This book provides the first extensive analysis of what sound and audio brings to participatory interdisciplinary arts-led research and practice, representing a vital resource for community arts, performance practice, and research in the digital age.
This book provides the first extensive analysis of what sound and audio brings to participatory interdisciplinary arts-led research and practice, representing a vital resource for community arts, performance practice, and research in the digital age.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
Produktdetails
Routledge Advances in Theatre & Performance Studies
Sarah Woodland is a researcher, practitioner, and educator in applied theatre and participatory arts, with a particular focus on engaging with communities and groups from diverse social and cultural backgrounds, and those with experience of the criminal justice system. She is Dean's Research Fellow at the Faculty of Fine Arts and Music, University of Melbourne, Australia. Wolfgang Vachon has been creating with and supporting children and youth through theatre and other arts practices for three decades. His work has primarily been with people who are street involved, homeless, 2SLGBTQ+, survivors of trauma, and those living in state care. Wolfgang teaches Child and Youth Care at Humber College in Toronto, Canada.
Inhaltsangabe
List of Figures List of Contributors Introduction: Distilling an Interdisciplinary Approach Sarah Woodland and Wolfgang Vachon PART 1 First Knowledges First Introduction 1. Bu'ra'nga'man Dadirri Yimbilli: Echoes of Listening to Country Bianca Beetson, Vicki Saunders, Sarah Woodland, and Leah Barclay PART 2 Sonic Knowing: Meaning and Resonance Introduction 2. Audio drama inquiry: A telling method of research Wolfgang Vachon 3. What does a cellphilm (cellphone + film production + intention) sound like? The ethics and aesthetics of cellphilm method Casey Burkholder and Katie MacEntee 4. Composing place: Creating participatory sound portraits and compilations Maureen Flint, Morgan Shiver and Ryanne Whyte 5. The radio play as restorative justice education: A creative collaboration between a grassroots organisation and artists Tanyss Knowles and Frank J. Tester PART 3 Sonic Assembly: Building Communities and Publics Introduction 6. More-than-social listening: Undercover engagements and undoing auditory norms Jill Halstead and Brandon LaBelle 7. Reinscribing the noise: New media walk technologies and the politics of community engagement Christos Carras and Eric Lewis 8. Hyper-listening and co-listening: Reflections on sound, selfhood, and solidarity Budhaditya Chattopadhyay 9. I make noise therefore I am: Aesthetics of sonic experimentation in participatory art and culture Vadim Keylin PART 4 Sonic Disruptions: Creating Auditory Counter-Narratives Introduction 10. Sound travels faster over water: Sonically re-designing institutional aural architecture with The Verbatim Formula Maggie Inchley and Sylvan Baker 11. Yellow Couch Convos Podcast series: Navigating identity politics through collective voices and counternarratives Rosemary (Rosa) Cisneros 12. Many Worlds in One Place: Composition as a Site of Encounter Toby Young 13. Odyssey on the airwaves: A journey from HMP to hope Gary Anderson and Niamh Malone PART 5 Sonic Resistance: Soundscapes of Protest and Activism Introduction 14. Engaging communities in listening to ecosystems: Case studies from acoustic ecology research in Australia and Mexico Leah Barclay 15. Aural counterpublic resistance: Noise, silence, and acoustical agency in protest tactics Nimalan Yoganathan 16. Street hassle: Noise, art, and activism Mitchell Akiyama, in conversation with Don't Rhine and Syrus Marcus Ware Concluding Acknowledgement Index
List of Figures List of Contributors Introduction: Distilling an Interdisciplinary Approach Sarah Woodland and Wolfgang Vachon PART 1 First Knowledges First Introduction 1. Bu'ra'nga'man Dadirri Yimbilli: Echoes of Listening to Country Bianca Beetson, Vicki Saunders, Sarah Woodland, and Leah Barclay PART 2 Sonic Knowing: Meaning and Resonance Introduction 2. Audio drama inquiry: A telling method of research Wolfgang Vachon 3. What does a cellphilm (cellphone + film production + intention) sound like? The ethics and aesthetics of cellphilm method Casey Burkholder and Katie MacEntee 4. Composing place: Creating participatory sound portraits and compilations Maureen Flint, Morgan Shiver and Ryanne Whyte 5. The radio play as restorative justice education: A creative collaboration between a grassroots organisation and artists Tanyss Knowles and Frank J. Tester PART 3 Sonic Assembly: Building Communities and Publics Introduction 6. More-than-social listening: Undercover engagements and undoing auditory norms Jill Halstead and Brandon LaBelle 7. Reinscribing the noise: New media walk technologies and the politics of community engagement Christos Carras and Eric Lewis 8. Hyper-listening and co-listening: Reflections on sound, selfhood, and solidarity Budhaditya Chattopadhyay 9. I make noise therefore I am: Aesthetics of sonic experimentation in participatory art and culture Vadim Keylin PART 4 Sonic Disruptions: Creating Auditory Counter-Narratives Introduction 10. Sound travels faster over water: Sonically re-designing institutional aural architecture with The Verbatim Formula Maggie Inchley and Sylvan Baker 11. Yellow Couch Convos Podcast series: Navigating identity politics through collective voices and counternarratives Rosemary (Rosa) Cisneros 12. Many Worlds in One Place: Composition as a Site of Encounter Toby Young 13. Odyssey on the airwaves: A journey from HMP to hope Gary Anderson and Niamh Malone PART 5 Sonic Resistance: Soundscapes of Protest and Activism Introduction 14. Engaging communities in listening to ecosystems: Case studies from acoustic ecology research in Australia and Mexico Leah Barclay 15. Aural counterpublic resistance: Noise, silence, and acoustical agency in protest tactics Nimalan Yoganathan 16. Street hassle: Noise, art, and activism Mitchell Akiyama, in conversation with Don't Rhine and Syrus Marcus Ware Concluding Acknowledgement Index
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