On April 2, 2018, the MIT CoLab published the incredible Listening to the City Handbook: Community Research and Action through Sound and Story, a 181-page toolkit dedicated to furthering civic engagement as expressed in sound studies research, art, and pedagogy. Free and downloadable via the CoLab website, Listening to the City works toward “cultivating empathy and developing a multi-layered understanding of place. . .[while urging] academics and practitioners alike to explore emergent methods for making meaningful change within communities,” as the book’s overview states (10). Assembled by Allegra Williams (Project Curator and Principal Author) and Maggie Coblentz (Researcher and Graphic Designer), the book offers engaging, accessibly written lesson plans, practical strategies, best practices, worksheets, and real-life community models from organizations such as LA Listens, the Binghamton Historical Soundwalk Project, the Anti-Eviction Mapping Project, the Urbano Project, the Frontier of Change Soundwalk, and OJBKFM Third Coast Pop-Up Community Radio.
Listening to the City the book began as the experimental conference Listening to the City: Engagement, Exploration + Intervention through Sound held in Cambridge, Massachusetts (and the Greater Boston Area) on May 25-26 2017. A National Endowment for the Arts-funded collaboration between the MIT Community Innovators Lab, (CoLab), LA Listens, and the Design Studio for Social Intervention (DS4SI), the free conference offered an innovative, interactive weekend that brought artists, activists, and academics together to discuss sonic orientations to social change.
For a review of the conference, click here.
When conference attendees began excitedly sharing assignments, drafts of grants, syllabi, and other resources via Google Drive, the organizers realized the necessity to commemorate the conference and widen the conversation. If folks at the center of the conversation were this starved for like-minds and start-up materials, then the greater need for a handbook was definitely out there. In the months following the conference, Williams and Coblentz conducted interviews with attendees, followed up on sources, led testing and feedback sessions, and organized the ensuing material into sections based on eight emerging methods: meditative listening, audio mapping, soundwalking, personal storytelling, pop up listening, drama, story mapping, and photovoice.
In the introduction, Williams and Coblentz identify four key guiding principles for Listening to the City, as both a volume and a culmination of a collaborative research process. They selected projects, methods, and practices for the book based on 1) accessibility–having a low barrier of entry for participants, 2) transferability–how readily the material could be used across disciplines and in varying communities, 3) high levels of participation and collaboration, and 4) possibility for transformation–strong interest in enacting community change. By compiling and sharing these methods more widely,” Willams and Coblentz write, “the creators of this handbook hope others will come to see the unique power they hold to uplift and amplify critical community voices and their struggles through community research and action” (16-17).
Collaborators and contributors to the volume include Allegra Williams, Maggie Coblentz, Kenneth Bailey, Jessica Blickley, Douglas Burnham, Emily Cohen, Erik DeLuca, Katie Diamond, Rachel Falcone, Michelle Fine, Jocelyn Frank, Terra Graziani, Matt Green, Elisa Hamilton, Krista Harper, Dey Hernandez, Josie Holtzman, Aurie Hsu, W.F. Umi Hsu, Salvador Jiménez-Flores, Nathan John, Steve Kemper, Beau Kenyon, Isaac Kestenbaum, Jonas Kirkegaard, Lori Lobenstine, Stella Aguirre McGregor, Liz Ogbu, Anthony Peña, James Rojas, Katy Rubin, Catherine Sands, Katherine Shozawa, Jennifer Stoever, Brett Stoudt, María Elena Torre, and Marc Weinblatt.
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Feminista Music Scholarship understands music production and listening as a collective site of engagement that sometimes produces and sometimes challenges social structures of race, class, gender, sexuality and nation. It is a method and practice that pushes on narrative frameworks that naturalize the absence of women of color and Chicanx subjects in music scholarship. It is always about imagining and practicing life, as the old-saying/ dicho goes says, to the beat of a different drum, to an alternative, more just reality and experience of time, built on the knowledge of buen vivir or sumak kawsay (a kichwe concept and practice that understands the good life cannot be attained without living right with others in convivencia, in mutual respect of marginalized communities, knowledges, cyclical non-linear time, and of La Pachama/mother earth, one that aligns with knowledge practices of many indigenous communities across Las Americas).
This Chicana Soundscapes/Feminista Music Scholarship Forum is inspired by the “Sounds Like Home: Mapping Chicana Mexicana/Indigena Epistemologies in Sonic Spaces” presented at the annual American Studies Association (ASA) Annual Conference, Denver 2017. Thanks to the roundtable organizers Yessica Garcia Hernandez and Iris Viveros Avendaño for inviting me to chair the panel and to ASA Sound Caucus committee for sponsoring the panel and putting a spotlight on this much-needed research. Many have worked tirelessly for over 25 years to make space at the ASA for such a panel–one that is focused on feminista music scholarship, robustly composed of emerging feminista scholars from different localities. It is truly a collective endeavor. That is took this long says much about the way such knowledge has been valued. That is finally happened says much about what’s coming next!
— Sounding Out! (@soundingoutblog) November 19, 2016
The forum’s inspiring research by scholars/practioners Wanda Alarcón, Yessica Garcia Hernandez, Marlen Rios-Hernandez, Susana Sepulveda, and Iris C. Viveros Avendaño, understands music in its local, translocal and transnational context, and insists upon open new scholarly imaginaries. Not only does each scholar’s research point to the exciting present and future of music studies, it points to the work of feminista scholars and music practicioners who’ve pushed the frames of music studies, from inside and outside of ethnomusicology and musicology, scholars such as: Deborah Wong, Deborah Vargas, Sherrie Tucker, our own mentor Angela Davis, Maureen Mahon, Daphne Brooks, Andreana Clay, Martha Gonzalez, and others. Feminista scholars like Inés Casillas, Jennifer Stoever, Roshanak Kheshti, Monica De La Torre, and others, have made way for for feminista music studies in Sound Studies. And yet, it wasn’t so long ago that Susan McClary shocked the music studies world by insisting that gender mattered in music analysis. We still face constant pushback on that assertion, in particular subfields, especially now. Current times require us to bridge intersectional, decolonial, and gender analysis. Music, and our relationship to it, has much to reveal about how power operates within a context of inequality. And it will teach us how to get through this moment.
For the last 13 years my research for Chicanxfuturism manuscript has engaged the following question: What practices compose Feminista Music Scholarship? As a practitioner in dialogue with scholars and practitioners, I identify Feminista Music Scholarship as:
- a fluid practice of collective listening and producing music attentive to power relations
- an examination of power-flows through music via epistemologies birthed from feminist of color and indigenista theorizing and practice
- approaching all genres
- troubling the notion of home
- responding to community displacement & social alienation
- networked (through digital archive, social media, etc…; collaborative and collective; and social justice oriented
- recognizing the reciprocal exchange of knowledge and labor between community and scholarly collaborations
- a collective endeavor
Feminista Music Scholarship is what the participants of this forum are doing (among their many important interventions)!
Indeed, Feminist Music Scholarship disrupts what Daphne Brooks describes in “The Write to Rock: Racial Mythologies, Feminist Theory, and the Pleasures of Rock Music Criticism” as “the imagined subaltern sphere of independent rock culture (dubbed “indie-rock”) [that] depends on a narrow discourse of shared knowledge that largely marginalizes (if not altogether erases) the presence of women and particularly women of color in alternative music culture” (61). The conceptualization and development of recent pop music exhibits, scholarship by emerging scholars, and community music dialogues, decidedly influenced by Feminista Music Scholarship is one of many possible answers to Brooks’s serious question, “How do we break outside of these tightly policed spheres?” The scholars/music practitioners in this issue respond to the burning question, “how does Chicana feminist music criticism break out of these spheres and serve as a home for new methods for writing about punk, banda, and new wave, son jarocho and participatory community music production?”
During the ASA roundtable, Alarcón, Garcia Hernandez, Rios-Hernandez, Sepulveda, and Viveros Avendaño presented six-minute flash presentations and then opened the floor to a discussion that is wide-ranging yet grounded in the material practices of sound, music, feminism, and home. They continue that important discussion there. More than ever we need panels, forums, dissertations, articles and other forms scholarship that spotlight the ways vulnerable populations have found ways to disrupt systemic oppression through their raucous listening, producing and community practices. This permits us to remember that this fight is not over, that we are deep in it and we have much strategy to share.
Rock on forum readers, rock on!
Michelle Habell-Pallán, associate professor of performance culture of the Americas in the Department of Gender, Women & Sexuality Studies, and adjunct associate professor in the School of Music and Department of Communication, at the University of Washington (UW), is currently the Director of the Certificate for Public Scholarship. For her fifteen years plus of community engagement and the arts, she recently received the Barclay Simpson Prize for Scholarship in Public, which recognizes her efforts to foster the humanities as a public good. Her research examines music, performance, and theater as communal forms of expression that archive alternative histories used to imagine new futures. In tandem, her research also reflects on the way developing media platforms compel new methods of cultural expression, research, archiving and delivery. Her most current research considers dialogues between feminista movements and hip hop feminista musics in Ecuador and its relationship to indigenous social movements rooted in Andean concepts of Sumak Kawsai (Right-living). She is the Co-Director of the UW Honors Quito, Ecuador Study Abroad Program.
Habell-Pallán authored Loca Motion: The Travels of Chicana/Latina Popular Culture (NYU Press). Her most recent book is the bilingual American Sabor: Latinos and Latinas in US Popular Music: Latinos y Latinas en La Música Popular Estadounidense co-authored with Marisol Berrios-Miranda and Shannon Dudley, published by University of Washington Press (Autumn January 2017). Her single-authored book Chicanxfuturism: Punk’s Beat Migration and the Sounds of Buen Vivir is in-progress.
Habell-Pallán guest-curated the award-winning bilingual traveling exhibit American Sabor: Latinos in U.S. Popular Music hosted by Smithsonian Institution’s Traveling Exhibition Service (SITES). As a digital feminista she transforms digital humanities, through community engagement, as co-director of University of Washington Libraries Women Who Rock (WWR): Making Scenes, Building Communities Oral History Archive.
A former UC President’s Postdoctoral Fellow, Habell-Pallán is recipient of a Rockefeller Foundation Humanities Research Award, Woodrow Wilson Foundation Research Award, UW Royal Research Fund Award, and UW Simpson Center Digital Commons Faculty Fellowship (underwritten by the Mellon Foundation).
Habell-Pallán makes community & music with the Seattle Fandango Project, and is a member of the Fembot Collective|Gender, New Media & Technology. She collaborates with a range of local community partners to direct the Women Who Rock: Making Scenes, Building Communities Collective, whose free and family-friendly Seattle unConference/Encuentro takes place annually.
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Chicana Radio Activists and the Sounds of Chicana Feminisms–Monica De La Torre
SO! Amplifies. . .a highly-curated, rolling mini-post series by which we editors hip you to cultural makers and organizations doing work we really really dig. You’re welcome!
In July 2016, we, Scott Carlson and Norie Guthrie, began the Indie Preserves blog, but this is actually not the best place to start. About six months earlier, Scott became concerned about the preservation skills of Indie and DIY music label owners and musicians. The thought of someone’s creative output disappearing in a flash from a hard drive sent shivers down his spine. After speaking with one label owner who was nervous about losing his stuff, we thought it might behoove us to see if others had the same fears.
“Sometimes [I’m] scared of how easy it would be to lose everything,” [Burger Records’s] Sean Bohrman told us. “All it would take is a fire, or a flood, or for someone to come in and take our equipment, and it’d be years of work lost.”
We created a survey to ascertain the types of materials and files that Indie and DIY labels save, and how they would gauge their knowledge of physical and digital preservation. Of the 500 labels contacted, we received responses from 168. Of that group, 60% were “somewhat to very concerned” about preserving their stuff.
There were two motivations for Indie Preserves, then. Firstly, we wanted to help respondents who wanted to learn preservation techniques (58% for digital and 63% physical). Secondly, a library colleague suggested that we present our findings at Austin’s annual SXSW festival. To make it there, we needed an online presence. Thus, our blog was born.
The main subjects of our blog fall in three categories: physical preservation, digital preservation, and interviews. Our physical preservation posts cover what items to save, what archival supplies to buy, how to organize your papers, where to store them, and items to avoid (like metal paper clips). Digital preservation, on the other hand, takes a bit more work. We wrote posts about embedding metadata in photographs, PDFs, and audio; the 3-2-1 rule; and issues to consider when using cloud storage. As for our interviews, we talked with archivists on the front lines curating music archives at their institution, DIY archivist and punk legend Ian MacKaye, and other preservation professionals like Jessica Thompson, Mastering/Restoration Engineer and Archival Specialist at Coast Mastering.
Essentially, Indie Preserves exists to provide advice and a chuckle while hammering home the reasons why our audience should listen. Early on, it was clear that we had caught the attention of library and archives professionals, but we were concerned that we had not connected with the labels. We hoped that presenting at SXSW would help.
Our panel consisted of Jessica Thompson, Sean Bohrman of Burger Records, and us. The presentation went well, though our audience was a bit light. We did, however, manage to connect with audience members and fielded several questions afterwards.
Moving forward, we are putting together a book proposal that will explore music preservation from a variety of angles. Proposed contributions currently range from the actual restoration and preservation of recorded sound to citizen archivist projects to case studies about the preservation of music culture and “scenes” from particular cities. Along with our contributors, we will discuss music preservation in institutions, our Indie Preserves project, and the ways researchers use popular music archives.
Norie Guthrie is an Archivist and Special Collections Librarian with the Woodson Research Center at Rice University’s Fondren Library. She has been building the Houston Folk Music Archive at Fondren Library.
Scott Carlson is the Metadata Coordinator at Rice University’s Fondren Library. An active member of the independent record label community, he runs Frodis Records, an independent reissue label.
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