instrument. Ahead of Assembly at Somerset House we talk to two vocal artists who stretch the capacities of the voice as a sound producing instrument to look at the ways the voice can channel meaning beyond words; voice artist and composer Elaine Mitchener, who is resident at Somerset House Studios; and the pioneer of Extended Vocal Technique, the renowned vocal artist and composer Joan La Barbara.  

Elaine’s vocal work looks at ways of speaking beyond language and explores moments of historical injustice through vocalisation and movement. In her piece for Assembly, 'These Cost The Earth', she explores the dynamics of waste consumerism, in particular the environmental and human impact of the clothes we send to landfill.  She uses the Chairman’s Staircase in the New Wing at Somerset House as the site for a choreographed piece which articulates this destructive cycle, giving life to old clothes and evoking the journeys they have been on. 

The groundbreaking vocalist Joan La Barbara is one of the first artists to play with extended vocal technique, a technique which uses the voice as a sound producing instrument.  As a performer she has worked with Cage, Feldman, Reich and Glass and as a composer and improviser she has been writing her own material since the 1970s. As one of the early pioneers of this form of vocal experimentation, we hear as Joan unpacks how she developed her instrument, her work with imaginary language and the idea of super presence in relation to performance.

Not Strictly Speaking Series 

The voice is the first sound we encounter and the first instrument we learn to play, we are subject to the disembodied voice of politicians while the communal voice is raised in protest.  In conjunction with this year’s Assembly at Somerset House, this 3 part podcast series explores different manifestations of the voice and how it informs our ways of thinking. 

Each episode follows one artist featured in the 2024 programme, as they unpack their work with the voice in dialogue with another artist. Vocalist and composer Elaine Mitchener is joined by the pioneer of extended vocal technique Joan La Barbara to explore the voice as an instrument, looking at how the human voice can channel meaning without words. Artist Prem Sahib plays with the shape shifting nature of political speech and its potential to inhabit other bodies alongside composer Felicia Atkinson on the mercurial nature of recording, while the vocal work of sound artist Vivienne Griffin is placed in dialogue with artist Helen Cammock on the concept of the voice as a site of resistance. 

The sound for the series is composed by French composer and sound artist Felicia Atkinson who crafts a series of bespoke sound commissions for each episode.

Producer - Alannah Chance

Exec Producer - Eleanor Ritter-Scott

Series Composer - Felicia Atkinson

Mix - Harry Murdoch

Assembly was supported by PRS Foundation’s The Open Fund for Organisations, John S Cohen Foundation, Kitmapper, The Wire Magazine and Goethe Institute London.

A three-part podcast series, released 20-22 March 2024, exploring different manifestations of the voice, produced in conjunction with Somerset House Studios' Assembly.

Each episode follows artists featured in the 2024 programme, as they unpack the power of the voice beyond speech; examining it as a form of possession and how we might give voice to the inanimate.  

Vocal artist and composer Elaine Mitchener looks at how the human voice can extend through objects and lay bare the inequities of global supply chains. Artist Prem Sahib plays with the shape shifting nature of political speech and its potential to inhabit other bodies, while sound artist Vivienne Griffin shares research centred on the concept of the harp as a voice of resistance. 

The sound for the series is composed by French artist Felicia Atkinson who crafts a series of bespoke sound commissions in response to the theme.

Assembly is supported by PRS Foundation’s The Open Fund for Organisations, John S Cohen Foundation, Kitmapper, The Wire Magazine and Goethe Institute London.

Artists Revival Cohen & Tuur Van Balen explore how humans have transformed the animals that we live with.

The way in which we think about animals is riven with contradictions. We dote on our pets yet consume vast amounts of animals as meat. The UK consistently donates more money to animal welfare charities than any other cause and yet have created pet breeds with horrifying health defects. Revival Cohen & Tuur Van Balen are an artist duo who are interested in these ambiguities, in particular the moment when animal bodies are transformed into objects of human desire. They’ve made work with thoroughbred race horses, bred their own batch of genetically modified goldfish and in 2023 they were the recipients of the UAL’s Creative Computing Institute x Somerset House Experimental Technology Fellowship 2023, offering a unique development and commission opportunity for an artist looking to incorporate new technology within their work. This resulted in a new film, May the Fox Take You for CHANNEL, our online space for art, process and ideas. 

 

In this episode of The Process we join them in the research process for their next work, which continues to explore a question central to their practice: can animal breeding be considered a form of sculpture? We talk to historian Michael Worboys about how the Victorians created the modern dog breed and writer and curator Filipa Ramos discusses how art has informed the way we think about the animal body. 

Revital Cohen & Tuur Van Balen were in residence at Somerset House Studios in 2023. May The Fox Take You was commissioned by Somerset House in collaboration with UAL Creative Computing Institute.

Producer - Alannah Chance

Exec Producer - Eleanor Ritter-Scott

Series presenter - Laurent John

The road to success is paved with inspirational quotes about failure.  But could failure be more productive than success? In this episode of The Process we step inside the community of designers on site at Makerversity in Somerset House to explore the role of mistakes in the design process.  Founding member Tom Stables talks to biomaterial designer Cassie Quinn, who makes sustainable sequins out of household waste. She shares stories of the mistakes that ended up being transformative to her practice.  He then sits down with performance artist and clown Julia Masli to talk about her latest Edinburgh show which is designed to go wrong, to learn how to fail more spectacularly. 

The creative process is inspired by worlds beyond itself.  The Somerset House podcast series 'The Process' brings those worlds together, platforming the big conversations which go on to inspire new work.

Drawing on our creative community on site and from the exhibition programme, each episode follows one artist or curator as they explore an idea from their practice to see where it ends up.

Producer - Alannah Chance

Exec Producer - Eleanor Ritter-Scott

Presenter - Tom Stables

Series presenter - Laurent John

The late 80s to the early 90s saw a Black cultural renaissance in Britain. Artists and designers like Sonia Boyce, Joe Casely-Hayford and Soul II Soul were breaking new ground across the arts and changing the landscape for Black creatives. While putting together The Missing Thread exhibition, co-curator Andrew Ibi (Black Orientated Legacy Development Agency), realised that despite its significance this era hasn’t been given its due. In this episode of the Process, Andrew rectifies that, tracing the thread back to a lost generation of Black creatives to explore how Black fashion arose from the club and the back room sewing machine rather than the catwalk.

Andrew looks back at that time with Jazzie B, whose group Soul II Soul soundtracked the era, and with cutting edge designer Martine Rose, who has worked with everyone from Drake to Kendrick and Balenciaga.

The creative process is inspired by worlds beyond itself.  The Somerset House podcast series 'The Process' brings those worlds together, platforming the big conversations which go on to inspire new work.

Drawing on our creative community on site and from the exhibition programme, each episode follows one artist or curator as they explore an idea from their practice to see where it ends up.

Produced by Alannah Chance

Presented by Andrew Ibi

Series presenter is Laurent John

Sound Design by Nick Ryan

The Missing Thread is sponsored by Morgan Stanley

We look at the effect our endless drive for productivity is having on the planet and how we’re intimately entangled with the natural world with Somerset House Studios artist Sam Williams on the invisible labour of the earthworm, poet Jason Allen-Paisant on tenderness in rural Jamaica, systems theorist Nafeez Ahmed on why the old systems are crumbling and artist Natalie Sharp on her love of ecosex.

In March 2020, the non-stop nature of our 24/7 world came to a stop. For many in the Western world, it allowed us a space to reconsider the way we value our time and with that our relationship to work. Now, amidst the strikes and the resignations, a new movement  is emerging called ‘Soft Life’. which seeks to sidestep the values of hustle culture for slowness and ease.  How can softness open up new ways of being in the world and create different types of value? Could it be a way of healing our relationship with the natural world at a point of crisis?

In this four-part series we take the idea of ‘soft life’ as a launch off point to explore alternative ideas around work, time, the body and ecology emanating from Somerset House and beyond. We talk to radical thinkers, artists and writers, who are carving out these new ways of being in the body, centring the soft and the in-between, finding space for rest and looking at ways of expanding time beyond the clock.

We turn our gaze towards the soft life of the body and unpack new ways of thinking about embodiment in artistic practice with Somerset House studios artists Florence Peake on radical softness in somatics, choreographer and writer Dr Martin Hargreaves on the history of protest through softness in dance, Ilona Sagar on rendering bodies hard through architecture and disabled film maker Jameisha Prescod on the colonial history of black pain.

In March 2020, the non-stop nature of our 24/7 world came to a stop. For many in the Western world, it allowed us a space to reconsider the way we value our time and with that our relationship to work. Now, amidst the strikes and the resignations, a new movement  is emerging called ‘Soft Life’. which seeks to sidestep the values of hustle culture for slowness and ease.  How can softness open up new ways of being in the world and create different types of value? Could it be a way of healing our relationship with the natural world at a point of crisis?

In this four-part series we take the idea of ‘soft life’ as a launch off point to explore alternative ideas around work, time, the body and ecology emanating from Somerset House and beyond. We talk to radical thinkers, artists and writers, who are carving out these new ways of being in the body, centring the soft and the in-between, finding space for rest and looking at ways of expanding time beyond the clock.

We contemplate different ways of experiencing time beyond the linear, with Somerset House Studios artist Shenece Oretha on transforming time through the practice of listening, sociologist Judy Wajcman on unpicking progress from speed in the digital sphere and psychologist Dr Ruth Ogden on how our experience of time is relational and whether it’s possible to conceive of ‘free time’ in a modern world.

In March 2020, the non-stop nature of our 24/7 world came to a stop. For many in the Western world, it allowed us a space to reconsider the way we value our time and with that our relationship to work. Now, amidst the strikes and the resignations, a new movement  is emerging called ‘Soft Life’. which seeks to sidestep the values of hustle culture for slowness and ease.  How can softness open up new ways of being in the world and create different types of value? Could it be a way of healing our relationship with the natural world at a point of crisis? 

In this four-part series we take the idea of ‘soft life’ as a launch off point to explore alternative ideas around work, time, the body and ecology emanating from Somerset House and beyond. We talk to radical thinkers, artists and writers, who are carving out these new ways of being in the body, centring the soft and the in-between, finding space for rest and looking at ways of expanding time beyond the clock.

This episode includes the following sound works by Shenece Oretha:

Conspiracy

Listening Wholes

at/Tribute

Ah So It Go, Ah No So it Go, Go So!

Who Can’t Hear Must Feel