In this article we explore how two artistic practices related to sound and sound making worked as a routine of re-encounter across a yearlong qualitative research project exploring how Black and Indigenous creative collective evolve to sustain themselves over time. We situate our artistic practices—writing ritual performance scripts and composing audio tune-ins—in the art of the social: the presence and relations among ourselves, research collaborators, and those we bring with us in body and spirit. We share the processes of this artful inquiry and how they inspire imaginative possibilities with sound, sound design, performance, and ritual.
BrooksD. A. (2021). Liner notes for the revolution: The intellectual life of Black feminist sound. Harvard University Press.
5.
BrownR. N. (2014). She came at me wreckless! Wreckless theatrics as disruptive methodology. In BrownR. N.CarducciR.KubyC. (Eds.), Disrupting qualitative inquiry: Possibilities and tensions in educational research (pp. 35–52).
6.
BrownR. N.CarducciR.KubyC. R. (2014). Disrupting qualitative inquiry: Possibilities and tensions in educational research. Peter Lang.
7.
BrownR. N.KwakyeC. J. (Eds.). (2012). Wish to live: The hip hop feminist pedagogy reader. Peter Lang.
BrownR. N.SmithB. E.RobinsonJ. L.GarnerP. R. (2018). Doing digital wrongly.American Quarterly, 70(3), 395–416.
10.
burroughx.WalgrenJ. (Eds.). (2022). Art as social practice: Technologies for change. Routledge.
11.
CallierD. M.HillD. C. (2019). Who look at me?! Shifting the gaze of education through Blackness, Queerness, and the body. Brill Sense Publisher.
12.
CerasoS. (2018). Sounding composition: Multimodal pedagogies for embodied listening. University of Pittsburgh Press.
13.
ChionM. (2012). The three listening modes. In SterneJ. (Ed.), The sound studies reader (pp. 48–53). Routledge.
14.
CooglerC. H. (2022). A thing is whatever this is that I can't say: Exploring Aporias through poetic inquiry. Art/Research International: A Transdisciplinary Journal, 7(1), 47–73. https://doi.org/10.18432/ari29629
15.
CoxC. (2018). Sonic flux: Sound, art, and metaphysics. The University of Chicago Press.
16.
CuttsQ. (2020). More than craft and criteria: The necessity of ars spirituality in (Black women’s) poetic inquiry and research poetry. Qualitative Inquiry, 26(7), 908–919. https://doi.org/10.1177/1077800419884966
17.
DurhamA. S. (2014). Home with hip-hop feminism: Performances in communication and culture. Peter Lang.
18.
EdellD. (2022). Girls, performance and activism demanding to be heard. Routledge.
19.
EllisJ. (2021). The clearing. Wendy’s Subway.
20.
FlintM. (2020). Fingerprints and pulp: Nomadic ethics in research practice. Art/ResearchInternational, 5(1), 1–15. https://doi.org/10.18432/ari29485
21.
GershonW. S. (2018). Sound curriculum: Sonic studies in educational theory, method, and practice. Routledge.
GrothS. K.SamsonK. (2019). The audio paper: From situated practices to affective sound encounters. Paragrana, 28(1), 188–196. https://doi.org/10.1515/para-2019-0013
24.
GumbsA. P. (2016). Spill: Scenes of Black feminist fugitivity. Duke University Press.
25.
GuyotteK. W.HofsessB. A.WilsonG. J.ShieldsS. S. (2018). Tumbling from embodiment to enfleshment: Art as intervention in collective autoethnography. Art/Research International: A Transdisciplinary Journal, 3(2), 101–132. https://doi.org/10.18432/ari29334
26.
HarneyS.MotenF. (2013). The undercommons: Fugitive planning and Black study. In Minor compositions.
27.
HenriquesJ. (2011). Sonic bodies: Reggae sound systems, performance techniques, and ways of knowing. Continuum.
28.
JacksonA. Y.MazzeiL. A. (2012). Thinking with theory in qualitative research: Viewing data across multiple perspectives. Routledge.
29.
JAY ARE. (2019). Youth, culture, power [Album]. Polar Ent.
30.
JohnsonS. (2023). Punished for dreaming. In Everything Is Us | The Space Program. (Presented by Dr. Bettina Love) [Album].
31.
KapchanD. (Ed.), (2017). Theorizing sound writing. Wesleyan University Press.
32.
LaurenB. (2024). Hold me down [Album]. University of Michigan Press.
33.
LovelessN. (2019). How to make art at the end of the world: A manifesto for research creation. Duke University Press.
NagarR.MeierI.SpathopoulouA. (2023). Refusals, radical vulnerability, and hungry translations–a conversation with Richa Nagar. Fennia-International Journal of Geography, 201(2), 266–272. https://doi.org/10.11143/fennia.121797
36.
OliverosP. (2005). Deep listening: A composer's sound practice. IUniverse.
37.
PetchauerE. (2024). Thinking with hip-hop sound: Aesthetics in research methods. In KellyL.GravesD. (Eds.), The Bloomsbury handbook of hip hop pedagogy (pp. 172–186). Bloomsbury Press.
38.
PetchauerE.BrownR. N. (2023). The second sound of integrity: Us whole. Seismograf Peer, 30. Available at:https://doi.org/10.48233/09
39.
RuizS.VourloumisH. (2021). Formless formations: Vignettes for the end of this world. In Minor compositions.
40.
ShangeN. (1997). For colored girls who have considered suicide / when the rainbow is enuf. Simon & Schuster. (Original work published 1975).
