200:, California." This multimedia material gathered can be considered an experimental film that Escobar directed in Mono Lake under great duress, the Covid-19 pandemic and the fires that raged throughout California during the summer of 2021. But the locale of Mono Lake, which has been "relentlessly whittled into its current state of environmental calamity by humans," was used to explore one of Escobar's artistic and philosophical interests, the "concept of darkness, of the shadow, of inhabiting shadows and casting shadows." For
369:, "A radical pedagogy of the voice investigates not only the physical mechanics of its production, but also its ancestral trace. In our pedagogy, Micaela and I seek to understand the voice's multiple possibilities by facilitating a space for its discovery and investigation. A radical pedagogy of the voice is also a tool to understand our world, to have agency in it, to express ourselves through art."
352:"I cannot adequately convey the things that came out of Escobar Alba's mouth—but they were tensile and tough, and became a vibrato that pushed not only through her lips but from her fingertips as well, which were often extended outward in mimicry of birdlike flight. This was whole-body singing, bringing the volume-enhancing acoustics of the church to heel as a massive amplifier."
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Howl Space, "a community-based learning resource that reframes vocal pedagogy through holistic, process-based approaches to discover the multi-faceted possibilities of the voice and unveil the creative process." Howl Space is nestled in teaching about the voice's capacities through radical pedagogy, as
Escobar told
360:
Escobar has trained students in vocal techniques within the
California Institute of the Arts and beyond. Additionally, she has conducted workshops across the globe on voice, body resonance, and site-specific performance. With Micaela Tobin, Escobar is one of the founders and workshop facilitators of
377:
With
Madeline Falcone, Escobar is the co-founder and co-director of Boss Witch Productions, "an artistic production company focused on the intersection of experimental sound art, ritual performance, video art, and transmedia collaboration with natural landscapes and unusual performance sites." Some
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in Mexico City where she was trained through the classical canon, "but her soul and voice--she was labeled a soprano and mezzo-soprano--felt constricted by what she called music 'that's mostly male, mostly
European.'" These constrictions led her to explore other possibilities of the voice, extended
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music theory known as Sonido 13. Their first performance of the piece took place on July 4, 2013 in Mexico City. LIMINAR's United States' performance of this landmark piece, along with other
Carrillo and Carrillo inspired compositions, took place in Los Angeles's REDCAT on December 11–12, 2015. Of
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that "Escobar's voice amassed every possible emotion in her live performance. Between screams, gasps, wails and glottal noise, Escobar stood like a terrifying statue on stage...Symbolizing the raw terror that lays beneath the surface, sometimes in the moment and out in the open. Carmina
Escobar's
204:
Escobar brought back two key collaborators, Jerónimo
Naranjo who constructed a series of instruments, including a large-scale drum that stands as proxy for the sun, and Dorian Wood who is a central character in the piece, both the film and live version, alongside other past and new collaborating
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Escobar has gained national and international recognition for her vocal, scenic, electronic music, and filmic work. In addition to performing in different festivals around the country and the world, Escobar has performed throughout Mexico, the United States, Cuba, and Puerto Rico, among other
185:, the Oaxacan youth brass band Maqueos Music, Oguri, Roxanne Steinberg—activated the installation of the Piano Suspendido that hovered 6 feet above Los Angeles' REDCAT's stage floor and created a surrealist sonic and visual journey into the entrails of the installation for the spectators.
261:, "opera as astonishment," which premiered in The Los Angeles State Historic Park in February 2020. Chacon was part of the creative team, he was one of the composers, and Escobar played the role of one of the Coyotes, where she donned a costume designed and manufactured by
57:
techniques being a prominent one, and to seek additional training from artists living in Mexico City such as Hebe Rosell and Juan Pablo Villa. In the United States and in other locales, Escobar continued her vocal experimentation techniques with additional training with
192:, a Boss Witch Production, premiered in 2021 also in REDCAT and it consisted of a immersive installation and film projection alongside live performance by an ensemble of artists from different disciplines: music, voice, dance. As described on the REDCAT's website,
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and in collaboration
Mexican instrument maker and musician Jerónimo Naranjo who known for his Piano Suspendido (Suspended Piano). Escobar and her collaborators, which consisted of musicians, instrumentalists, and dancers—among them Naranjo,
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Yxta Maya Murray has said that
Escobar "mesmerized a crowd of onlookers with a series of esoteric songs" as she was "accompanied by the 40-member Oaxacan youth brass band Maqueos Music, conducted by Yulissa Maqueos" and the Japanese
319:(Song for Everyone), a 12-hour performance installation that is composed of three parts, two live movements (I and III), and one long ten-hour immersive sound and visual installation (II). Escobar's contributions to
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Escobar has been awarded several grants and residencies including the
Performer's Grant by the National Endowment of the Arts in Mexico twice, the 2014 NFA Master Artist Grant, the MacDowell residency in 2018, the
333:
is another one of Escobar's collaborators, and together, along with other artists at times, they have performed in underground and in off-the fringes venues. But noteworthy is Escobar's participation in Athey's
89:, which Fernando Vigueras has described as "a sort of exercise that analyses and reflects upon the body, understanding it as a space that reveals, measures and recognizes itself throughout its resonance."
169:
Escobar's performance Mark Swed wrote: "the greatest novelty is heard in a soprano part that could be the soundtrack for a séance and was sung with startling expressivity and purity by Carmina Escobar."
97:, gained attention through its role in a large scale collaborative project in 2013 through the Getty Foundation's funded Pacific Standard Time Presents: Modern Architecture in L.A. and in tangent with
421:
praised Escobar by writing the following: "In the very few times that non-diegetic music is heard throughout the picture, composer Carmina Escobar creates a strikingly eerie mood akin to the
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276:, was her vocal improvisation, along with the other Coyote (Micaela Tobin) and the Wiindigo (Sharon Kim) over Chacon's electronic soundtrack in the section entitled "Crossroads."
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was conceived less of a spectacle to be taken in by the "onlookers" and more as a series of ritualized movements throughout the space where the audience became participants.
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to be part of her pieces, Wood has also included Escobar among one of her most consistent collaborators. During Wood's homage to the late Costa Rican, nationalized Mexican
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196:"is a performative hypertextural scenic work by Carmina Escobar that is staged, makes communion with, and gathers multimedia material at the natural landscape of
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has written that Escobar "can make her voice sound like insects dancing on dry leaves or a rocket ship dying in space." She is on the VoiceArts faculty of the
293:, the multimedia Los Angeles-based artist invited Escobar to improvise with her during the performance of the song medley "Diablo y Patriótica" at the
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where she teaches on "voice technique, experimental voice workshops, contemporary vocal music, and interdisciplinary projects regarding the voice".
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and organized by REDCAT. While the first iteration lasted all day, from dawn to dusk and moved, the second took place during one afternoon. Of
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locations. Until the organization and community events space went defunct in 2018, her work was shown regularly with the Los Angeles based
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wrote that Escobar's work in the film is "essential," an "ethereal score" that "taps into the beauty at hand." While Matt Fagerholm for
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on May 20, 2017, which was later re-staged as part of Pacific Standard Time Festival: Live Art LA/LA on January 13, 2018, funded by the
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Escobar is the co-founder and was a long-term vocalist of LIMINAR, a contemporary music ensemble based in Mexico City. As noted by
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called it, "a performance that felt a little bit like a stirring rite that transforms into an impromptu neighborhood party."
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22:(born 1981) is an experimental vocalist, improviser, performance artist, multimedia artist, composer, and educator from
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433:," particularly the whispering vocalists who accompany María's discreet visit to the factory of her American rivals."
408:(2022). The film has received a wide assortment of critical accolades, some which include its score. Sheri Linden for
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343:
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Another piece initially produced by Machine Project was Escobar's large-scale site-specific performance spectacle
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and they toured in cities across Spain in 2022. The live performance was recorded in Teatro Jovellanos in Gijón.
82:. Some of Escobar's most recent work in Los Angeles has been produced by her production company, Boss Witch.
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1013:"Review: Experimental vocalist Carmina Escobar led an ethereal performance while floating on Echo Park Lake"
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583:"Voices of the City: Experimental vocalist Carmina Escobar uses her voice to explore herself and others"
504:"Voices of the City: Experimental vocalist Carmina Escobar uses her voice to explore herself and others"
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1442:"Review: 'Sweet Land' astonishes. Opera in an L.A. park examines what it means to be American"
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936:"What's that shower being wheeled around the city? It's the PST festival for performance art"
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69:. She is a graduate of the MFA program in VoiceArts at the California Institute of the Arts.
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1272:"Newsletter: How a performance about California's environment was shaped by water and fire"
308:. Wood invited Escobar to be a collaborator and a co-performer of the piece, simply titled
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The Diné composer and multimedia artist created a score specifically with Escobar in mind,
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in Music/Sound in 2020, the National Performance Network Creation Fund Award in 2020, the
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premiered on January 25, 2018 at Saint Vibiana, a deconsecrated cathedral in Los Angeles.
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Wood's homage to Vargas was commissioned by the Festival Internacional de Arte Sacro in
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were on display. Of the Whitney Biennial performance Jennifer Pyron wrote for the
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1171:"Review: Liminar makes Mexico's Carrillo look like the next great rediscovery"
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1067:"Review Liminar makes Mexico's Carrillo look like the next great rediscovery"
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1145:"Liminar Performs Works by Modernist Composer Julián Carrillo at REDCAT"
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Escobar has collaborated with several artists. Notably she worked with
484:, co-edited with Madison Heying and Laura Steenberge (Indexical, 2020)
349:, art critic and scholar Andy Campbell wrote of Escobar's performance:
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Escobar, Carmina; Heying, Madison; Steenberge, Laura (3 June 2020).
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1246:"Carmina Escobar: Bajo la sombra del sol (Under the Sun's Shadow)"
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Escobar is also widely known for her body resonance work known as
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of the projects that Boss Witch Productions has produced include
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which she has performed on several occasions, including at the
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Escobar studied music in the Escuela Superior de Música of the
1802:"Estamos Trio - People's Historia (Relative Pitch, 2013) ****"
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910:"13 Performances Reimagine Mexican Rituals on Echo Park Lake"
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Carmina Escobar worked as the original music composer for
137:. Inspired by traditional processional events in Mexico,
1373:"Whitney Biennial Picks 63 Artists to Take Stock of Now"
961:"Fiesta Perpetua! A Communitas Ritual of Manifestation"
633:"Strange Birds with Carmina Escobar and Ute Wassermann"
834:"The Machine Project Field Guide to L.A. Architecture"
156:
Escobar was instrumental in LIMINAR's performance of
1123:. Oxford: Oxford University Press. pp. 279–81.
708:"The Voices From Within: A creative vocal workshop"
1671:"National Association of Latino Arts and Cultures"
1347:"For Zitkála-Šá - Carmina Escobar by Raven Chacon"
1196:"Carmina Escobar Premieres Pura Entraña at REDCAT"
172:In 2018 Escobar premiered her performance piece,
683:"TENSIONS with Carmina Escobar and Theresa Wong"
16:Mexican-American musician and artist (born 1981)
1751:"Announcing the Fall 2020 Creation Fund Awards"
315:Most recently, Escobar has performed in Wood's
190:Bajo la sombra del sol / Under the Sun's Shadow
1851:Grella, George; Cohan, Brad (December 2019).
164:, which is said to best exemplify Carrillo's
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265:, who also served as co-director, alongside
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154:In Search of Julián Carrillo and Sonido 13,
1121:In Search of Julián Carrillo and Sonido 13
478:, with Estamos Trio (Relative Pitch, 2020)
1011:Miranda, Carolina A. (January 31, 2018).
1956:California Institute of the Arts faculty
1492:Murray, Yxta Maya (November 10, 2020).
1371:Mitter, Siddhartha (January 25, 2022).
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985:Murray, Yxta Maya (January 17, 2018).
809:"Massagem Sonora with Carmina Escobar"
1644:Fagerholm, Matt (September 9, 2022).
581:Fleishman, Jeffrey (March 29, 2018).
502:Fleishman, Jeffrey (March 29, 2018).
7:
1800:Schray, Martin (13 September 2013).
1397:Pyron, Jennifer (August 2, 2022). .
987:"Carmina Escobar's Fiesta Perpetua!"
934:Vankin, Deborah (January 11, 2018).
176:, developed during her residency at
112:A Communitas Ritual of Manifestation
1466:Campbell, Andy (January 30, 2018).
1095:"5.5 QUESTIONS FOR CARMINA ESCOBAR"
784:"Carmina Escobar's Massagem Sonora"
272:Among her notable contributions to
448:Bemis Center for Contemporary Arts
245:Escobar and Chacon both worked in
54:Instituto Nacional de Bellas Artes
14:
255:, described by Mark Swed for the
1879:Feast of Beams, Keepers of Light
1755:The National Performance Network
1705:Foundation for Contemporary Arts
1297:"Bajo la sombra del sol Trailer"
1169:Swed, Mark (December 13, 2015).
908:Stromberg, Matt (May 17, 2017).
482:Feast of Beams, Keepers of Light
444:Foundation for Contemporary Arts
42:California Institute of the Arts
1620:"'Dos Estaciones': Film Review"
733:"The Cave with Carmina Escobar"
323:are part of the third movement.
1494:"Reconnoiter: Carmina Escobar"
1322:"Raven Chacon: For Zitkála-Šá"
102:Field Guide to LA Architecture
1:
1618:Sheri, Linden (May 4, 2022).
386:(2021-2022), CalArts Gala at
345:In a review of the piece for
34:. Jeffrey Fleishman from the
1440:Swed, Mark (March 1, 2020).
281:Just as Escobar has invited
242:performance was legendary."
1971:Mexican performance artists
1853:"Highly Selective Listings"
1221:"Pura entraña long trailer"
454:Recordings and publications
1987:
1881:. Indexical Incorporated.
1119:Madrid, Alejandro (2015).
1646:"Reviews: Dos Estaciones"
1951:Singers from Mexico City
1726:"Bemis Center Residents"
1594:"Dos Estaciones trailer"
608:"(Ana)temA with FILERA"
329:The performance artist
297:in Los Angeles in 2019.
174:Pura Entraña / Pure Gut
26:who lives and works in
1961:Experimental musicians
1921:Boss Witch Productions
1548:Boss Witch Productions
1523:Boss Witch Productions
1041:"Iris Carmina Escobar"
529:"Iris Carmina Escobar"
437:Grants and residencies
402:'s award-winning film
394:Film music composition
390:(2022), among others.
380:Bajo la sombra del sol
217:on a series of scores
202:Bajo la sombra del sol
194:Bajo la sombra del sol
1941:Mexican women singers
1624:hollywoodreporter.com
1544:"Boss Witch Projects"
1446:The Los Angeles Times
1045:directory.calarts.edu
888:Pacific Standard Time
462:, with Estamos Trio (
431:2001: A Space Odyssey
231:2022 Whitney Biennial
1806:Free Jazz Collective
782:Vigueras, Fernando.
472:(A Wave Press, 2017)
365:in an interview for
263:Cannupa Hanska Luger
223:For Carmina Escobar,
1776:"MacDowell Artists"
1270:Miranda, Carolina.
450:residency in 2021.
400:Juan Pablo González
340:Gifts of the Spirit
336:Gifts of the Spirit
143:Carolina A. Miranda
99:The Machine Project
1498:Artillery Magazine
1377:The New York Times
1149:CalArts Blog 24700
838:machineproject.com
813:machineproject.com
737:machineproject.com
712:machineproject.com
687:machineproject.com
637:machineproject.com
414:Hollywood Reporter
367:Artillery Magazine
291:Xavela Lux Aeterna
1780:MacDowell Artists
1276:Los Angeles Times
1175:Los Angeles Times
1072:Los Angeles Times
1017:Los Angeles Times
940:Los Angeles Times
758:"Machine Project"
662:machinproject.com
612:machinproject.com
587:Los Angeles Times
508:Los Angeles Times
460:People's Historia
258:Los Angeles Times
188:Another project,
124:Fiesta Perpetual!
114:in Los Angeles's
37:Los Angeles Times
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158:Julián Carrillo
91:Massagem Sonora
87:Massagem Sonora
80:Machine Project
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