Performance Matters

Volume 8, Number 1, 2022 Sound Acts, Part 2: Receiving and Reflecting Vibration Guest-edited by Patricia Herrera, Caitlin Marshall and Marci R. McMahon

Image Caption: Nasrid tile, fifteenth century, glazed and painted blue and manganese earthenware with lustre, Museo Arqueológico Nacional, Madrid, 1948–31. From Bordoy, Guillermo Rosselló. 1992. “The Ceramics of al-Andalus.” In Al-Andalus: The Art of Islamic Spain, edited by Jerrilynn D. Dodds, 97–103. New York: Metropolitan Museum of Art.

The second of two linked special issues, Sound Acts, Part 2 continues to explore the embodied resonances of vibrational performance as "an improvisational art of living and being with others."

Table of contents (12 articles)

Editorial Introduction

  1. Sound Acts, Part 2: Copresen(t/c)ing Vibration

Ethics of Performance and Scholarship

  1. Introduction to Keynote Duet
  2. "Revolutions in Sound": Keynote Duet
  3. Giving / Taking Notice

Hermeneutic Loops: Disrupting the Audio/Visual Litanies

  1. Staging Aural Fugitivity through Nineteenth-Century Freak Show Archives
  2. Surface Listening: Free Association and Recitation in the Wooster Group's The B-Side: "Negro Folklore from Texas State Prisons" A Record Album Interpretation
  3. Listening to Country: Immersive Audio Production and Deep Listening with First Nations Women in Prison

Ear Training

  1. “I’m A Stripper, Ho": The Sonics of Cardi B’s Ratchet, Diasporic Feminism
  2. The Right to Remain “Silent": Deaf Aesthetics in GANGSTA
  3. Embodied Collective Choreographies: Listening to Arena Nightclub’s Jotería Sonic Memories
  4. Against Conventional Harmony: An Interview with the Cuban Theatre Company El Ciervo Encantado



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