This collection brings together the work of scholars from around the world who contribute to the ongoing efforts across the field of sound studies and auditory culture to theorize the more-than-representational role of sound and music in assembling various forms of social life: in the forming of communities and places of belonging, in habitual bodily practices, in movements and rhythms, in the performance of culture and identity in places, and in the emotions, affects and sensory experiences that weave the sonic into mechanisms of sociality in general. The chapters are organized into four interrelated themes, which explore: (i) how our connections to place, community, history, and identity can be brought into being, challenged, or re-appropriated through sound; (ii) the different ways that bodies, movements and environments are intertwined through sound, and the role of sound for the creation of inclusive environments; (iii) the affective politics of sound; and (iv) approaches to utilize sound to enrich methodological practice.
Karolina Doughty, Michelle Duffy and Theresa Harada
Michelle Duffy, Angela Campbell and Richard Chew
Drawing on McCormack’s (2013) notion of fieldworking and Hawkin’s (2011) suggestion of ‘doings’, this chapter seeks to capture the unfolding of the performance of an Australian folk song in a sheep shed. This performance was part of a workshop held at an historic pastoral property owned and operated by Sovereign Hill, an open-air museum in Victoria. We wanted to explore the dynamic change in the region’s environments, landscapes and waterways, acknowledging that they are shaped and shared by humans and non-humans alike. We tasked ourselves with a provocation: to work in small groups and respond to the landscape around us using whatever types of approach, materials and practices we chose. Here we explore one of those provocations, listening to a colleague’s haunting rendition of the folk song, ‘Flash Jack from Gundagai’ in a shearing shed. Our exploration of this draws on non-representational theory—or more-than-representational theory—as an attempt to capture the ephemeral nature of a lived and living experience through art practice, specifically through music.