Director, author, painter and teacher, Kozana Lucca was born in Argentina (Cordoba) in 1940. She died in France (Malérargues) March 30th 2010.
Kozana’s life journey is marked very early on by her taste for travel. She studies cinema and architecture first at Cordoba University and then later in 1967 in Canada. She works both in the film animation and the actor training departments of the National Film Office of Montreal. In Puerto Rico she comes into contact with the Krishnamurti Foundation, and Krishnamurti himself invites her to come to the school he has started in London. It is there that she meets the Roy Hart Theatre in the early 1970’s.
She performs in several Roy Hart Theatre pieces, playing Eurydice under the direction of Kevin Crawford and Linda Wise. In 1974 she moves with the company to Malérargues in France.With ‘De Vive Voix’, directed by Richard Armstrong, the company tours eight Latin American countries over a period of four months. She takes part in performances organised by Unesco. Little by little her interest turns more to writing and education. In the early 80’s she travels every year to Latin America where she starts to train groups of voice teachers (Mexico, Argentina).
She participates in the creation of numerous collectives and work groups: ‘Arbres de Vie’ with her sister Elena Lucca (France – Argentina); ‘Cuerpo Sonoro’ in 1982 (Cordoba, Argentina) ; ‘Magdalena Project’ in 1986 (Wales); ‘Son Voces’ (Mexico); ‘Coeurs à choeurs’ (France). Starting in 1996, she teaches in the University of Tucuman’s Faculty of Art (Argentina), where she creates with other teachers the interdisciplinary institute of investigation into listening and the human voice (IIIEVHu). She collaborates with theatre companies such as ‘Bataclown’ (France), ‘Mar sala’ and ‘La Mixine’ (Spain).
In 2004 she sets off on a world tour – Bali, Canada, Chile, Argentina, South Pole, New Zealand, Australia, Indonesia, Singapore… in the course of which she writes ‘Glyphos: voices traced in the sand’. She publishes numerous articles and books. Her favourite themes are the relationship between voice and colour, and ecology. She directs performances in Western Europe, Scandinavia and the Americas on the theme of ecology. As an artist her environmental sculptures bring her international recognition. She develops ‘Voice underwater’ which she discovers in the course of her own convalescence following a car accident. She publishes articles in a French music therapy revue. ‘Glissand’eau (a pun linking the musical term glissando with the word for water) et voix sous l’eau’ is published after her death in 2011.
Kozana Lucca, right up until the end of her life, overflowed with projects. She had intended to create her own musical performance on the theme of ecology for her 70th birthday celebrations in March 2010…
In February 2010, Kozana Lucca described her teaching thus: “ I approach the voice from an ecological standpoint. Eco is the outside, that which surrounds us. Beginning with acoustic ecology, I consider three dimensions: human ecology, the way in which an individual listens to him or herself, social ecology, the way in which he or she listens to others, and finally environmental ecology, the way in which he or she listens to what surrounds him or her. The individual is not the centre of the world, it’s life which is at the centre of the world . We have to move from egocentricity to ecocentricity”
Madame Chevelure, Ed. Arbres de vie, 1988
Glissand’eau, écoute et voix sous l’eau, Ed. Souffle d’Or, 2011
Conference with Elena and Kozana Lucca on ‘Voice, movement and nature’ ( in Spanish):
Interview of Kozana Lucca by Myriam Andréoletti
‘The way of laughter: between shamans and clowns’
Article by Kozana Lucca The voice is a reflection of the soul that we must know how to use in the arts
Article by Kozana Lucca on stimulation by sound of premature babies
Bring the human into the vibration of the Universe