Fátima Miranda, deCantar (1991-2012)

After the complex structure revealed in recent years by the artist's voice-only performances, such as  Concierto en canto, Diapasión, Las voces de la Voz and ArteSonado , the first impression caused by the current repertoire of the Salamanca-born vocalist Fátima Miranda is that one finds oneself, for the first time ever, in the presence of forms replete with simplicity.

The repertoire of her performances on different stages around the world alternates pieces of emphatic originality and avant-gardism with a succession of advanced forms of popular singing, such as flamenco, Georgian polyphony, traditional  dhrupad  from India and the world of sound of the “call and response” pattern of Afro-American spirituals. All this with no harmonic support except that of her own voice, as is usual with this artist since the beginning of her career.

Although her current repertoire is dominated to a large extent by the dynamics of  PerVersiones , another of her shows for voice only, for the premier set for the eighth edition of the Festival Ellas Crean, Fátima has designed a specific program, entitled deCantar . The collection of pieces includes a work with special significance for the vocalist. Entitled  Albórolas , it is a composition with which she recently won first prize at the National Competition of Video Art by Women from the Gender Perspective, which takes place as part of the 7th International Conference on Art and Gender in Seville. In  Albórolas , Fátima Miranda sings live on stage – and also through a video installation – over the voice of a battered Moroccan woman who is telling her dramatic story in Spanish.