DOI: https://doi.org/10.59350/4ng4j-njp62

In both sound studies and the sonic arts, the concept of “resonance” has increasingly played a central role in attuning listeners to the politics of sound. The term itself is borrowed from acoustics, where resonance simply refers to the transfer of energy between two neighboring objects. For example, plucking a note on one guitar string will cause the other strings to vibrate at a similar frequency. When someone or something makes a sound, everything in the immediate environs—objects, people, the room itself—will respond with sympathetic vibrations. Simply put, in acoustics, resonance describes a sonic connection between sounding objects and their environment. In the arts, the concept of resonance emphasizes the situated existence of sound as a transformative encounter between bodies in a particular time and place. Resonance has become a key term to think through how sound creates a listening community, a transitory assemblage whose reverberations may be felt beyond a single moment of encounter. 

For its recent performance series, simply called Resonance, the Museum of Contemporary Art Chicago drew on this generative concept by bringing together four artists who explore sound as an “introspective force for greater understanding, compassion, and change.” Curated by Tara Aisha Willis and Laura Paige Kyber, the series builds on theories of resonance as an affective relationship between sounding bodies developed by writers and artists like Sonia Louis Davis, Karen Christopher, and Birgit Abels. Crucially, the curators cite composer Juliana Hodkinson’s definition of resonance as an action occurring “when the space between subject and object starts to be reduced, without them fusing into one.” Sound has the capacity for creating a moment of connection, but resonance doesn’t efface difference. As Willis notes in the series program, the artists in the series largely identify as women of color, occupying a position “where distinction and difference are most ingrained in lived experience, and where practice of creating resonance across them are most honed.”

Although the artists in the series, Anita Martine Whitehead, Samita Sinha, Laura Ortman, and 7NMS, are at least partially working within musical traditions, the curators’ framing of the series in terms of sound rather than music speaks to a broader aural turn that has animated both sonic art and scholarship. The essential conceptual move underlying the growth of sound art in the museum and sound studies in the academy is the identification of sound as a medium of expression not fully contained by the history of music. Abstracting from the realm of music to the broader terrain of sound allows these artists to reconsider the materiality of sound and practices of listening—in short, to explore the resonant relations between bodies coexisting in time and space. Yet these pieces do not search for an ahistorical sonic ontology, but instead use sound as a situated tool to forge new social realities in the present. As the artist Samita Sinha puts it, her piece “offers technologies of listening and being together.” Thinking of listening in terms of resonance, we can hear these works as technologies of communal listening.

The series kicked off with the world premiere of Anna Martine Whitehead’s FORCE! an opera in three acts. I attended the evening of March 28, the first of three scheduled performances. Each performance in the series began at 7:30pm at the MCA’s Edlis Neeson Theater. The experimental musical work is an oneiric meditation on the US carceral state centered on the experience of trio of Black femmes passing time in a prison waiting room, ruminating on their dreams, living with state violence, and the unceasing passage of time. Choreographed and co-written by Whitehead, this particular performance of FORCE began with the audience congregated outside the museum’s Edlis Neeson Theater in the transitional space of the lobby, appropriately waiting for the show to start. The opera’s first act took in this space, as a group of performers entered and sat on the grand spiral stairs of the MCA, patiently biding their time. After a few minutes, a mass of four dancers joined them, slowly making their way down the long lobby corridor towards the group on the stairs; their bodies rhythmically moved as one, limbs interlinked and breathing heavy as if burdened by an invisible weight.

The choreography of FORCE continued this motif, as weary bodies became enmeshed, leaning and relying on each other for support. When this phalanx reached the stairwell and laboriously climbed as a unit, the first song began and their voices resonated through the halls of the museum. From there, the audience members were led to the stage not through the theater’s main doors, but through the innards of the museum. Laying the institution bare, the performers led us downstairs through hallways of lockers, then backstage, before we finally took our seats on stage.

The majority of FORCE is then performed on a bare theater stage, the audience in rows encircling the singers and dancers accompanied by a small ensemble of bass, drums, and keys. Just as the audience surrounds the stage, an array of speakers arranged along the edges of the room faces inward to create a shared soundscape inhabited by both the spectators and performers. As an opera, FORCE presents less a linear narrative than a series of songs swirling with reoccurring motifs that, through their repetition, suggest the temporality of waiting. One of the most powerful of these lyrical motifs introduced early in the show is that of fungal growth, of lichens felt on the body, in the nose, and on the eyes. This bivalent image of fungus both points towards an omnipresent carceral power felt on the body, while also recognizing the strategic possibilities of rhizomatic forms. The major theme of the work is of course waiting and time itself, with the singers repeatedly asking how long they have been here—the waiting room, the prison system, the police state—and how much longer they may have yet to go.

While addressing these weighty themes, the work still makes space for the possibility of joy and alternative futures. The performance ends with the singers repeating lines about freedom in a song that never concludes. As we exited, again through the bowels of the MCA, the song reverberated from the theater into the lobby. If FORCE’s first act took place before the audience entered the space of the theater, then the third act likewise continued beyond these four walls as our temporary listening community dispersed into the streets of Chicago. Even after the show, the song did not end.

The second work in the series, Samita Sinha’s Tremor built on these themes of power, space, and sonic connections between resonating bodies. I attended the first of three performances at the MCA on the evening of April 18. Performed on a minimal stage set designed by architect Sunil Bald consisting of three dramatic red sashes suspended from the ceiling, Tremor is an hour-long piece centered on Sinha’s “unraveling” of Indian vocal traditions. Of the artists in this performance series, Sinha perhaps most explicitly explored the theme of resonance, describing her work as “the practice of attuning oneself to the raw material of vibration and its emergence in space, as well as unfolding the possibilities that arise from encounters between this sonic material and other individuals.” In Tremor, the artist is accompanied by the dancer Darrell Jones, vocalist Sunder Ganglani, and an electronic soundscape created live by Ash Fure. As in FORCE, the audience was seated on the stage around the performers, with the shared sonic environment emphasizing the coexistence of our bodies in space.

In broad strokes, Tremor demonstrates the power of sonic community in the face of entropy, presenting a pair of singers competing with a barrage of electronic sound, finding solace in each other’s voice, and ultimately emerging together after an overwhelming onslaught of noise. Accompanied by a low rumble of barely audible sound, the piece begans with the four performers entering the stage and walking in an ever-widening circle, a starting point of social dispersal. Sinha, Ganglani, and Fuhre then took their places at opposing corners of the stage, on cushions placed under the suspended sashes. Jones moved around the center of the stage in ways alternately suggesting ecstasy and pain. The vocalists tentatively began singing wordless vocalizations that tended to resolve to a single note, sometimes accompanied by Sinha’s droning ektara.

As the performance continued, the lights dim and Fure’s electronic sound become increasingly loud and abrasive, a heavily delayed electronic whirring alternately suggesting buzzsaws or heavy machinery. When this noise reached a sustained roaring climax, the dancer and singers moved to the center of the stage, forming a circle with their bodies. Finally, the electronic sound subsides, and the vocalists, led by Sinha, begin singing again—this time with a more supple melody, no longer abrasive vocalizations centered on a single note. This circle of bodies—the performers and we, the audience—have outlasted the assault of noise, co-existing in space, transformed and fortified by this resonant encounter.`

White Mountain Apache sound artist and musician Laura Ortman’s performance marked the release of her latest album, Smoke Rings Shimmers Endless Blur and it provocatively reframes the spatiality of resonance in temporal terms. Ortman performed twice at the MCA, and I attended the first night on April 26. White Mountain Apache sound artist and musician Laura Ortman’s performance marked the release of her latest album, Smoke Rings Shimmers Endless Blur and it provocatively reframes the spatiality of resonance in temporal terms. Where the idea of resonance largely has spatial connotations of synchronic coexistence, Ortman challenges us to think of resonance in terms of time and history through her use of looping sound. Curator Laura Paige Kyber points to this aspect of the artist’s practice, drawing on the work of writers Joseph M. Pierce and Mark Rifkin to argue against the linear time of settler history in favor of “many distinct and self-determined notions of time.” As Kyber suggests, while past histories may resonate through her work, Ortman’s vital sound-making confronts us forcefully in the present.

For her hour-long set, Ortman employed a minimal—but powerful—toolkit for her practice of “sculpting sound”: a single electrified violin run through a pedal board, occasionally supplemented by her voice, a whistle, and a small bell. Throughout the show, the violin was heavily augmented by distortion, delay, and a looping pedal run through a Fender amplifier. Ortman used the loop to build repeating layers of shoegaze-like fuzz over which she improvised on her violin, her bowing veering ecstatically between melodic phrases and rhythmic noise. For most of the performance, she was alone in front of the bare black wall of the Edlis Neeson Theater, with heavy fog machine haze dramatically lit by spotlights and two lines of fluorescent lights on the floor receding into a vanishing point at the back of the stage. She was also accompanied by two short films for the first half: footage  of dramatic New Mexico landscapes shot in collaboration with Daniel Hyde and Echota Killsnight, and a video directed by Razelle Benally of Ortman performing in Prospect Park near her home in Brooklyn.

Like Ortman’s music, Benally’s film plays with time, freely shifting between slow motion and double time footage of her performance. Likewise, Ortman’s use of the loop inherently emphasized temporality; with each decaying loop, the past continues to noisily repeat in the present—yet remains with us even as it becomes harder to discern. But amidst the resonance of the past, we are confronted with the artist meeting us in the here and now. We continue to hear the past resonating with is its own distinct temporality and it becomes the basis for Ortman’s vital artistic practice in the present. At the end of her performance, the loops fade away and we are ultimately faced with the artist standing before us sculpting sound with the violin.

The final work in the series, Prophet: The Order of the Lyricist by 7NMS, a collaboration between Marjani Forté-Saunders and Everett Saunders, centered on the figure of the Emcee and the tradition of hip-hop as powerful forces in the Black radical imagination. I attended the May 9 performance. Charting the creative journey of an aspiring lyricist, the piece mixes choreography by Forté-Saunders, an extended spoken-word monologue by Saunders, and a collage of music and sound partially drawn from the Sun Ra Collection at Chicago’s Experimental Sound Studio. Putting the communal ideals of resonance into practice, the artists developed this work in collaboration with the Chicago artistic community, finding inspiration from visits to the city’s South Side Community Arts Center, Stony Island Arts Bank, and Miyagi Records.

The performance begins with a choreographed prelude with Forté-Saunders and dancer Marcella Lewis moving together on a bare stage. Upon Saunders’s entrance onto the stage as the titular lyricist, Forté-Saunders and Lewis largely recede, becoming silent specters, moving through, and occasionally entering the ensuing narrative. In the first section, the lyricist recounted his youth training to be an emcee, adopting an increasingly martial cadence as he described his hard work developing breath control, free-styling, and rhyme-writing skills. This artistic intensity is followed by the most powerful part of the show: a long audio montage of interviews with other lyricists, their voices emanating from speakers surrounding Saunders. As their words ping-ponged from speaker to speaker, the narrator began flinging his body across the stage, before finally collapsing in a roar of white noise and projected static. From there, the lyricist described his further spiritual and political education under the tutelage of “three kings,” wise men he met on the streets of Philadelphia. In the show’s final moments, we watched the emcee frantically writing his lyrics on the stage floor, his words projected, resonating through the auditorium.

The diversity of performances in the series speaks to the capacious power of the concept of resonance, and the continued vitality of sound as a medium of expression. Through the series, sound was employed as a situated tool of connection, convening audience and performer in a communal space without eliding difference.

In her piece, Samita Sinha draws on the thinking of Caribbean philosopher’s Éduoard Glissant’s notion of trembling. Trembling thinking “is the instinctual feeling that we must refuse all categories of fixed and imperial thought … We need trembling thinking – because the world trembles, and our sensibility, our affect trembles … even when I am fighting for my identity, I consider my identity not as the only possible identity in the world.” Airek Beauchamp suggests a similar connection between sound and trembling, writing about the potential for sonic connection between marginalized queer bodies. Beauchamp argues that strategically deployed noise “communicates in trembles, resonating in both the psyche and the actual body,” coalescing disparate identities into a powerful social form. Trembling then, like resonance, doesn’t offer a single solution to global crises—likewise these artists do not treat sound as an inherently revelatory tool of political liberation. But through resonance, understood as a technology of communal listening, the artists invite us to hope for transformative encounters, for new ways of hearing the world.

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Featured Image: Photo: Rachel Keane on https://mcachicago.org/

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Harry Burson holds a PhD in Film & Media from the University of California, Berkeley. He researches and teaches on the theory and history of sonic media, exploring the intersection of digital and aural cultures, with particular focus on immersive media, sound art, and VR. His work examines how sound technologies have shaped both our understanding of and embodied relationship to digital media. He is currently a Lecturer at the University of Illinois Chicago (hburson@uic.edu)

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This article also benefitted from the editorial review of Dahlia Bekong. Thank you!

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