Yvon Bonenfant (he/him) is a performance-maker, art-maker and researcher. He is involved in the scholarly discipline of Research-Creation, also know as Arts Practice-Research or Artistic Research. His work explores the sensual power of the unusual voice and body; artworks are developed from questions that generate experiments in how best we might explore the Queer voice and body across artistic media. Since 2010, his work has largely focused on unearthing and developing how we best invite participants to explore the virtuosic glory of their own vocal difference, and to celebrate that difference. By extension, he is interested in tactile art and performance, visuality, and environments that celebrate the artistic expression of unruly bodies. His work and collaborations have shown in 14 countries over 30 years and he has published widely.
Due to the limitations of the IRIS system, that manages this online profile, much of Bonenfant's research-creation work, funding achiveements and service are not captured on this system. Please visit www.yvonbonenfant.com for recent work. For an in-depth on-line CV that explains and exhibits the work in proper detail, you can request a password from yvon.bonenfant@ucc.ie and visit the pages here.
Work has been funded by: Arts Council (Ireland); Arts Council England; Wellcome Trust Small and Large Arts Awards; Irish Research Council; Arts and Humanities Research Council of the UK; British Academy; and with Tract and Touch, by Youth Music; Postcode Community Trust; and co-production funding from Stockholm City, Stockholm County and Swedish Arts Council. Production residencies: The Place (London); Experimental Media and Performing Arts Centre (EMPAC) (Troy, NY, USA); Creation Centre, The Point (Eastleigh, UK); Mile Zero Dance (Edmonton, Canada); ENSAD Limoges-Aubusson (France); Weld (Stockholm, Sweden) Mediums: Touring theatrical stage shows (Uluzuzulalia, Beacons); mobile theatre of the voice (Resonant Tails, Loop Love); work for public space (Curious Replicas, The Voice Trunk, We Wink We Wink our Voices Blink, The Opposite of Trauma); interactive installation (Curious Replicas, Resonant Tails, We Wink We Wink our Voices Blink, The Voice Trunk); voice-videoart (Intimacies); voice-painting (B(earth)); iPad app (Voice Bubbles); sound recordings (Masz, Soie soyeuse); Performance art (Soie soyeuse, Beacons, The Opposite of Trauma); voice-dance/movement (Wig Show; The Opposite of Trauma; Intimacies). When younger Yvon worked regularly in choreographic contexts. Sample guest teaching: UniArts Stockholm; UniArts Helsinki; University of Limerick; Royal Scottish Academy of Music and Drama; Mile Zero Dance; University of Bristol; CEPIA; University of Leeds Numbers reached by work: The Voice Trunk, situated in Winchester Science Centre for nearly 7 years, reached numbers in the hundreds of thousands; Resonant Tails, for children & other young people with PMLD, reaches 300 users intensively and repeatedly in any given year. I make work for both mass publics and the most ‘niche’, historically marginalised audiences, often accompanied by publication.
Bonenfant's teaching experience includes a wide array of modules in devised performance, interdisciplinary performance making, theatre and performance histories and theory, voice practice and study, and research methods - including practice-based methods within artistic research or research-creation. He teaches through both theoretical and experiential modalities.
He has taught at UG, PG and doctoral levels. An explanatory chart of teaching is listed below.
ROLE CODES
MC = module coordinator (course co-ordinator/leader)
T = teaching tutor (delivery teacher)
W = workshop leader
TD = teaching director of student performance
S = skills teacher
TEACHING DOMAINS
CDP = Composition and/or devising performance process and product (création)
AQP = Activist/Queer performance
V = Vocal technique or Extended Voice
TV = Theories of Voice, including voice studies, dramaturgical and musical structures
PT = Theories of performance across disciplines
I = Intermediality, including arts and technology
MPAR = Methodologies and Practice-as-Research (research-creativon)
MT = Performer-created (devised) music theatre (contemporary) and sound art
D = Directing
B = Physical performance
H = History of performance
SV = Site and Visuality
3 = 3RD (HONOURS) YEAR UG
4 = GRADUATE/POST-GRADUATE
5 = DOCTORAL THESIS LEVEL
Undergraduate and Postgraduate at UCC
Undergraduate Before UCC
Post-Graduate
PhDs Examined
Current PhD Students:
PhD Supervisions to Completion:
2015: Synne Behrndt, ‘Discursive Spaces: Toward New Dramaturgies’ [Performing Arts Department]
Undergraduate Research Apprenticeships Supervised:
Programme Development:
Module Development:
Biography
Yvon Bonenfant, PhD joined the Department of Theatre at UCC as Head in September, 2018. He is currently Head of Department, Theatre; Academic Director of the Granary Theatre; Director, Future Humanities Institute; Co-Lead, UNICArt Thematic Line of www.unic.eu.Yvon Bonenfant (he/him) is a performance-maker, art-maker and researcher. He is involved in the scholarly discipline of Research-Creation, also know as Arts Practice-Research or Artistic Research. His work explores the sensual power of the unusual voice and body; artworks are developed from questions that generate experiments in how best we might explore the Queer voice and body across artistic media. Since 2010, his work has largely focused on unearthing and developing how we best invite participants to explore the virtuosic glory of their own vocal difference, and to celebrate that difference. By extension, he is interested in tactile art and performance, visuality, and environments that celebrate the artistic expression of unruly bodies. His work and collaborations have shown in 14 countries over 30 years and he has published widely.
Due to the limitations of the IRIS system, that manages this online profile, much of Bonenfant's research-creation work, funding achiveements and service are not captured on this system. Please visit www.yvonbonenfant.com for recent work. For an in-depth on-line CV that explains and exhibits the work in proper detail, you can request a password from yvon.bonenfant@ucc.ie and visit the pages here.
Work has been funded by: Arts Council (Ireland); Arts Council England; Wellcome Trust Small and Large Arts Awards; Irish Research Council; Arts and Humanities Research Council of the UK; British Academy; and with Tract and Touch, by Youth Music; Postcode Community Trust; and co-production funding from Stockholm City, Stockholm County and Swedish Arts Council. Production residencies: The Place (London); Experimental Media and Performing Arts Centre (EMPAC) (Troy, NY, USA); Creation Centre, The Point (Eastleigh, UK); Mile Zero Dance (Edmonton, Canada); ENSAD Limoges-Aubusson (France); Weld (Stockholm, Sweden) Mediums: Touring theatrical stage shows (Uluzuzulalia, Beacons); mobile theatre of the voice (Resonant Tails, Loop Love); work for public space (Curious Replicas, The Voice Trunk, We Wink We Wink our Voices Blink, The Opposite of Trauma); interactive installation (Curious Replicas, Resonant Tails, We Wink We Wink our Voices Blink, The Voice Trunk); voice-videoart (Intimacies); voice-painting (B(earth)); iPad app (Voice Bubbles); sound recordings (Masz, Soie soyeuse); Performance art (Soie soyeuse, Beacons, The Opposite of Trauma); voice-dance/movement (Wig Show; The Opposite of Trauma; Intimacies). When younger Yvon worked regularly in choreographic contexts. Sample guest teaching: UniArts Stockholm; UniArts Helsinki; University of Limerick; Royal Scottish Academy of Music and Drama; Mile Zero Dance; University of Bristol; CEPIA; University of Leeds Numbers reached by work: The Voice Trunk, situated in Winchester Science Centre for nearly 7 years, reached numbers in the hundreds of thousands; Resonant Tails, for children & other young people with PMLD, reaches 300 users intensively and repeatedly in any given year. I make work for both mass publics and the most ‘niche’, historically marginalised audiences, often accompanied by publication.
Research Interests
- Voice, extra-normal voice, queer voice
- Live/performance art, devising practices
- Installation, mediation, digital mediation
- Artistic research, practice-research, recherche-création
- Tactility, theatres of tactility, touch and the haptic register
- Experimentalism in the arts
- Alternative approaches to visuality
- Somatic register, sensation
- Inclusion, participation, audience participation
- Performance and art for and with children
- Performance and art for marginalised audiences
- Performance and vibration, haptic technologies
- The future of theatre and performance
- Music theatre, queer aesthetics, the queer spectacle
Research Grants
Project | Funding Body | Start Date | End Date | Award | |
---|---|---|---|---|---|
Distilling Meaning from Performing Arts Participation to Inform Rights Based Disability Policy and Quality Service Delivery. | Irish Research Council | 01-SEP-22 | 31-AUG-26 | €36,000.00 | |
Art & Technology: expanding the language of creative practice, emotional resonance, and human connection in the virtual age | Irish Research Council | 01-SEP-22 | 31-AUG-26 | €110,000.00 | |
Evoking the Vibro-Tactile Palette | Enterprise Irl | 26-JUL-21 | 25-JUL-22 | €7,718.00 | |
Dramatising the Individual and Material Qualities of Human Vibration. | Enterprise Irl | 25-JUN-19 | 25-SEP-20 | €14,817.00 | |
Facilitating Vocal Art-making with Adults with Mild to Moderate Learning Disability | Irish Research Council | 15-MAY-19 | 15-APR-21 | €11,982.00 | |
From Multivocal to Polyvocal Practice: New Methods for Entwining Art, Participation, Inclusion, Data | Enterprise Irl | 13-DEC-18 | 13-SEP-19 | €12,278.00 |
Publications
Books
Year | Publication | |
---|---|---|
(2009) | Soie soyeuse (Silky Silk). Bonenfant, Yvon, with textile art by Lorna Dallas-Conte, Caroline Mercier, Casey-Ann Wasniewski, photography by Caroline Mercier. Sound engineering of included recording by Francis Silkstone. (2009) Soie soyeuse (Silky Silk). Paris: Editions Talmart. [Details] |
Book Chapters
Year | Publication | |
---|---|---|
(2025) | 'Fashioned Voice: Playing with Identity in the Radiant Field' (Forthcoming) Bonenfant, Y. and Anyan, J. (2025) 'Fashioned Voice: Playing with Identity in the Radiant Field' In: Routledge Reader in Voice and Identity. London, UK: Routledge. [Details] | |
(2024) | 'Resonant Tails: Creating Inter-Sensory Theatre with Children through Non-Normative Voicing, or Can the Voice without Words be Enabled to Exert Political Agency?' (Forthcoming) Bonenfant, Y. (2024) 'Resonant Tails: Creating Inter-Sensory Theatre with Children through Non-Normative Voicing, or Can the Voice without Words be Enabled to Exert Political Agency?' In: Applied Theatre Voice. London, UK: Methuen/Bloomsbury. [Details] | |
(2024) | 'Voices as Aesthetic Material: Celebrating that Disabled, Marginalised Voices (are) Matter' Bonenfant, Y. (2024) 'Voices as Aesthetic Material: Celebrating that Disabled, Marginalised Voices (are) Matter' In: 'Including Voices: Respecting the Experiences of Individuals from Marginalised Communuties. Leeds, UK: Emerald Publishing. [Details] | |
(2020) | 'Intensive Interaction: A Lesson on Queered Voicing from Children with Learning DisAbilities' Bonenfant, Y. (2020) 'Intensive Interaction: A Lesson on Queered Voicing from Children with Learning DisAbilities' In: Kapadocha, C (eds). Somatic Voices in Performance Research and Beyond. New York: Routledge. [DOI] [Details] | |
(2018) | 'PAR Produces Plethora, Extended Voices are Plethoric, and Why Plethora Matters' Bonenfant, Y. (2018) 'PAR Produces Plethora, Extended Voices are Plethoric, and Why Plethora Matters' In: Arlander, A., Barton, B., Dreyer-Lude, M. and Spatz B (eds). Performance as Research: Knowledge, Methods, Impact. New York: Routledge. [DOI] [Details] | |
(2015) | 'A Polyphonic Conclusion: What is Voice Studies?' Macpherson,B. & Bonenfant Y., et al. (2015) 'A Polyphonic Conclusion: What is Voice Studies?' In: Thomaidis, K., & Macpherson B (eds). Voice Studies: Critical Approaches to Process, Performance and Experience. New York & London: Routledge. [DOI] [Details] | |
(2013) | 'An Architecture of Sensation: Explorations in Extended Voice, Flashing Light and Video Art' Bonenfant, Y. (2013) 'An Architecture of Sensation: Explorations in Extended Voice, Flashing Light and Video Art' In: Schroeder, S (eds). Bewegungen zwischen Horen und Sehan: Denkbewegungen uber Bewegungskunste. Wurzburg: Konighausen & Neumann. [Details] | |
(2012) | 'The Opposite of Trauma: The Skin Walks' Bonenfant, Y. (2012) 'The Opposite of Trauma: The Skin Walks' In: Arlander, A., Bonenfant, Y. with Covey-Krell M (eds). Ex-Trauma: The Opposite of Traumatic; Experiments and Intensities Series 2. Winchester: Winchester University Press. [Details] | |
(2009) | 'Acoustic/Electric (excerpt/overview of piece)' Bonenfant, Y. & Maclaurin, A. (2009) 'Acoustic/Electric (excerpt/overview of piece)' In: Allegue, L., Jones, S., Kershaw, B., Piccini, A (eds). Practice as Research in Performance and Screen. Basingstoke: Palgrave Macmillan. [Details] | |
(2004) | 'The Visceral Voice' Bonenfant, Y. (2004) 'The Visceral Voice' In: Morgan, K (eds). Crossing Over: Negotiating Specialization in an Interdisciplinary Culture. Regina, Canada: Canadian Plains Research Institute Press. [Details] |
Peer Reviewed Journals
Year | Publication | |
---|---|---|
(2018) | 'Children's queered voicings: questions of voiced power' Bonenfant, Y. (2018) 'Children's queered voicings: questions of voiced power'. Performance Research, [DOI] [Details] | |
(2018) | 'Introduction: Voice, identity, contact' Bonenfant, Y. (2018) 'Introduction: Voice, identity, contact'. Journal of Interdisciplinary Voice Studies, 3 (2):107-113 [Details] | |
(2018) | 'Diverging voices together: An interview with Sara Clethero' Bonenfant, Y. & Clethero, S. (2018) 'Diverging voices together: An interview with Sara Clethero'. Journal of Interdisciplinary Voice Studies, 3 (2):185-194 [Details] | |
(2018) | 'Your voice is hair: Speculations toward a metaphor for styling vocal identity' Bonenfant, Y. (2018) 'Your voice is hair: Speculations toward a metaphor for styling vocal identity'. Journal of Interdisciplinary Voice Studies, 3 (2):143-166 [DOI] [Details] | |
(2016) | 'Uluzuzulalia and the Your Vivacious Voice project: a first report on collaborating with scientists to elicit children's extra-normal voices' Bonenfant, Y. (2016) 'Uluzuzulalia and the Your Vivacious Voice project: a first report on collaborating with scientists to elicit children's extra-normal voices'. Journal of Interdisciplinary Voice Studies, 1 (2):197-209 [DOI] [Details] | |
(2016) | 'Masz' Bonenfant, Y., Ring, C. (2016) 'Masz'. Leonardo, [DOI] [Details] | |
(2013) | 'Writing touch in textile: talking touch in tactility' Bonenfant, Y. (2013) 'Writing touch in textile: talking touch in tactility'. Journal of Dance & Somatic Practices, 5 (2):121-140 [DOI] [Details] | |
(2012) | 'Architecting sensation: voice, light and touch' Bonenfant, Y. (2012) 'Architecting sensation: voice, light and touch'. Choreographic Practices, 2 (1):43-67 [DOI] [Details] | |
(2010) | 'Queer listening to queer vocal timbres' Bonenfant, Y. (2010) 'Queer listening to queer vocal timbres'. Performance Research, 15:3 :74-80 [DOI] [Details] | |
(2009) | 'Enskinning between extended voice and movement: somatics, touch, contact and the camera' Bonenfant, Y. (2009) 'Enskinning between extended voice and movement: somatics, touch, contact and the camera'. Journal of Dance & Somatic Practices, 1 (1):65-87 [DOI] [Details] | |
(2009) | 'Textures and translations: B(EARTH) in between extended voice and visual arts' Allegue, L & Bonenfant, Y (2009) 'Textures and translations: B(EARTH) in between extended voice and visual arts'. Journal of Adaptation in Film & Performance, 1 (3):237-256 [DOI] [Details] | |
(2008) | 'Meditations on the challenge of skin and bone: creating between extended voice and costume' Bonenfant, Y. (2008) 'Meditations on the challenge of skin and bone: creating between extended voice and costume'. ÉPARTS: LIAISONS ÉTUDES ET PRATIQUES DES ARTS, 1 (2):63-89 [Details] | |
(2008) | 'Sound, touch, the felt body and emotion: toward a haptic art of voice' Bonenfant, Y. (2008) 'Sound, touch, the felt body and emotion: toward a haptic art of voice'. Scan, 5 (3) [Details] | |
(2008) | 'Toward a politics of felt pulsation: de-disciplining voice and movement in the making of a musi-dance performance' 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, :39-58 [DOI] [Details] | |
(2006) | 'Acoustic/Electric: a reflective performance document of an experiment in co-creation' Bonenfant, Y. & Maclaurin, A. (2006) 'Acoustic/Electric: a reflective performance document of an experiment in co-creation'. Body, Space & Technology, 6 (1) [DOI] [Details] | |
(2006) | 'The embodied politics of intention, therapeutic intervention and artistic practice' Bonenfant, Y. (2006) 'The embodied politics of intention, therapeutic intervention and artistic practice'. Body, Movement and Dance in Psychotherapy, 1 (2):115-127 [DOI] [Details] | |
(2004) | 'She came and did it and went and I came and people are coming: Gertrude Stein wrote' 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 [DOI] [Details] |
Published Reports
Year | Publication | |
---|---|---|
(2012) | PaR for the Course: Issues Involved in the Development of Practice-Based Doctorates in the Performing Arts. Bonenfant, Y.; Boyce-Tillman, J.; Bryden, I.; de Faria, T.; Taiwo, O.; Brown, R. (2012) PaR for the Course: Issues Involved in the Development of Practice-Based Doctorates in the Performing Arts. Higher Education Academy of the United Kingdom, Online. [Details] |
Edited Books
Year | Publication | |
---|---|---|
(2012) | Cries from the Guts. Bonenfant, Yvon; Edmondes, Will; Silver, Micah (2012) Cries from the Guts. Edited Books [Details] | |
(2012) | Ex-Trauma: The Opposite of the Traumatic. Arlander, Annette; Bonenfant, Yvon; Krell, Mary-Agnes (2012) Ex-Trauma: The Opposite of the Traumatic. Edited Books [Details] |
Editorship
Year | Publication | |
---|---|---|
(2019) | Guest Edited Journal of Interdisciplinary Voice Studies 3:2 ‘Voice, Identity, Contact’. Yvon Bonenfant (2019) Guest Edited Journal of Interdisciplinary Voice Studies 3:2 ‘Voice, Identity, Contact’. Editorship [Details] |
Journal Volume Edited
Year | Publication | |
---|---|---|
(2018) | Voice, Identity, Contact. Journal of Interdisciplinary Voice Studies 3:2. Yvon Bonenfant (2018) Voice, Identity, Contact. Journal of Interdisciplinary Voice Studies 3:2. Journal Volume Edited [Details] |
Sound recording
Year | Publication | |
---|---|---|
(2009) | Soie Soyese - Artist's Book / Recording. Yvon Bonenfant (2009) Soie Soyese - Artist's Book / Recording. Sound recording [Details] |
Installation
Year | Publication | |
---|---|---|
(2018) | Curious Replicas. Yvon Bonenfant (2018) Curious Replicas. Installation [Details] | |
(2017) | We Wink, We Wink, Our Voices Blink. Yvon Bonenfant (2017) We Wink, We Wink, Our Voices Blink. Installation [Details] |
Multidisciplinary Project
Year | Publication | |
---|---|---|
(2014) | Music / Theatre / Landscape Part II. Yvon Bonenfant (2014) Music / Theatre / Landscape Part II. Multidisciplinary Project [Details] | |
(2013) | Music / Theatre / Landscape Part I. Yvon Bonenfant (2013) Music / Theatre / Landscape Part I. Multidisciplinary Project [Details] | |
(2008) | Voice / Textile / Pedagogy. Yvon Bonenfant (2008) Voice / Textile / Pedagogy. Multidisciplinary Project [Details] | |
(2007) | Voice / Painting / Installation / Pedagogy. Yvon Bonenfant (2007) Voice / Painting / Installation / Pedagogy. Multidisciplinary Project [Details] |
Artistic Research Projects (Production)
Year | Publication | |
---|---|---|
(2018) | Resonant Tails, Stage 2. Interactive Voice / Touch / Light Installation for Children with Profound and Multiple Learning Disabilities. Yvon Bonenfant (2018) Resonant Tails, Stage 2. Interactive Voice / Touch / Light Installation for Children with Profound and Multiple Learning Disabilities. Artistic Research Projects (Production) [Details] | |
(2016) | Hands on Your Vibrating Voice. Yvon Bonenfant (2016) Hands on Your Vibrating Voice. Artistic Research Projects (Production) [Details] | |
(2016) | The Visceral Voice Touched Inside and Out. Yvon Bonenfant (2016) The Visceral Voice Touched Inside and Out. Artistic Research Projects (Production) [Details] | |
(2015) | Extending the Vivacious Voice: Uluzuzulalia, The Voice Trunk and Voice Bubbles - Touring Phase. Yvon Bonenfant (2015) Extending the Vivacious Voice: Uluzuzulalia, The Voice Trunk and Voice Bubbles - Touring Phase. Artistic Research Projects (Production) [Details] | |
(2013) | Extending the Vivacious Voice: Uluzuzulalia, The Voice Trunk and Voice Bubbles. Yvon Bonenfant (2013) Extending the Vivacious Voice: Uluzuzulalia, The Voice Trunk and Voice Bubbles. Artistic Research Projects (Production) [Details] | |
(2011) | Beacons - Live Show. Yvon Bonenfant and David Shearing (2011) Beacons - Live Show. Artistic Research Projects (Production) [Details] | |
(2011) | MASZ - Voice-Videowork. Yvon Bonenfant (2011) MASZ - Voice-Videowork. Artistic Research Projects (Production) [Details] | |
(2010) | The End of Safari - Durational / Cycling. Micah Silver (2010) The End of Safari - Durational / Cycling. Artistic Research Projects (Production) [Details] | |
(2009) | Soie Soyeuse - Artist's Book / Recording. Yvon Bonenfant, Caroline Mercier and Casey Wasniewski (2009) Soie Soyeuse - Artist's Book / Recording. Paris, France: Artistic Research Projects (Production) [Details] | |
(2008) | Intimacies (Videodance Version). Yvon Bonenfant (2008) Intimacies (Videodance Version). Artistic Research Projects (Production) [Details] | |
(2008) | The Opposite of Trauma / Skin Walks - Durational, Cycling. Yvon Bonenfant (2008) The Opposite of Trauma / Skin Walks - Durational, Cycling. Artistic Research Projects (Production) [Details] | |
(2008) | Beacons - Video Art Piece. Yvon Bonenfant and Ludivine Allegue (2008) Beacons - Video Art Piece. Artistic Research Projects (Production) [Details] | |
(2008) | B(earth) Painting, Voice, Video Installation. Yvon Bonenfant (2008) B(earth) Painting, Voice, Video Installation. Artistic Research Projects (Production) [Details] | |
(2007) | Soie Soyeuse (Silky Silk) - Performance. Yvon Bonenfant (2007) Soie Soyeuse (Silky Silk) - Performance. Artistic Research Projects (Production) [Details] | |
(2006) | Intimacies Live Piece - Performance. Yvon Bonenfant (2006) Intimacies Live Piece - Performance. Artistic Research Projects (Production) [Details] | |
(2006) | Each Starry Night - Performance. Yvon Bonenfant (2006) Each Starry Night - Performance. Artistic Research Projects (Production) [Details] | |
(2004) | Unnamed Site-Specific Performance. Yvon Bonenfant (2004) Unnamed Site-Specific Performance. Artistic Research Projects (Production) [Details] | |
(2004) | Acoustic / Electric - Installation. Yvon Bonenfant (2004) Acoustic / Electric - Installation. Artistic Research Projects (Production) [Details] | |
(2003) | Crise Cardique. Yvon Bonenfant (2003) Crise Cardique. Artistic Research Projects (Production) [Details] |
Artistic Research Projects (R&D)
Year | Publication | |
---|---|---|
(2019) | Hands on Your Vibrating Voice. Yvon Bonenfant (2019) Hands on Your Vibrating Voice. Artistic Research Projects (R&D) [Details] | |
(2019) | Wig Show. Yvon Bonenfant (2019) Wig Show. Artistic Research Projects (R&D) [Details] | |
(2019) | Wig Show. Yvon Bonenfant (2019) Wig Show. Artistic Research Projects (R&D) [Details] | |
(2019) | Voice-Art-Able. Yvon Bonenfant (2019) Voice-Art-Able. Artistic Research Projects (R&D) [Details] | |
(2019) | Fashioning the Voice. Yvon Bonenfant (2019) Fashioning the Voice. Artistic Research Projects (R&D) [Details] | |
(2017) | Resonant Tails for Rosewood Free School (ongoing). Yvon Bonenfant (2017) Resonant Tails for Rosewood Free School (ongoing). Artistic Research Projects (R&D) [Details] | |
(2016) | Hands on Your Vibrating Voice: From R&D to First Productions (ongoing). Yvon Bonenfant (2016) Hands on Your Vibrating Voice: From R&D to First Productions (ongoing). Artistic Research Projects (R&D) [Details] | |
(2015) | The Visceral Voice Touched Inside and Out. Yvon Bonenfant (2015) The Visceral Voice Touched Inside and Out. Artistic Research Projects (R&D) [Details] | |
(2012) | Uluzuzulalia: The Voice Play Project - Research and Development Phase. Yvon Bonenfant (2012) Uluzuzulalia: The Voice Play Project - Research and Development Phase. Artistic Research Projects (R&D) [Details] | |
(2006) | His Hearing Aid - Performance. Yvon Bonenfant (2006) His Hearing Aid - Performance. Artistic Research Projects (R&D) [Details] |
Professional Activities
Honours and Awards
Year | Title | Awarding Body | |
---|---|---|---|
2024 | Grant - Toward a Queer Opposite of Trauma - Voice Movement Choirs, leading to productions in 2025, €73 000 | Arts Council of Ireland, Participatory Arts Funding stream | |
2022 | Grant - To develop producer relationships and undertake early-stage R+D on two projects: Loop Love 2 and SoundProudAF, €5 000 | Arts Council of Ireland, Participatory Arts Funding stream | |
2022 | Grant - To move to full production and participatory engagement with Loop Love project, €63 000 | Arts Council of Ireland, Participatory Arts Funding stream | |
2021 | Visioning the Future II: Artistic Doctorates in Ireland (Contributing CO-I) | UCC | |
2021 | Grant Offer (project paused due to Covid) - Resonant Tails 2 - Expand and Refine, €168000 | Youth Music Fund B UK (with Tract and Touch) | |
2020 | Grant - Emergency funding, Covid-19 response fund, €11400 | Arts Council England | |
2020 | Visioning the Future I: Artistic Doctorates in Ireland (Contributing CO-I) | UCC | |
2019 | Grant - Resonant Tails 2 (with Tract and Touch), €33523 | Youth Music | |
2019 | Grant - Fashioning the Voice: Vocally Animated Trench Coats (with Tract and Touch), €16820 | Arts Council, England | |
2019 | Grant - Wig Show: Voice / Dance Show for Children (with Tract and Touch), £16 790 | Arts Council, England | |
2019 | Grant - Support to Resonant Tails 2 (with Tract and Touch), €13788 | Postcode Community Trust | |
2019 | Grant - Support to Writing H2020 Bid for Call Transformations 2017-19 ‘Polyvox’, €12278 | Enterprise Ireland | |
2019 | Grant - New Foundations for Project Voice-Ability (with Cope Foundation), €11991 | Irish Research Council | |
2019 | Pending Grant - Support to Writing ERC Consolidator Application, €14335 (result before September) | Enterprise Ireland | |
2017 | Grant - Resonant Tails (with Tract and Touch), €16679 | Arts Council, England | |
2016 | ‘Hands on Your Vibrating Voice’ for impact maximisation, £18 000 | Senior Management Team Support | |
2016 | Production Resident - Southampton City Art Gallery | Southampton City Art Gallery / Civic Centre / Culture Southampton | |
2016 | Grant - Hands on Your Vibrating Voice: R&D (with Tract and Touch), €16563 | Arts Council, England | |
2016 | Residency - Chelsea Theatre | Chelsea Theatre, London | |
2016 | Residency - The Point | The Point, Eastleigh | |
2015 | Grant - The Visceral Voice Touched Inside and Out (with Tract and Touch), €16785 | Arts Council, England | |
2014 | University Research Leadership Fellowship, £10 000. | University Research Leadership Fellowship | |
2014 | Grant - Music / Theatre / Landscape Part II (with Strategic Partnership Consortium), €194000 | ERASMUS+ and EU | |
2013 | Grant - Music / Theatre / Landscape Part I (with Strategic Partnership Consortium), €82000 | ERASMUS+ | |
2013 | Grant - Large Arts Award - follow on funding, €58193 | Arts Council, England | |
2013 | Grant - Large Arts Award - follow on funding, €33600 | Wellcome Trust | |
2013 | Grant - Large Arts Award, €130836 | Wellcome Trust | |
2011 | Residency - The Point Arts Theatre | The Point Arts Theatre, Eastleigh | |
2011 | Grant - Uluzuzulalia Project, €33598 | Wellcome Trust | |
2010 | Grant - Beacons Tour 2010-11, €19712 | Arts Council, England | |
2009 | Residency - Theatre Noise Project, Central School of Speech and Drama | Theatre Noise Project, Central School of Speech and Drama | |
2009 | Residency - Experimental Media and Performing Arts Centre | Experimental Media and Performing Arts Centre, RPI, USA | |
2008 | Grant - Voice / Textile / Pedagogy, €3584 | University of Winchester | |
2008 | Small Grants, British Academy €6720 | British Academy | |
2008 | Grant - Practice Led Research in Performance, €22064 | Arts and Humanities Research Council of the United Kingdom | |
2007 | Grant - Voice / Painting / Installation / Pedagogy, €5924 | University of Winchester | |
2007 | Residency - IDEAT Université de Paris 1 Panthéon-Sorbonne | IDEAT Université de Paris 1 Panthéon-Sorbonne | |
2006 | Small Grants for the Creative and Performing Arts, €5600 | Arts and Humanities Research Board, UK | |
2006 | Residency - Mile Zero Dance | Mile Zero Dance, Edmonton, Canada | |
2005 | Residency - CEPiA and University of Évora, Portugal | CEPiA and University of Évora, Portugal | |
2005 | Residency - Arts Council of England Choreographic Lab | Arts Council of England | |
2004 | Residency - CEPiA and University of Évora, Portugal | CEPiA and University of Évora, Portugal | |
2000 | Full Tuition Scholarship | Wesleyan University | |
2000 | Teaching Assistantship | Wesleyan University | |
1989 | Scholarship and Work Aid | Bennington College | |
1989 | Rutherford Scholarship | Alberta Hedge Fund | |
1987 | Prince of Wales Scholarship | Alberta Heritage Scholarship Fund |
Professional Associations
Association | Function | From / To | |
---|---|---|---|
Tract and Touch Ltd. | Director | / | |
Society for Artistic Research | Member | / | |
International Federation for Theatre Research | Member | / | |
Embodied Research Working Group of the IFTR | Founding supporter | / | |
Performance Studies International | Member | / | |
Irish Society for Theatre Research | Member | / | |
Centre for Interdisciplinary Voice Studies | Collaborator and Symposium Organiser | / | |
Centre for Art in Public Space (EURCAPS), University of Rennes 2 | Advisory board | / | |
University of Grenoble Performance Lab | Advisory board (Scientific Council) | / | |
Graffiti Youth Theatre | Trustee | / | |
Cork Gay Project | Trustee | / | |
A/N Artists' Network | Insured Member | / |
Conference Contributions
Year | Publication | |
---|---|---|
(2024) | Intra-Accio, Symposium on Interactive Art, EINA, Centre Universitari de Disseny i Art de Barcelona, Bonenfant, Y. (2024) Looping love in the Opposites of Trauma: Voicing Queer Materials Now. [Invited Lectures (Conference)], Intra-Accio, Symposium on Interactive Art, EINA, Centre Universitari de Disseny i Art de Barcelona, Barcelona, Spain . [Details] | |
(2024) | University of the Arts Poznan Methodologies Symposium, Bonenfant, Y. (2024) Voice and Methodologies for making haptic art in public space. Delivered with the Centre for Art in Public Space. [Invited Lectures (Conference)], University of the Arts Poznan Methodologies Symposium, Poznan, Poland . [Details] | |
(2023) | TEI - Tangible, Embodied and Embedded Interaction (Human Computer Interface Organisation). University of Warsaw, Bonenfant, Y. (2023) Keynote: Making the voice inter-sensory: material engagement, participation, and dramaturgy fpr disAbled and non-disAbled audiences. [Keynote Speaker], TEI - Tangible, Embodied and Embedded Interaction (Human Computer Interface Organisation). University of Warsaw, Warsaw, Poland . [Details] | |
(2020) | Practice as Research in Theatre and Performance, Yvon Bonenfant (2020) Interview with Professor Annette Arlander - Pioneer of Artistic Research in Theatre and Performance. [Other], Practice as Research in Theatre and Performance, Online . [Details] | |
(2019) | Internal Research Seminar, FUAIM Series, Department of Music, Yvon Bonenfant (2019) Voice, Identity, Contact. [Invited Lectures (Conference)], Internal Research Seminar, FUAIM Series, Department of Music, UCC, Cork . [Details] | |
(2019) | Irish Society for Theatre Research, Yvon Bonenfant (2019) Internationalisation Invited Panellist: Practice as Research, IMBAS Panel. [Invited Lectures (Conference)], Irish Society for Theatre Research, Mary Immaculate College, University of Limerick . [Details] | |
(2019) | Re:Sound: Media Art Histories – Sound, Media and Art – Theories, Histories, Practices, Yvon Bonenfant (2019) Resonant Tails, Blinking Voices: Feeling the Intersensory Voice, Ability and Virtuosity. [Invited Lectures (Conference)], Re:Sound: Media Art Histories – Sound, Media and Art – Theories, Histories, Practices, University of Aalborg, Denmark . [Details] | |
(2018) | Performer les Savoirs: The Artist as Researcher and the Researcher as Artist, Studies of a Critical Gesture in Contemporary Performance Practices, Yvon Bonenfant (2018) Invited as Guest Round Table Member. [Invited Oral Presentation], Performer les Savoirs: The Artist as Researcher and the Researcher as Artist, Studies of a Critical Gesture in Contemporary Performance Practices, Masion des Sciences, de l'Homme, the Centre Pompidou and Théatre Nanterre Amandiers, Paris , 21-JUN-18 - 23-JUN-18. [Details] | |
(2018) | Fashion Costume Visual Culture Conference, Yvon Bonenfant (2018) You are Clothed in Voice: Fashioning the Voice. [Invited Lectures (Conference)], Fashion Costume Visual Culture Conference, University of Zagreb, Zagreb, Croatia . [Details] | |
(2018) | Symposium on Voice and Identity: Touches, Textures, Timbres, University of Winchester, Yvon Bonenfant (2018) Voice-Styling, Hair-Styling, Self-Fashioning. [Conference Organising Committee Chairperson], Symposium on Voice and Identity: Touches, Textures, Timbres, University of Winchester, Winchester . [Details] | |
(2018) | The Artist Researcher in Performance: Situating Artistic Enquiry in Research Design, Yvon Bonenfant (2018) Keynote Speaker with Audiences, Mirrors and Self-Styling: Touching the Extra-Normal Voice. [Keynote Speaker], The Artist Researcher in Performance: Situating Artistic Enquiry in Research Design, University of Bedfordshire , 06-JUN-18 - 08-JUN-18. [Details] | |
(2018) | Fashion, Costume, and Visual Cultures, Yvon Bonenfant (2018) Fashion Your Voice: Singing it as Clothing. [Invited Lectures (Conference)], Fashion, Costume, and Visual Cultures, Zagreb . [Details] | |
(2018) | British Voice Association Voice Clinics Forum, Yvon Bonenfant (2018) Key Note Speaker with Reaching Audiences to Reflect on the Voice: Touching on Voice Qualities. [Keynote Speaker], British Voice Association Voice Clinics Forum, Southampton . [Details] | |
(2017) | PUSH Project Gendersaurus Rex, Yvon Bonenfant (2017) Queer Vocal Methodologies: Celebrating the 'Othered' Voice in Children's Performance. [Invited Lectures (Workshops)], PUSH Project Gendersaurus Rex, Edinburgh . [Details] | |
(2017) | Imaginate Children's Theatre Festival and Showcase, Yvon Bonenfant (2017) Unruly and Vivacious: Children as Voice Artists and the Celebration of Difference. [Keynote Speaker], Imaginate Children's Theatre Festival and Showcase, Edinburgh . [Details] | |
(2017) | Ferenc Lizst Academy Research Seminar, Yvon Bonenfant (2017) Why Touching the Extended Voice Matters Now. [Invited Seminars/Guest Lectures], Ferenc Lizst Academy Research Seminar, Budapest, Hungary . [Details] | |
(2017) | University of Exeter Drama Department Invited Research Seminar, Yvon Bonenfant (2017) What Matters about the Audience's (Actual, Physical) Voice(s)? Vocality, Artistic Process, Plethora and Research. [Invited Seminars/Guest Lectures], University of Exeter Drama Department Invited Research Seminar, Exeter . [Details] | |
(2016) | University of Arts, Stockholm Invited Research Seminar, Yvon Bonenfant (2016) Vivacious Voicing: Between Professional Production and Artistic Research Processes. [Invited Seminars/Guest Lectures], University of Arts, Stockholm Invited Research Seminar, University of the Arts, Stockholm . [Details] | |
(2016) | Symposium of the Music/Theatre/Landscape Consortium, Yvon Bonenfant (2016) Between Voice, Touch and Landscape Architecture: New Dramaturgies, New Compositional Approaches. [Invited Oral Presentation], Symposium of the Music/Theatre/Landscape Consortium, University of the Arts, Stockholm . [Details] | |
(2015) | 4th International Occupational Voice Symposium, Yvon Bonenfant (2015) Contact, Mirrors and Gymnastics: What Science, Art and the Voice Can Do Together. [Invited Oral Presentation], 4th International Occupational Voice Symposium, University College London . [Details] | |
(2015) | University of Surrey Practice as Research Festival, Yvon Bonenfant (2015) Practice as Research Now - A Roundtable with Christopher Baugh, Yvon Bonenfant and Libby Worth. Invited Panellist. [Invited Oral Presentation], University of Surrey Practice as Research Festival, University of Surrey, UK . [Details] | |
(2015) | 11th International Conference on Advances in Quantitative Laryngology, Voice and Speech Research, Yvon Bonenfant (2015) Contact, Mirrors and Gymnastics: What Science, Art and the Voice Can Do Together. [Invited Oral Presentation], 11th International Conference on Advances in Quantitative Laryngology, Voice and Speech Research, University College London . [Details] | |
(2014) | International Federation for Theatre Research Main Conference, Yvon Bonenfant (2014) They Make Noise: Plethora, Plenitude, Power and Performance as Research. [Invited Lectures (Conference)], International Federation for Theatre Research Main Conference, Coventry . [Details] | |
(2014) | Symposium Le Processus Creatif, Yvon Bonenfant (2014) Votre voix vive: pléthore, plénitude, pouvoir et les enjeux de la recherche-création. [Invited Lectures (Conference)], Symposium Le Processus Creatif, University of Paris 1 Panthéon - Sorbonne . [Details] | |
(2014) | Impossible Constellation Event, Yvon Bonenfant (2014) Extending the Vivacious Voice. [Invited Seminars/Guest Lectures], Impossible Constellation Event, University of Lincoln, Lincoln . [Details] | |
(2014) | Royal Conservatoire of Scotland Invited Research Seminar, Yvon Bonenfant (2014) Vivacious Voice in Action: Problems, Processes and Potentials. [Invited Seminars/Guest Lectures], Royal Conservatoire of Scotland Invited Research Seminar, Royal Conservatoire of Scotland, Glasgow . [Details] | |
(2013) | Art and Knowledge: Making Sense of the Sensible, Yvon Bonenfant (2013) Grappling with the Vivacious Voices: Uluzuzulalia, Somatic Experience, Plundering and the Research Paradigm. [Keynote Speaker], Art and Knowledge: Making Sense of the Sensible, University of Arts Helsinki, Theatre Academy . [Details] | |
(2012) | Sounding the Whirlwind Symposium, Yvon Bonenfant (2012) Using the Tools of the Avant-Garde to Make Performance for Children. [Conference Organising Committee Member], Sounding the Whirlwind Symposium, The Point, Eastleigh . [Details] | |
(2012) | Research Seminar with Professor Catherine Best of MARCS labs, Yvon Bonenfant (2012) Vocal Discoveries: Speech and Language Bioscience and Creative Futures. [Keynote Speaker], Research Seminar with Professor Catherine Best of MARCS labs, University of Western Sydney . [Details] | |
(2012) | International Federation for Theatre Research Main Conference, Yvon Bonenfant (2012) A Portrait of the Current State of PaR: Defining an (In)discipline. [Invited Lectures (Conference)], International Federation for Theatre Research Main Conference, Santiago da Chile . [Details] | |
(2011) | Pieces to Fit, Yvon Bonenfant (2011) Member of Panel Facilitated by Dance and Technology Scholar Claudia Kappenberg. [Invited Lectures (Conference)], Pieces to Fit, Nightingale Theatre, Brighton . [Details] | |
(2011) | Practice as Research Symposium, Yvon Bonenfant (2011) Voicing Practice: An Invited Practice-Led Research Keynote Presentation. [Keynote Speaker], Practice as Research Symposium, University of Portsmouth in London . [Details] | |
(2011) | Invited Research Seminar, University of Newcastle Music Department, Yvon Bonenfant (2011) Making Voice from Touch, Making Touch from Image. [Invited Seminars/Guest Lectures], Invited Research Seminar, University of Newcastle Music Department, University of Newcastle upon Tyne . [Details] | |
(2010) | University of Sussex Invited Research Seminar, Yvon Bonenfant (2010) Extra-Normal Architectures of the Haptic: Voice, Light, Video from the Living to the Dead. [Invited Seminars/Guest Lectures], University of Sussex Invited Research Seminar, University of Sussex, UK . [Details] | |
(2010) | Centre for Creative Practice, Ireland and Music Theatre Departments, Yvon Bonenfant (2010) Making Voice from Touch, Making Touch from Image. [Invited Seminars/Guest Lectures], Centre for Creative Practice, Ireland and Music Theatre Departments, Dublin . [Details] | |
(2010) | Sound Thoughts Festival, Yvon Bonenfant (2010) Member of Panel, Talking about Music - is it like Dancing About Architecture?. [Invited Oral Presentation], Sound Thoughts Festival, The Arches, Glasgow . [Details] | |
(2010) | Central School for Speech and Drama Seminar Series, Yvon Bonenfant (2010) Beacons Research Seminar. [Invited Seminars/Guest Lectures], Central School for Speech and Drama Seminar Series, UK . [Details] | |
(2010) | Song, Stage, Screen V, Yvon Bonenfant (2010) Queer Listening to Queer Timbres. [Invited Lectures (Conference)], Song, Stage, Screen V, Winchester . [Details] | |
(2010) | International Federation for Theatre Research, Yvon Bonenfant (2010) Repetition of Tactilities: The Living and the Dead. [Invited Lectures (Conference)], International Federation for Theatre Research, Munich . [Details] | |
(2009) | International Federation for Theatre Research, Yvon Bonenfant (2009) Reach / Voice / Light: An Architect of Sensation. [Invited Lectures (Conference)], International Federation for Theatre Research, Lisbon . [Details] | |
(2009) | Movements Between Hearing and Seeing, Yvon Bonenfant (2009) Toward the Haptic in Audiovisual Media: The Reaching Skin, Reaching Light and Reaching Voice. [Invited Lectures (Conference)], Movements Between Hearing and Seeing, Bayreuth . [Details] | |
(2009) | International Federation for Theatre Research Main Conference, Yvon Bonenfant (2009) Sobbing in the Public Sphere: Extended Voice, 'Grief' and Emotional Activism. [Invited Lectures (Conference)], International Federation for Theatre Research Main Conference, Lisbon . [Details] | |
(2008) | Cultures of Translation: Adaptation in Film and Performance, Yvon Bonenfant (2008) B(earth). [Invited Lectures (Conference)], Cultures of Translation: Adaptation in Film and Performance, Cardiff . [Details] | |
(2008) | Faire Ceuvre: Transparence et Opacité International Conference, Yvon Bonenfant (2008) Textures: rencontres entre la voix étendue et la plasticité, ou de la corporéité au souffle. [Invited Lectures (Conference)], Faire Ceuvre: Transparence et Opacité International Conference, Québec . [Details] | |
(2008) | Performance Studies International 10th International Conference, Yvon Bonenfant (2008) Silk, Space, Skin, Sound: Voice, Proximity, Intimacy and Sensation. [Invited Lectures (Conference)], Performance Studies International 10th International Conference, Copenhagen . [Details] | |
(2008) | International Federation for Theatre Research Main Conference, Yvon Bonenfant (2008) The Sensory and Felt Relationship: The Impossibility / The Joy of Transmission. [Invited Lectures (Conference)], International Federation for Theatre Research Main Conference, Seoul . [Details] | |
(2008) | Esthétique et Cognition, Yvon Bonenfant (2008) Le temps de la peinture, le temps de la voix. [Invited Lectures (Conference)], Esthétique et Cognition, Paris . [Details] | |
(2007) | Improvisation Continuums International Conference, Yvon Bonenfant (2007) Extended Voice, Intense Gesture: The Sourcing of Performance for Voice and Body in Felt Pulsation and Passionate Emotion, and its Relationship to a Pulsing Audience. [Invited Lectures (Conference)], Improvisation Continuums International Conference, Cardiff . [Details] | |
(2007) | University of Winchester Internal Research Series, Yvon Bonenfant (2007) Silk, Tactility and Touch. [Invited Oral Presentation], University of Winchester Internal Research Series, University of Winchester . [Details] | |
(2007) | University of Northampton Research Seminar Series in Dance, Yvon Bonenfant (2007) Pulsing, Popping, Feeling and Incarnating: A Long Distance Touch and Response. [Invited Seminars/Guest Lectures], University of Northampton Research Seminar Series in Dance, Northampton, UK . [Details] | |
(2006) | International Changing Body Symposium on Performer Training, Yvon Bonenfant (2006) The Psycho-Organic Circle and Somato-Emotional States. [Invited Lectures (Conference)], International Changing Body Symposium on Performer Training, Exeter . [Details] | |
(2006) | Beyond Settling for Hope: Bioemotional Activism and Performance, Yvon Bonenfant (2006) Guest Lecturer by Invitation of the Department of Philosophy. [Invited Seminars/Guest Lectures], Beyond Settling for Hope: Bioemotional Activism and Performance, University of Alberta, Edmonton, Canada . [Details] | |
(2006) | The Future of Performing Arts in British HE: Progressive Approaches, Yvon Bonenfant (2006) Guest Lecturer by Invitation of the School of Arts and Media. [Invited Seminars/Guest Lectures], The Future of Performing Arts in British HE: Progressive Approaches, University of Teeside . [Details] | |
(2006) | International Federation for Theatre Research World Conference, Yvon Bonenfant (2006) Costume, Voice, Body: From Costume Extended Voice. [Invited Lectures (Conference)], International Federation for Theatre Research World Conference, Helsinki . [Details] | |
(2005) | Performance Studies International 11, Yvon Bonenfant (2005) Uncomfortable Extremes: Towards Bioemotional Activism Hybrid Performance / Paper. [Invited Lectures (Conference)], Performance Studies International 11, Providence . [Details] | |
(2005) | PALATINE Practice as Research Symposium, Yvon Bonenfant (2005) Practice as Research in the Undergraduate Curriculum in Performing Arts at the University of Winchester. [Invited Lectures (Conference)], PALATINE Practice as Research Symposium, Preston . [Details] | |
(2005) | PARIP (Practice as Research in Performance), Yvon Bonenfant (2005) Acoustic / Electric. [Invited Lectures (Conference)], PARIP (Practice as Research in Performance), Leeds . [Details] | |
(2004) | Giving Voice 8, Yvon Bonenfant (2004) Gut Feelings, Dynamic Voicings: Psychologies of the Vocal Body. [Invited Lectures (Conference)], Giving Voice 8, Aberystwyth and Cardiff . [Details] | |
(2004) | Political Futures: Alternative Theatre in Britain Today, Yvon Bonenfant (2004) Yoking Together Resistance, Defiance and Seduction: Bioemotional Activism and Relationship in Performance. [Invited Lectures (Conference)], Political Futures: Alternative Theatre in Britain Today, Reading . [Details] | |
(2003) | PARIP (Practice as Research in Performance), Yvon Bonenfant (2003) Crise cardiaque. [Invited Lectures (Conference)], PARIP (Practice as Research in Performance), Bristol . [Details] | |
(2003) | Creation and Creativity in Light of Rorschach: Clinical and Psychopathological Approaches, Yvon Bonenfant (2003) Corporeal Gesture / Vocal Gesture: Spontaneity and the Temporal Form of the Personality Presented (in French). [Invited Lectures (Conference)], Creation and Creativity in Light of Rorschach: Clinical and Psychopathological Approaches, Chambery . [Details] | |
(2003) | Composition for the Body: The Theatrical Body in Music, Yvon Bonenfant (2003) Invited Guest Lecturer by Music Department. [Invited Seminars/Guest Lectures], Composition for the Body: The Theatrical Body in Music, York University, York, UK . [Details] | |
(2002) | Negotiating Specialisation in an Interdisciplinary Culture, Yvon Bonenfant (2002) The Visceral Voice at Crossing Over. [Invited Lectures (Conference)], Negotiating Specialisation in an Interdisciplinary Culture, Regina . [Details] |
Committees
Committee | Function | From / To | |
---|---|---|---|
European University of Post-Industrial Cities, UCC | Arts Strand Lead | 2022 / | |
European Research Funding Strategy Sub-Group, School of Film, Music and Theatre | Department Rep | 2020 / | |
CACSSS Research and Innovation Committee | Department Rep | 2020 / | |
School Executive Management Committee, UCC | Departmental Rep | 2018 / | |
CACSSS College Council | Department Rep | 2018 / | |
Academic Council | Department Rep | 2018 / | |
Department of Theatre Committees: Research Student, Research, Operational | Chair | 2018 / | |
Programme committee Doctor of Creative Arts | Chair | 2015 / 2018 | |
Faculty of Arts Research and Creative Practice Committee | UoA 35 Rep | 2010 / 2018 | |
Programme committee BA Contemporary Performance | Member | 2010 / 2016 | |
University of Winchester Programme Committee: MA Devised Performance | Member | 2009 / 2011 | |
BACH Vocal and Choral Studies | Programme Committee | 2009 / 2018 | |
University of Winchester Senate Research and Knowledge Committee | Member | 2008 / 2009 | |
University of Winchester Unit of Assessment 35 Research Strategy Group | Member | 2008 / | |
University of Winchester Working Group on Academic Structure | Member | 2008 / 2009 | |
University of Winchester Academic Directors' Working Group | Member | 2008 / 2009 | |
University of Winchester Business Advisory Group | Member | 2008 / 2009 | |
University of Winchester Quality Audit Working Group | Member | 2008 / 2009 | |
University of Winchester Research Degrees Quality Committee and Ethics Subcommittee | Member | 2008 / 2009 | |
University of Winchester Senate Research and Knowledge Exchange Ethics Committee | Member | 2008 / 2009 | |
University of Winchester Research and Excellence Framework Working Group | Member | 2008 / | |
University of Winchester Senate | Member | 2008 / 2009 | |
University of Winchester Planning and Resources Committee | Member | 2008 / 2009 | |
University of Winchester Research into Expanded Dramaturgies Research Group | Member | 2007 / 2010 | |
University of Winchester Faculty of Arts Research and Knowledge Exchange Committee | Member | 2006 / | |
University of Winchester UoA QR Selection Subcommittee | Member | 2006 / | |
University of Winchester Performance Committee: BA Contemporary Performance | Member | 2005 / |
Employment
Employer | Position | From / To | |
---|---|---|---|
University College Cork | Director of Future Humanities Institute | 01-JAN-23 / | |
University College Cork | University College Cork Lead | 01-JAN-22 / | |
University College Cork | Head of Department, Theatre | 03-SEP-18 / | |
University of Winchester | Seconded (temporary) Administrative Role: Director of Research and Knowledge Exchange | 03-SEP-08 / 20-AUG-09 | |
University of Winchester | Professor of Artistic Process, Voice and Extended Practices. Programme Leader and co-developer of the Doctor of Creative Arts | 01-FEB-05 / 20-AUG-18 | |
Queen Margaret University, Edinburgh | Lecturer/Programme Leaders in Drama and Theatre Arts | 01-FEB-04 / 01-FEB-05 | |
Northumbria University | Lecturer in Performance | 01-NOV-02 / 01-JAN-04 |
Education
Year | Institution | Qualification | Subject | |
---|---|---|---|---|
2022 | Irish Management Institute | Professional Diploma in Leadership | Artist Knowledge and Queer Artist-Leadership | |
2010 | University of Winchester | PhD (Performing Arts) | Immersive intensities and transdisciplinary adventure: extended voice, tactility, and intermedia from the living to the dead | |
2002 | Wesleyan University | MA in World Music: experimental music composition | Body Contact: Deep Expression, Relationship and the Visceral Voice | |
1999 | Québec Psychotherapist Training Institute ( Ecole Québécoise de Formation de Pscychothérapeutes | Professional Diploma in Psychocorporeal Analysis | Physical aspects of the emotional voice in the chemotherapeutic relationship; voice as symbolic touch, literal transference and counter-transference via vocal tactility | |
1996 | Athabasca University | Bachelor of General Studies | Arts and Science | |
1991 | Bennington College | 2 years full time study with credits transferred to Athabasca University | Fine and Liberal Arts (music, visual arts, ecology, astronomy, French) | |
1989 | United World College of the Atlantic | Diploma | Music, Asian History, English HL; French, Applied Chemistry, Mathematics SL. |
Languages
Language | Reading | Writing | Speaking | |
---|---|---|---|---|
French | Fluent | Functional | Fluent | |
English | Fluent | Fluent | Fluent |
Journal Activities
Journal | Role | To / From | |
---|---|---|---|
Feminist Media Studies | Referee | - | |
International Journal Of Performance Arts & Digital Media | Referee | - | |
Studies In Theatre And Performance | Referee | - | |
Journal Of Interdisciplinary Voice Studies | Referee | - | |
Scan | Referee | - | |
Journal Of Dance & Somatic Practices | Referee | - | |
Body, Movement And Dance In Psychotherapy | Referee | - | |
Journal Of Interdisciplinary Voice Studies | Member of Editorial Board | - | |
Choreographic Practices | Member of Editorial Board | - | |
Choreographic Practices | Referee | - |
Other Activities
Description | |
---|---|
Special Service to the Institution UCC: Granary Transformation Project | |
Programmatic External Examiner
| |
Guest Teaching and Workshops
|
Teaching Activities
Teaching Interests
Bonenfant's teaching experience includes a wide array of modules in devised performance, interdisciplinary performance making, theatre and performance histories and theory, voice practice and study, and research methods - including practice-based methods within artistic research or research-creation. He teaches through both theoretical and experiential modalities.
He has taught at UG, PG and doctoral levels. An explanatory chart of teaching is listed below.
ROLE CODES
MC = module coordinator (course co-ordinator/leader)
T = teaching tutor (delivery teacher)
W = workshop leader
TD = teaching director of student performance
S = skills teacher
TEACHING DOMAINS
CDP = Composition and/or devising performance process and product (création)
AQP = Activist/Queer performance
V = Vocal technique or Extended Voice
TV = Theories of Voice, including voice studies, dramaturgical and musical structures
PT = Theories of performance across disciplines
I = Intermediality, including arts and technology
MPAR = Methodologies and Practice-as-Research (research-creativon)
MT = Performer-created (devised) music theatre (contemporary) and sound art
D = Directing
B = Physical performance
H = History of performance
SV = Site and Visuality
TEACHING LEVELS
1 = 1ST YEAR UG
2 = 2ND YEAR UG1 = 1ST YEAR UG
3 = 3RD (HONOURS) YEAR UG
4 = GRADUATE/POST-GRADUATE
5 = DOCTORAL THESIS LEVEL
Undergraduate and Postgraduate at UCC
- IS1117 Business Information Systems I: UG1; W; V, TV
- DR2027 Theatre and Performative Practices 3: UG2; MC,T, W; CDP, H, PT, MT, SV
- DR2009 Cultures of Voicing 1: UG2; MC, T, W, S; V, B
- IS2217 Business Information Systems: UG2; W; V, TV
- DR3017 Cultures of Voicing 2: UG3; MC, T, W; V, B
- DR6001 Collaboration in Theatre and Performative Practices: UG4; MC, T, W, S; CDP, AQT, PT, D, H, MPAR
- DR6002 Composition in Theatre and Performative Practices: UG4; MC, T, W, S; CDP AQT, PT, D, H, MPAR
- DR6004/5/6 Research Dissertations (including practice-inclusive dissertations): UG4; MC, T, S; MPAR, CDP, AQT, PT, D, H, MPAR
- DR6026 Advanced Theatre Practices; PG4; MC, W, T; CDP, MPAR, PT
- PG7004 Materclass in Doctoral Research Methods; 5; MC, T, W; MPAR, AQP, SV
Undergraduate Before UCC
- Acting, Voice and Movement: UG1; MC, T, W, S; V, B
- Applied Performance: UG2 & 3; MC, T, W, S; CPD, I, D, PT, MT
- Between Speech and Song 1: UG1; MC, T, W, S; V, B, TV
- Between Speech and Song 2: UG2; MC, T, W, S; V, B, TV
- Company Production Project: UG3; MC, TD; CDP, D, I, PT, MT, SV
- Contemporary Performance in Action: UG3; MC, T, W; CDP, I, D, PT, H, MPAR
- Cross-Disciplinary Devising: UG2; MC, T, W, S; I, CDP, D, SV
- Devised (Experimental) Music Theatre: UG2; MC, T, W, S; MT
- Dramaturgies and Histories: UG 1 & 2; T; H, PT
- Devising: UG1 & 2; MC, T, W; CDP, H, PT, MT, SV
- Extending the Voice: UG3; MC, T, W, S, TD;V, B, TV
- Final Year (Honours) Project: UG3; MC, T, W, TD; V, MT, CDP, PT, D, MPAR
- Performance Elements: UG1; MC, T, W, S; V. B
- Performance Histories: UG1; MC, T; H
- Performance Skills: UG1; MC, T, W; V, B
- Performance Theory: UG2 & 3; MC, T; PT, I
- Physical Theatres: UG2; MC, T, W; CDP, B, V
- Productions: UG3; MC, TD; CDP, D
- Theories of Voice: UG3; MC, T; TV, PT, MPAR
Post-Graduate
- Advanced Performance Project: PG4; MC, T; PT, D, MPAR
- Devising and the Performer: PG4; MC, T, W, TD; CDP, I, PT
- Gateway to Independent Study: PG4; MC, T; PT, MPAR
- Independent Study (Dissertations): PG4; MC, T; PT, CDP, I, MPAR
- Research Methods: PG4; MC, T; PT, MPAR
- Studios 1 & 2 (Doctor of Creative Arts): PG4 & 5; MC, T; MPAR, CDP
PhDs Examined
- 2023: (internal) Nicholas O'Riordan, University College Cork, 'Analysing Irish Accents on the Contemporary Screen: Hostorical Contexts and Throughlines to the Present' [Film and Screen Media Department].
- 2022: (External), Laura Fanouillet, Université Grenoble-Alpes (France), 'Danse et philosophie vivante: le laboratoire d'un entrainement quotidien,' [Choreography/dance/artistic research/engineering technologies.]
- 2021: (Internal), Leslie Burton, University College Cork, 'Enchanting things: Practice encounters with material performatives,' [Department of Theatre].
- 2021: (External), Ilona Krawczyk, University of Huddersfield, 'Embodying voice in training and performance: a process-orientated approach.' [Department of Theatre].
- 2020: (External), Shannon Holmes, University of Birmingham, 'Ephemeral repetitions: deconstructing vocal technique and freeing spontaneous expression for authentic vocal performance.' [Drama and Theatre Arts Department].
- 2019: (Internal), Richard (Tosh) Molloy, University College Cork, 'Transfunctionality: a compositional approachf or expanding the horizons of acoustic instruments.' [Department of Music].
- 2017: (External) Nina Perry, Bournemouth University, ‘Music, narrative, voice and presence: revealing a composed feature methodology’ [Media Art Department]
- 2016: (External) Sara Matchett, University of Cape Town, South Africa, ‘Breath-Body-Self: an exploration of the body as a site for generating images for performance making’ [Theatre Department]
- 2016: (Internal) Jo Walker, ‘Equipping pupils to steer the road of adolescence: the innovation and impact of AS Tracking: an educational tool to assess, support and track pupil self-regulation’ [Professional Doctorate]
- 2015: (Internal) Catherine Seago, ‘Evolving Motion: Examining Flux in Choreographic Practice’ [Perf. Arts. Dept., Choreography and Dance]
- 2015: (External) Greshauna Hannabiell Sanders, University of Newcastle upon Tyne, ‘Creative Practice as Political Engagement’ [Music Dept: Music Composition and Improvisation]
- 2013: (External) Mary Oliver, University of Salford, ‘The Digital Performer: Performance, Technology and New Performance Paradigms’ [Theatre Department: Performance and New Media]
- 2011: (External) Karen Savage, University of Portsmouth, ‘Fading-Feminism-Practice-Process: a Practice as Research Exploration into the Fade as a Cite for Ecriture Féminine’ [Media department: Digital media/performance/visual art
Current PhD Students:
- Phd - Catherine Owens (1st supervisor) is investigating new methods of engaging audiences in artist-driven, rather than commercially driven, artistic approaches to immersive VR/AR
- PhD - Eoin Nash (1st supervisor) is investigating means to assess the lived experience and quality of arts intervention experiences for people with mild to moderate learning disabilities.
- Phd - Taylor Still (External 2nd Supervision) is working on the political act pf artistic communing through literature; by bringing together youth groups from Cork and Rennes in intercultural dialogue, engaging with writing and creative practice.
- Phd - Roisin Singh (2nd Supervisor) is working on novel approaches to the composition and staging of contemporary operatic spectacles.
- MRes - Joshua Dyson (2nd Supervisor) is developing a dramaturgy for a sound art installation exploring the history and nature of Cork Opera House.
PhD Supervisions to Completion:
2015: Synne Behrndt, ‘Discursive Spaces: Toward New Dramaturgies’ [Performing Arts Department]
Undergraduate Research Apprenticeships Supervised:
- 2022: Luke Maziarek, Impact in artistic research: the challenge of developing impact narratives
- 2020: Saoirse Ferris, PMLD, complex disAbility and digital performance
- 2019: Micheál O Coileain, Reviewing writing about theatre for/by people with disAbilities
- 2018: David O'Brien, Exploring emerging technologies and how objects perform
- 2015: Aleski Lehtinen, Exploring qualitative methods for understanding audience response to The Voice Trunk
- 2014: Christine Roche, Reviewing literature: aesthetics of the historical avant-garde and children's performance
- 2013: Kora Kirby, Feedback collection: drawings and pictures as metaphors for child audience experience
- 2023, PG7004 Erasmus+ Blended Intensive Programme 'Public Arts Garage II', Barcelona (UCC and partners University of Barcelona Faculty of Fine Art; University of Rennes 2; Bauhaus University Weimar); co-developed and delivered Blended Intensive PhD-Level Graduate Research Methodologies seminar in Artistic Research Methods as applied to engaging audiences in public space with partner institutions. Face to Face delivery in Barcelona Nov 2-7, 2023.
- 2022-3, UCC Lead, Erasmus Musdus 'Tactics' MA in Interventions in Public Space Application, successful application to ERASMUS+ Design Measures programme to co-design MA in Inter-Arts Interventions in Public Space and Urban Design, partners University of Rennes 2 Research Centre EUR-CAPS, University of Leuphana, Technical University Wien. Design in process.
- 2021-2022, Public Arts Garage I (DAAD funded), UCC Lead on Pilot Experimental Inter-Institutional Artistic Research Methodologies Seminar, MA-Level, with partners University of Barcelona Faculty of Fine Art; University of Rennes 2; Bauhaus University Weimar, Concordia University (Canada), Queen’s University Belfast (UK).
- 2020-21, 2021-22 Visioning The Future I& II: Artistic Doctorates in Ireland (Contributing CO-I). Collaborator on the project to develop supervisor, student, and institutional resources to support better delivery and experience of PhD programmes that include practice in the arts. PI: Professor Jools Gilson (I), Professor Laura Rascaroli (II). www.artisticdoctoratesireland.com
- 2014-16 Music/Theatre/Landscape Part II (Erasmus+, EU funded). Institutional lead, co-applicant and principal writer of the Erasmus+ Strategic Partnership project as stage two of the below, with same partners. Total funding: €194000. Outputs include a series of experimental teaching labs that conjoin landscape architectural readings of space with devising processes, address acoustic challenges, work with public interaction and with ‘bel canto’ singing in public spaces in Porto, Stockholm, and Malmo. Outputs: model curricula for a future MA; the archive of student experiments; series of pedagogical writings addressing voice in outdoor spaces; a series of staff and student exchanges.
- 2013-14 Music/Theatre/Landscape Part I. Institutional lead and co-applicant for successfully funded ERASMUS Intensive Programme ‘Music/Theatre/Landscape’, to develop innovative, research-led teaching methodologies across music theatre, landscape design, devising practices, project value €82 000. Partners: University of the Arts Stockholm (Theatre Department); Swedish Agricultural University (Landscape Design Department); ESMAE: Polytechnic of Porto, Portugal (Opera & Studio Voice Department).
- 2008 Voice/Textile/Pedagogy. Worked with Caroline Mercier, Assoc. Professor of Design at California State University, Stanislaus, to develop pedagogical materials using the tactile experience of textile art as source material for the devising process. Developed four intensive workshops, delivered as part of the module ‘Cross-Disciplinary Devising’ and MA Devised Performance, since integrated into the core creative curriculum. Funded circa £3200, University of Winchester.
- 2007 Voice/Painting/Installation/Pedagogry. Research Informed Teaching Project: Conjugating the painting and voice in performance devising processes. Worked with painter Ludivine Allegue, a post-doctoral researcher at the University of Paris 1 Panthéon-Sorbonne, to develop curricular strategies for understanding the relationship between the act of painting, somatic processes (understood as choreographic processes) and devising contexts. We were particularly concerned about using the physical act of painting as a learning strategy for non- painters to engage with the sound/visual paradigm and explore ‘voice painting’. Developed four theory-practice integrated workshops delivered as part of the module ‘Cross-Disciplinary Devising. Funded circa £5400, University of Winchester.
Programme Development:
- 2021-22 (ongoing) Microcredit programme (2 x ECTS 10 credit modules) in Integrated Dance (Dance with an inclusion focus) in cooperation with the Firkin Crane Centre for Dance, Cork,launched in autumn 2022 with 23 students. This is the first dance programme in Irelandexplicitly teaching skills to ensure the integration of people with the widest range ofdisabilities.
- 2020-2021 Led Development of Springboard PostGraduate Certificate ‘Artist Futures in Performance’ for Springboard programme with the Department of Adult and Continuing Education, UCC.
- 2016-17 Co-developed and co-validated the new MA provision framework for the Department of Performing Arts: MA Theatre Studies, MA Dance, MA Musical Theatre Studies, MA Dance in the Community.
- 2014-15 Co-redeveloped Vocal and Choral Studies, Music Theatre and Performing Arts undergraduate degrees, Faculty of Arts, University of Winchester.
- 2010-11 Co-developed new professional doctorate focusing on theory-pratice integrated arts research, the Doctor of Creative Arts. A hybrid alternative doctoral strategy for working arts professionals delivered in a cohort system.
- 2010 Developed workshop series for MA students exploring their options post-graduation. Sessions included: ‘Applying for a PhD: Why? How? How to Afford it?’; ‘Job-seeking with an arts-based MA’; ‘Starting an Arts Practice or a Company’; and ‘Teaching Certification’.
- 2009 Co-wrote the new combined honours undergraduate option Vocal and Choral Studies, the first of its kind in the UK to integrate singing and speech studies from theatrical and musical perspectives.
- 2009 Co-wrote the redesigned BA Contemporary Performance. Particular emphasis and input on the re-designed modular structure and increased emphasis on interdisciplinarity and strategies for helping students integrate interdisciplinary knowledges.
- 2008-9 Worked in conjunction with Prof June Boyce-Tillman, Chair of Research Degrees Quality Committee, to adapt, re-think and re-work PhD degree study system and regulations at Winchester and moved our students from validation by Southampton University in-house.
- 2008 Co-wrote the MA Devised Performance, a degree looking at interdisciplinary performance compositional practice, with a strong cross-disciplinary emphasis.
- 2006 – 8 Restructured, managed and coordinated level 1 of the BA Performing Arts Programme, University of Winchester, to be redelivered as a true unified experience within which modules inform one another across the learning experience.
- 2004-5 Spearheaded the redesign of the Drama and Theatre Arts Degree at Queen Margaret University, including the expansion of level 3 & 4 options to include contemporary performance practice and extended voice.
Module Development:
- 2021-2023 Co-re-developed DR6003 and led the redevelopment of PG7004 to deliver artistic research methodologies within MA and PhD research training modules, respectively.
- 2020-21 Re-developed MA Theatre and Performative Practices modules DR6001 and DR6002 for delivery as part of Queer Year and Performance and Activism themes.
- 2016 Developed and delivered a new method of teaching that brings together critical approaches from gender studies, queer studies, performance studies, and binds them to songwriting, vocal improvisation, voice studies, new technologies, stage practice, live art, and image-fashioning.
- 2015 Developed and delivered advanced seminar ‘Theorising the Voice’, bringing together emerging perspectives from the hard sciences, emerging voice philosophies, cultural/performance studies of the voice, and artistic case studies to explore the relationship between voice quality, ‘identity’, cultural intervention, and aesthetic practices.
- 2012, 2013, 2014 Developed and delivered ground-breaking ‘Extending the Voice’ module for Vocal and Choral Studies students, introducing them to embodied research processes across four conceptual frameworks: cross-cultural practices; theatrically derived practices; musically derived practices; and hyperemotional techniques.
- 2010 Developed curricular content for module ‘Between Speech and Song’, the first vocal studies module of its kind in the United Kingdom, bringing together singing technique, extended voice technique, speech technique and critical engagement with a wide range of voice-pedagogical theories into one learning experience.
- 2010 Redeveloped Research Methods strand for MA Devised Performance to include more focused attention on rigour in practice-led methodological engagements, and more emphasis on the practical application of research methodologies (responding to the student concerns: What makes my work research? And how can research help my practice?)
- 2009, 2010 Developed and extended, subsequent to student feedback, the module ‘Devising and the Performer’, a theory-practice integrated exploration of the ways the ‘self’ can act as source material for compositional strategies, borrowing from musical, theatrical, live/performance art, visual art and installation traditions.
- 2009 With Dr Millie Taylor, expanded the curricular content of Devised Music Theatre specialist module to include emphasis on relationship between voice and cultural studies/performance studies/theoretical frameworks that help students critically engage with their sense of vocal identity.
- 2008, 2009 With Dr Millie Taylor, revised and restructured Honours Project at undergraduate level to re-frame rules, grading structures, criteria and learning outcomes around Honours Project work to ensure fairness, parity and research-led delivery strategies across five different models, ranging from the theoretical to the practical and hybridizations of these.
- 2006, 2007, 2008 Extensively re-developed content of Level 1 Devising; Level 1 Performance & Academic Skills, Level 1 Performance. I designed: a cross-modular delivery strategy, an integrated cross-modular assessment strategy, new theory-practice exercises and links, cross-modular reading strategies and a progressive skills acquisition framework for these.
- 2004-5 Developed ‘Contemporary Performance in Action’ Level 3 & 4 honours specialization for Queen Margaret University and ran first cohort; theory-practice integrated. Re-developed Honours Project structures for Queen Margaret University.
- 2002-4 Re-developed Skills Acquisition strand (with Kat Moraitis) and Performance Theory module for Northumbria University’s BA Performance Programme to create a proper skills development framework.
- 2001-2 Developed and ran ‘Biodynamic Voicework and Bodywork’ group class and individual tutorials for Wesleyan University Music Department, Wesleyan University, USA.2022: (pending, October) (External), Laura Fanouillet, Université Grenoble-Alpes (France), ‘Danse et philosophie vivante: le laboratoire d'un entraînement quotidien,’ [Choreography/dance/artistic research/engineering technologies.]
Research Information
External Collaborators
Name | Organisation / Institute | Country | |
---|---|---|---|
University of Southampton | UNITED KINGDOM |