Fátima Miranda / Échos d’une voix nomade1

Resumen

This contribution has not chosen to analyze the creations of Fátima Miranda (which, in any way would resist to the limits imposed by the white page), to achieve a exhaustive catalog of his works and its performance or to draw up a exhaustive biography. The track will be an analytical history where the individual proposals of the artist are in constant dialog with the historicity of their mode of action within the current artistic landscape. Some prominences of the approach artistic, aesthetic but also anthropological and philosophical de Fátima Miranda will be highlighted. The points of entry will be the question of the femininity and feminism, the inscription of its approach in the field of performance and contemporary artistic practices as well as the connection between the voice and the body. Will Be also referred to the archaeological relation to the creation and the history of musical cultures that search the Spanish artist. A contribution of this kind committed its author in the biographical track with the inevitable questions that accompany this enterprise. What objective take? Of the coincidence? That of the interpretation? Of the shift? Of the fiction? In the clearing? What rights to grant? What are the limits not to cross? It is in these between-two that is located the challenge of when that one wishes to avoid autobiography (to be read in the other), monologue (forget the other) or sacralization (hagiography of the other). If the precision and the acuteness that we will fail to bring to the works or events are obvious; it is also known that there is not a neutral level and that any observation imposed, even if unintentionally, its angle of view or what is looking to the east in function of the angle of view. The look (here musicological) is not designed as a recording device but as a condensed of its multiple historicities (individual, social, ideological). This means that it will be question here to question the relation polyphonic and dialogical that there is between a researcher and his “object” of study.