The article examines voice and voicing in translation processes in music, using on the one hand the example of Miriam Makeba, and on the other hand, features of African choir, in order to develop a broader argument about the musical and political significance of the multivalence of voice. The article begins with a re-valuation of some of the contributions of Miriam Makeba and their relevance to contemporary concerns of the twenty-first century, specifically to societies such as South Africa. It reflects on some of the salient revelations in her autobiography as well as on her music, her style and her politics. I argue that Makeba deployed voice as a sophisticated vehicle of translation with a vision of multivalent and plural futures. In the final section of the article, I reflect on my own artistic involvements and experiments using choir, both in translating African choral traditions to contemporary European performance contexts, as well as in the African repurposing of Western choral elements. My interest in voice and embodied translation is not merely technical, but reflects a political concern and vision, which at its core, strives towards a recalibration and reconstitution of concepts of Africanity, not as rigid and exclusionary, but rather as multi-valent and pluriversal.

中文翻译：

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表达流畅的声音：对 Miriam Makeba 艺术和生活中声音多元性的反思

这篇文章考察了音乐翻译过程中的声音和发声，一方面使用 Miriam Makeba 的例子，另一方面使用非洲合唱团的特征，以便就多元性的音乐和政治意义展开更广泛的论证。的声音。文章首先重新评估了 Miriam Makeba 的一些贡献及其与 21 世纪当代关注点的相关性，特别是与南非等社会的相关性。它反映了她自传以及她的音乐、风格和政治中的一些显着启示。我认为 Makeba 将语音部署为一种复杂的翻译工具，具有多价和多元化的未来愿景。在文章的最后一部分，我反思了我自己的艺术参与和使用合唱团的实验，将非洲合唱传统转化为当代欧洲表演环境，以及非洲对西方合唱元素的重新利用。我对声音和具身翻译的兴趣不仅是技术性的，而且反映了一种政治关注和愿景，其核心是努力重新校准和重构非洲概念，而不是僵化和排他性，而是多价和多元化.