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It’s been a minute for the SO! podcast but we are glad to be back–however intermittently–with a podcast episode that shares a discussion between women sound studies artists and scholars. The panel “Living Sounds: Rhythms of Belonging,” was held on September 19 at 6-7pm EDT at The Soil Factory arts space in Ithaca, New York. Moderator Jennifer Lynn Stoever, sound studies scholar and our Ed. in Chief, talks with four women sound artists about their praxis: Marlo de Lara, Bonnie Han Jones, Sarah Nance and Paulina Velazquez Solis.

Bios

Marlo De Lara (they/siya) obtained a PhD in Cultural Studies (University of Leeds) and an MA in Psychosocial Studies from the Centre of Psychoanalytic Studies at Essex. Their creative practice works within the realms of sound performance, visual distraction, and film. Using found objects, installation, and various forms of amplification, environments/structures use sound to impart meaning and affect for the participant. As the child of Philippine migrants, De Lara’s unabashed feminist sociopolitical practice/research editorializes on contemporary global conditions. As an arts facilitator, using their critiques of the nonprofit industrial complex and institutional learning, De Lara aims to transgress and subvert traditional hierarchical ways of managing contemporary art spaces. In the role of community care, Marlo uses mutual aid and emergent strategies in combination with decolonial ways of nourishing equity, diversity, and inclusion practices to ensure safety and access for all. Marlo is a Certified Deep Listening Facilitator and shaping a career as Counsellor/Coach/Guide in therapeutic healing methods informed by Western psychotherapeutic/psychological, healing arts, expressive therapies, and various indigenous practices, most specifically sikolohiyang pilipino.

Bonnie Han Jones is a Korean-American improvising musician, poet, and performer working with electronic sound and text. She performs solo and in numerous collaborative music, film, and visual art projects. Bonnie was a founding member of the Transmodern Festival and CHELA Gallery and is currently a member of the High Zero Festival collective. In 2010, along with Suzanne Thorpe she co-founded TECHNE, an organization that develops anti-racist, feminist workshops that center on technology-focused art making, improvisation, and community collaboration. She has received commissions from the London ICA and Walters Art Museum and has presented her work extensively at institutions in the US, Mexico, Europe and Asia. Bonnie was a 2018 recipient of the Foundation for Contemporary Arts Grants to Artists Award. Born in South Korea, she was raised on a dairy farm in New Jersey, spent her formative years in Baltimore, Maryland and Providence RI and currently resides in Chicago, IL.

Sarah Nance is an interdisciplinary artist exploring the intersections of geologic processes and human experience in archived, constructed, and speculative landscapes. Her work has been performed and exhibited widely, at venues in China, France, Canada, Iceland, South Korea, Germany, and Italy, as well as across the U.S. 

Paulina Velázquez Solís is a multimedia artist and curator from Mexico and Costa Rica. She works with installation, sound, sculpture, drawing, animation/video, and media performance. She is interested in the body and the biological and natural world in interaction with the cultural and social notions of normalcy and experiences as a multinational individual. Her work has been shown in places like Museo de Arte y Diseño Contemporáneo and TEOR/éTica in Costa Rica; Taipei Fine Arts Museum; Ex Teresa Arte Actual in México City; Casa de las Americas in La Havana, Cuba; Museo de Arte Contemporáneo in Panamá City; Museum of the Americas, Washington, DC; and Root Division and The Lab in San Francisco.

Jennifer Lynn Stoever is Associate Professor of English at Binghamton University, founding Editor-in-Chief of Sounding Out!, and author of The Sonic Color Line: Race and the Cultural Politics of Listening (NYU Press, 2016). Her research has been supported by the Whiting Foundation, the George A. and Eliza Gardner Howard Foundation, and the National Endowment for the Humanities.

Thank you to Travis Johns for the recording and mixing.

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