Artist – Fatima Miranda

Fátima Miranda

After completing her M.A. in Art History, she specialized in Contemporary Art, publishing two books on architecture and urbanism. Between 1982-89, she directed the music library of the Madrid Complutense University. Following her encounter with Llorenç Barber, she founded  in the eighties the improvisational group Taller de Música Mundana, as well as Flatus Vocis Trío, dedicated to phonetic poetry. She soon discovered the unexpected and precious potential of her voice, developing a series of unique and personal vocal techniques.
She pursued studies with Japanese singer Yumi Nara, Mongol singing with Tran Quang Haï, Indian Dhrupad with various members of the eminent Dagar family, and bel canto, bringing all these diverse techniques traditionally considered incompatible into a rich, unprejudiced partnership with the avant-garde, which crystallized in her first solo concert-performance, in 1991.
In 1996, she was awarded the prestigious DAAD grant, being invited by the Berliner Künstlerprogramm des Deutscher Akademischer Austauschdienst, as artist in residence in the city of Berlin. In  2009 she was awarded IV Premio Intenazionale Demetrio Stratos. En 2009 and II Premio  Cura Castillejo a la Propuesta Musical mas desaforada. In 2012 she was awarded the Women Artists Video Art First Prize in the VII International Art and Gender Seville Encounters.
From the nineties she has created concerts-performances for solo voice: Las Voces de la Voz (1991), Concierto en Canto (1995), ArteSonado (2000), each of them edited on CD. In 2005 she has created Cantos Robados and in 2011 perVERSIONES, both edited on DVD.
Fátima Miranda has collaborated among others with Llorenç Barber, Robert Ashley, Wolf Vostell, Jean-Claude Eloy, Julio Estrada, Bartolomé Ferrando, Pedro Elías, Stefano Scodanibbio, Bertl Mutter, Rachid Koraichi, John Rose, Hans Peter Kuhn, Stéphane Abboud, Werner Durand, Mirella Weingarten and Sacha Waltz.
She has performed as a soloist in numerous international festivals within contemporary, vocal and experimental music circuits as well as those of theatre, sound poetry and performance art. For further information see