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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.
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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
