Revolve Corporeality at Köttinspektionen: Choreo-vocal dialogues

Köttinspektionen May 6-7 : “Choreo-vocal dialogues”

About the whole festival program and tickets, read more here

Festival pass for all performances here (with exception for the workshop with Miyuki Inoue which need a separate ticket).


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Choreo-vocal dialogues

This year’s programme at Köttinspektionen brings attention to the sounding body in the intersection between vocality and choreography. It is interlinked by feminist critique investigating how body and voice intertwine in the formation of one another. The programme brings together artists that investigate different vocal materialities and horizons; through the use of breath, choreography and singing. Curated by Köttinspektionen dans in collaboration with Moa Franzén. Below follows the program at Köttinspektionen. For the full festival program and tickets go to


Miyuki Inoue (JP/NL)
Site-Specific Singing (workshop)

Fredag/Friday 6 maj, 17.00-19.00 Tickets here
Lördag/Saturday 7 maj, 17.00-19.00 Tickets here

Miyuki Inoue has been practicing Site-Specific Singing in various locations, such as a church, tunnel, staircase, playground, and in nature. Utilizing location specific echoes, reverbs and room compositions, and sometimes using found objects, she uses, moves and places voice(s) in relation to her observation of the space. The workshop starts from vocal warm up and then she suggests participants to interact with the Köttinspektionen’s rooms and objects, by use of their own voice. At the end we will make a collective Site-Specific Singing piece.

Cara Tolmie (GB), Em Silén (SE)
Circularly Tender, Lilt Resplendent

Lördag/Saturday 7 maj, 20.00-20.45 Tickets here

The performance plays with a practice of sounding on both the inhale and exhale, vocal imaginaries and self-soothing touch with the aim to displace vocality towards and through parts of the body extraneous to the mouth. As voice builds slowly through acute attention to breath, inclination, pleasure and circulation the practice becomes a multisensory listening exercise for the performers. A space prised open where acute sensitivity and tenderness can be valued as a skill. 

Moa Franzén, Tove Salmgren, Kajsa Wadhia (SE)
When dancing was done with the lungs

Lördag/Saturday 7 maj, 21.00-21.45 Tickets here

When dancing was done with the lungs is a choreography that explores the body’s movements in relation to the voice, where vocal expressions become physical, become dance. Based on breathing as a choreographing method, we move through vocal expressions crossing the social and ideological boundaries of what has been labeled animalistic, hysterical and barbaric. What kind of body appears in the borderland of the human voice? What ethics and affect arise from seeing, listening, interpreting and being close to this body?




Miyuki Inoue (JP/NL) is a visual artist from Matsue in Japan. Her studies include MFA from Master of Voice department of Sandberg Institute and exchange study at Royal Institute of Art, Stockholm. Since 2016 she is based in Amsterdam. She makes performative installations that she is a part of, or performance (which can be without viewers), workshops, sound/voice-related work, sculpture and drawing. She is intrigued by ever-changing process-based expressions. So, site-specific and participatory aspects are important in the work. Voice is one of the media she works with often. She likes to sing in mountains, concrete buildings, tunnels and such with different audio characters. In her work she tries to unlearn vocal habits that we learn from society and amplify the voice in different ways. Exploring in nature/city, finding objects/environments that produce different acoustic features and meeting with vocal practitioners are important stimuli for her practice.

Cara Tolmie (GB) works from within the intersections of performance-making, experimental music and the moving image. Her works have been performed and exhibited widely at art galleries, music festivals, biennials, conferences and in the public space both as solo presentations and collaborative projects. The practice at large centres itself upon the voice, the body and the complex ties between the two. All at once subjective as well as socially determined, she explores voice and body as two codependent entities able to confirm as well as contradict one another. Within this there is keen attention paid to the role of listening, both as a practice witnessed by the onlooker and a relationship between the performer and audience member. Cara is currently a doctoral candidate in Critical Sonic Practice at Konstfack, University of Arts, Crafts and Design in Stockholm, conducting artistic research project Listening to the Displaced Vocal Body. This research looks to performative, vocal and choreographic methods that seek to disturb the continuity between a voice and the body which produces that voice.

Em Silén (SE) is an elusive musician and performer, characterised by her restless experimentality. With a practice varied in style and expression, she deep dives into emotional states and carves them out. In addition to her solo project, rip ME, Em is also a happy collaborator to be found around many of the strange and obscure settings for music-related expressions. Ems work also incorporates poetic and essayic writing.

Moa Franzén (SE) is an artist, writer and choreographer. Her practice also includes the roles of editor, dramaturge, pedagogue and curator. Franzén holds a MFA in New Performative Practices from Stockholm University of Arts. Franzén’s practice encircles choreography and writing as interrelated practices, with a special interest in voice as performative material and expression. Her performance pieces has been shown at MDT, Fylkingen, Uppsala Konstmuseum, Marabouparken, Weld, Köttinspektionen Dans among many others. In recent years she has collaborated with Tove Salmgren and Kajsa Wadhia as a performance trio, and with artist Cara Tolmie. 

Kajsa Wadhia (SE) works as an artist, curator and teacher in the fields of performance and choreography. She works with Maria Stiernborg as the performance duo The Disengaged Free Jazz Orchestra, currently exploring magic spells, speculative fiction and material ecocriticism in the project Spells and Compost. She also collaborates with Tove Salmgren and Moa Franzén in a trio exploring choreo-vocal methods and materials together. In 2019 she initiated “Spekulativa Juntan with Maria Stiernborg, Mariana Suikkanen Gomes and Anna Kinbom, an artistrun initiative combining reading circles of specualtive feminism with collective craft. Since 2016 she co-directs Köttinspektionen dans together with Tove Salmgren. Between 2007-2014 she was a member and artistic director of the feminist performing arts collective Arena Baubo.

Tove Salmgren (SE) works as an artist, choreographer, curator and educator, and has an MFA in choreography from New Performative Practices, Stockholm University of the Arts, 2015. As a choreographer and curator, she is interested in aesthetic experiments that challenge boundaries and understanding of what art is and can do. She seeks alternative narratives and acts of resistance through dialogue with her context: the relationships, materials, ideas, practices and forms that she encounters in the role of host or guest. Tove works with solo formats and artistic collaborations, such as through the performance trio (with Moa Franzén and Kajsa Wadhia) presented at Revolve Corporeality 2022, where the group explores the voice as choreographic materiality and politics through curatorial and publishing strategies as well as in the performance piece “When dancing was done with the lungs”(2022). Since 2016, she curates and directs Köttinspektionen dans together with Kajsa Wadhia.  Tove is employed as a Lecturer of Choreography in Performative Practices at Stockholm University of the Arts.