A feminist phenomenological analysis of voice, rooted in both the feminist understanding of the role of voice in identity, agency, and the creation of meaning, and the phenomenological thematization and theorization of phenomenal, lived experience, leads to a deeper understanding of the importance of the materiality of the voices with which we speak, and their role in both subjective and intersubjective experience. Starting from an analysis of the intertwined associations and imageries of the feminine, voice, and embodiment, I discuss the (...) denaturalization and abstraction of voice in standard narratives of voice and voice metaphorization, and the corresponding forgetting of the living, bodily voice. In looking to recall a re-naturalized and immanent corporeality and retrieve the material voice through an account of embodied vocality, I consider examples of the power and immediacy of the corporeal voice in the female operatic voice, and in contrast, the compromised agency and attenuated (inter)subjectivity which attends the impaired or lost physical voice. These vocal counterpoints of presence and absence are often separated by corporeal disturbance or limitation, underscoring the importance of corporeality and the material voice as intermediary between the individual and the social world. This sets the contours of a phenomenology of embodied voice and vocality, holding implications for accounts of identity and intersubjectivity, gendered vocality and expressive agency, and an intercorporeality mediated by the living material voice. (shrink)

Although democratic theorists often employ musical metaphors to describe their politics, musical practices are seldom analyzed as forms of political communication. In this article, I explore how the music of social movements, what is called “movement music,” supplements deliberative democrats' concept of public discourse as rational argument. Invoking energies, motions, and voices beyond established identities and institutions anticipates a different, more musical democracy. I argue that the “women's music” of Holly Near, founder of Redwood Records and Redwood Cultural Work, exemplifies (...) this transformative power of musical sound. (shrink)