NB! This event is postponed. The new date will be announced later.

KONTEJNER presents a three-day workshop VoiceLab, led by vocalist and composer Ute Wassermann, which will take place during Gibanja 2025.

In this workshop, participants will experience their voice as an incredibly versatile and flexible sound instrument based on breathing, resonance and articulation exercises. Experimental vocal techniques are introduced in a vocal warm-up and new forms are discovered through joint singing. While singing and listening, we experience the diverse resonances of our voices in our own bodies, in the space and in contact with the other participants. We will explore different forms of developing pieces together: from concepts to free improvisation – from solo, duo trio to choir.

Workshop is taking place 19 – 21 May, each day for 3 hours and the precise schedule is going to be announced. VoiceLab will end with a short presentation/concert by participants as part of Gibanja festival.

VoiceLab is intended for those interested in voice, movement, and improvisation — not exclusively for experienced musicians. Participants may include dancers, choreographers, artists, and musicians, not necessarily vocalists. Previous experience is an advantage but not essential. The number of participants is limited to 15, and the laboratory will conclude with a public presentation on May 21 at KONTEJNER. Participation is free of charge.

How to Apply
To apply, please send an email with your contact details, CV, and a short motivation letter to davorkabegovic@gmail.com by April 27, 2025, at the latest.

Ute Wassermann (DE) has studied visual arts (sound and performance art) at the Academy of Fine Arts in Hamburg. She tours the world as an improviser, she realises audiovisual voice performances and compositions for soloists and ensembles. As an interpreter of contemporary music she has premiered numerous compositions written for her voice. At the core of her research is an ongoing and uncompromised exploration of her voice as an extreme and multidimensional sound instrument. Her methods to extend and alienate the voice include the use of bird whistles, lo-fi electronics, resonators, field recordings, projections and different types of microphones. Over the years she has developed an ever-growing catalogue of multifaceted vocal expressions which has inspired improvisors and composers all over the world. Her workshops which are often described by the participants as a liberating experience involve improvisation or composition from solo to choir.