To resound means not only to make a loud, prolonged sound but also to send the soundings back—whether to their source(s) or other listeners, as if in a kind of dialogical loop. In this article, P. Michael, travis, and Shannon Rose Riley engage in a resounding conversation on the performance practices of the sonic subaltern as exemplified in their work as ONO. They discuss “bleeding haints,” “ghosted tracks,” and how their work resounds/re-members erased histories. They also begin to flesh out what travis calls “the colors of Noise” regarding how the Black body is always already a kind of “Noise upon the USAmerican landscape.” These are ONO epistemologies.
“回响”不仅意味着发出响亮而持久的声音，而且还意味着将声音发送回去——无论是发送给它们的来源还是其他听众，就像在一种对话循环中一样。在这篇文章中，P. Michael, travis和Shannon Rose Riley在他们作为ONO的作品中进行了一次关于声学次等演奏实践的对话。他们讨论“流血的头发”、“隐没的痕迹”，以及他们的作品如何回响/回忆起被抹去的历史。他们也开始充实特拉维斯所说的“噪音的颜色”，关于黑人身体如何一直是一种“美国景观上的噪音”。这些是ONO的认识论。
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An interview with playwright Lauren Yee and director Chay Yew about Cambodian Rock Band, a memory play that uses music to call back to traumatic memories of the Khmer Rouge.
剧作家劳伦·易和导演蔡耀对《柬埔寨摇滚乐队》的采访，这是一部用音乐唤起红色高棉创伤记忆的记忆剧。
{"title":"Listening to Cambodian Rock Band: An Interview with Lauren Yee and Chay Yew","authors":"Donatella Galella","doi":"10.7202/1075805AR","DOIUrl":"https://doi.org/10.7202/1075805AR","url":null,"abstract":"An interview with playwright Lauren Yee and director Chay Yew about Cambodian Rock Band, a memory play that uses music to call back to traumatic memories of the Khmer Rouge.","PeriodicalId":74113,"journal":{"name":"Material matters : chemistry driving performance","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83147536","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, I examine how Sissieretta Jones (frequently described as America’s first Black superstar, among other superlatives) strategically leveraged her European performance reviews in order to increase her listenership and wages in the United States. Jones toured Europe for the first (and only) time from February until November in 1895. According to clippings that she provided to African American newspapers, the singer performed at the renowned Winter Garden in Berlin for three months. Sissieretta Jones also claimed that she performed for Wilhelm II, the last German Emperor and King of Prussia, at his palace and was subsequently presented with an elaborate diamond brooch for her performance. Afterward, the singer told the African American newspaper the Indianapolis Freeman that she would like to live in Europe permanently. Her biographers frequently cite the success of this trip and its symbolic importance for African Americans. And yet, evidence of these events in the archives of major German newspapers is elusive and contradictory at best, if it exists at all. Nevertheless, after the much-hyped tour, her career would take many twists and turns. Sissieretta Jones eventually performed in venues like Carnegie Hall and Madison Square Garden. She was the highest-paid Black female performer of the nineteenth century and a role model for future generations of Black performers.
{"title":"On the Record: Sissieretta Jones and Black Feminist Recording Praxes","authors":"K. Moriah","doi":"10.7202/1075797AR","DOIUrl":"https://doi.org/10.7202/1075797AR","url":null,"abstract":"In this article, I examine how Sissieretta Jones (frequently described as America’s first Black superstar, among other superlatives) strategically leveraged her European performance reviews in order to increase her listenership and wages in the United States. Jones toured Europe for the first (and only) time from February until November in 1895. According to clippings that she provided to African American newspapers, the singer performed at the renowned Winter Garden in Berlin for three months. Sissieretta Jones also claimed that she performed for Wilhelm II, the last German Emperor and King of Prussia, at his palace and was subsequently presented with an elaborate diamond brooch for her performance. Afterward, the singer told the African American newspaper the Indianapolis Freeman that she would like to live in Europe permanently. Her biographers frequently cite the success of this trip and its symbolic importance for African Americans. And yet, evidence of these events in the archives of major German newspapers is elusive and contradictory at best, if it exists at all. Nevertheless, after the much-hyped tour, her career would take many twists and turns. Sissieretta Jones eventually performed in venues like Carnegie Hall and Madison Square Garden. She was the highest-paid Black female performer of the nineteenth century and a role model for future generations of Black performers.","PeriodicalId":74113,"journal":{"name":"Material matters : chemistry driving performance","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81877310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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