Julia Úlehla

Julia Úlehla (* Knoxville, USA) is a transdisciplinary performer, singer, improviser and scientist living on the Musqueam territories, a Canadian First Nation region around Vancouver. “Julia Úlehla´s artistic practice is also a type of resistance, resistance against forgetting, resistance to the museumization of traditions, but also resistance to the appropriation of folk rituals and songs for nationalist purposes. ‘I sometimes get really tired of the baggage of nationalist folk song’, Julia elaborates. (…)“
“A song cannot live between the yellowed pages of a book (…). In Julia Úlehla’s performance, her grandfather Vladimír’s notes create a world of their own, and yes, also a new one, in which ritual songs meet jazz and post-rock, traditions meet experimental music.”
Since 2013, Úlehla has been the singer and bandleader of the avant-folk ensemble Dálava. Dálava explores singing as a living thing, drawing on an ancient singing tradition that has been passed down through generations of Julia’s family.
Dálava will release its third studio album, tentatively titled ‘Understories’, in 2024. Other upcoming projects include the world premiere of ‘The Tempest Project’ with Music on Main, Mermaid Spring with ‘The Only Animal’ and a Julius Eastman program at the Modulus Festival.
Úlehla holds a PhD in Ethnomusicology from the University of British Columbia, a Master of Music in Vocal Performance and Literature from the Eastman School of Music, and a BA in Music (Vocal Performance) from Stanford University. From 2002 to 2008 Julia performed as a lyric mezzo-soprano in operas, and from 2008 to 2011 she was a member of Jerzy Grotowski and Thomas Richards’ renowned laboratory theatre Workcenter in Pontedera, Italy. She is currently completing a postdoctoral fellowship in Cultural Studies at Queens University. In her research and creative project she develops methods for voice, movement, text, image, theatre and installation in a community of collaborative artists.
In addition to her work as a performer, Úlehla has accepted a position as Artistic Associate with the Music on Main society, where she will work to develop a platform for local First Nations’ (Musqueam, Squamish and Tsleil-Waututh) musicians.
Julie Úlehla:
“I’ve heard nothing but wonderful things about the last iteration of the Monheim Prequel and Festival. Everyone mentions the beautiful atmosphere created by the open, collaborative spirit of the invited musicians, and the curious, enthusiastic support of the audiences and producers. I’m really looking forward to having the time and space to meet the other artists during the Prequel, and see what meaningful connections emerge between us. It feels really nice to be hosted in this way that allows relationships to develop slowly.”
All Appearances of Julia Úlehla
European premiere
Julia Úlehla: vocals
Aram Bajakian: guitar
Josh Zubot: violin
Peggy Lee: cello
Úlehla continues to research the Moravian-Slovak singing tradition of her family as a kind of auto-ethnography. Her musical project Dálava, a continuation of Slovácko’s singing traditions - but also an independent development - grew out of her engagement with the ‘living songs’ researched by her great-grandfather. The result of this emotional and musical process will be released in April 2025 under the name ‘Understories’ as an album on the New York label Pi Recordings - and forms the basis for Úlava’s performance.
Julia Úlehla sees the ensemble’s new compositions as a renewal, a new life, a new phase in her creative journey. It’s no longer about mere reproduction, but about letting go and following the direction that emerges from the music itself. “It feels like a step away from the rationality of academia and research, towards a kind of wisdom that comes from intuition. Perhaps something that feels more feminine,” Úlehla explains. Her identities as an artist, mother, descendant of a long line of traditional singers, and scholar all influence each other – and this dissolution of arbitrary boundaries is one of the driving forces behind the new freedom in her work.
Excerpt from the Monheim Papers, 2025, Aida Baghernejad
