Uhambo: Sonic Wanderings https://gps.psi-web.org/issue/view/12 en-us © 2025 Global Performance Studies GPS: Global Performance Studies Translating embodied wanderings into performance practice and epistemologies through audio walks. serial GPS: Global Performance Studies gps@psi-web.org no gps@psi-web.org GPS: Global Performance Studies full 1 1 Neka Da Costa and Kamogelo Molobye Introduction: Uhambo: Translating Embodied Wanderings into Performance Practices and Epistemologies through Audio/Multimedia Walks https://gps.psi-web.org/article/view/220/178 This issue of Global Performance Studies is a continuation of the conversations we began at the 28th Performance Studies international conference, Uhambo Luyazilawula, held in Johannesburg in August 2023. The phrase “Uhambo Luyazilawula,” which roughly translates to “the journey guides itself” or “the journey follows its own rules,” captured an ethos of emergent, embodied, and nonlinear knowledge creation. We have chosen to locate this publication in the form of sound/audio and multimedia walks which, through active and immersive listening, conflate space, place and sound with critical documentation and reflection. Sound/audio walks and multimedia walks are provocations that invite listeners or audiences to take an actual and/or imaginative journey on a route or in a location carefully planned on a map or documented through photography, videography, or sonic scapes that capture a specific environment and narrative. Uhambo was our invitation for attendees to surrender to journeys that connect us, and to explore ways of understanding and critiquing how we came to be through praxis and reflection. Here, we extend that invitation to you, our readers and listeners, as you journey through the projects in this collection.

]]> The phrase "Uhambo Luyazilawula," which roughly translates to "the journey guides itself" or "the journey follows its own rules," captured an ethos of emergent, embodied, and nonlinear knowledge creation. Uhambo-Introduction.mp3 Mon, 1 Dec 2025 12:00:00 GMT 1456 no full 2 1 Traver Mudzonga Sonic Kumema Poetic Uhambo https://gps.psi-web.org/article/view/124/174 This track is part of the process of creating a sonic and poetic chants as embodied wanderings translating part of the authors reflections while living in the diaspora. The sonic recordings and short poetry readings in form of chants were done during specific walks of kumema. Kumema, in the Tavara Kore Kore dialect of ChiShona, is a specific sightseeing one does in a leisurely manner yet being analytical. Usually, kumema munda (to take readings from a field) is commonly associated with a farmer taking a walk in a field so that the crops and the field (soil) inform them of their next steps in being a good steward. This process of kumema munda will result in a good harvest; provided the kumema is done well. Data-based decision-making process for optimization. Thus, kumema requires a set of skills and framing out of the realm of mere sightseeing or an afternoon stroll.

]]> An experimental sonic and poetry readings in short chants as an autoethnographic embodied wanderings translating part of the authors reflections while living in the diaspora. Mudzonga-Sonic_kumema_poetic_uhambo.mp3 Mon, 1 Dec 2025 12:00:01 GMT 610 no full 3 1 Arun Sood Memory, Sound, and Orality: Re-inhabiting the Island of Vallay https://gps.psi-web.org/article/view/125/156 This immersive soundwalk is comprised of synthesized field recordings from the island of Vallay. It varies in modulation, following a graph for the average pattern of winter tide charts for the island. At high and low tides, new compositions—in the form of music, spoken word, and oral histories—are layered over the field recordings, dislocating them from their site-specific context. The soundwalk responds to Helmut Kaffenberger’s ‘acoustics of profane illumination’, whereby seemingly inconsequential sounds prompts transcendental memory recall.The process of liberating the rumble of wind, roar of ocean, and birdsong from Vallay then rearranging them into new constellations allows for a recontextualization that transforms our sense of the place and its past. The sounds of a specific place become an excavation site, whereby acoustic ruins can be retrieved and reassembled to provide new modes of knowledge and perception.

]]> This immersive soundwalk is comprised of synthesized field recordings from the island of Vallay. Arun_Sood-Memory_Sound_and_Orality.mp3 Mon, 1 Dec 2025 12:00:02 GMT 1224 no full 4 1 Annette Arlander Walking in the Woods https://gps.psi-web.org/article/view/122/155 As an attempt at ‘performing landscape’ by moving through it, I have made some experiments with walking, using a small action camera on my forehead, in contrast to my usual practice of performing for a static camera on tripod. In this video essay I will demonstrate with brief video clips and a voice-over narration the development of a practice, where I insert a walk in one direction into a walk in the other direction. Reflecting on such walking as an embodied exploration of the environment, I propose to consider what purposes it might be used for. Although these experiments were made as sketches for artworks, most of them remain just that, sketches or drafts, experiments in recorded walking.

]]> In this video essay I will demonstrate with brief video clips and a voice-over narration the development of a practice, where I insert a walk in one direction into a walk in the other direction. walking_in_the_woods_240p.mp4 Mon, 1 Dec 2025 12:00:03 GMT 1026 no full 5 1 Refiloe Lepere Combat Breathing Mixtape 1: What is the Weather? https://gps.psi-web.org/article/view/164/154 How to breathe,
a rhythmic dance,
Inhale, exhale, find your balance.

Three steps
reveal,
unmask your face,
Release the burdens, let your soul breathe.

Work, create, and teach,
Love amidst sickness, a lesson.

Ten ways to converse about shadows in the mind,
Navigate the darkness with words so kind.

Learn
Two new rituals, for the living, for the dead,
A sacred dance,
Tell a story where memories are bred.

Listen.
Seven podcasts echo,
Join a protest at home,
A symphony of voices, where movements spring forth.

Creativity blooms in protests, diverse,
Bake bread, turn vegan, let your voice traverse.
Through the stages of grief
Five steps to healing, on sacred ground.

Set up a Teams meeting, the digital class,
In the virtual realm, where connections amass.
Take attendance virtually, a distant gaze,

Six ways to engage,
And as you breathe, ponder the belief within,
What keeps your heart beating?

Life's flavours entwine,
A symphony of existence, a journey into the divine.

]]> The mixtape, conceived as a sonic canvas, aims to delve into the intricate connections between belief, breath, and resilience through a curated blend of diverse music, poetry, and soundscapes. Refiloe_Lepere-Combat_Breathing-Track1.mp3 Mon, 1 Dec 2025 12:00:04 GMT 49 no full 6 1 Refiloe Lepere Combat Breathing Mixtape 2: How to Breathe https://gps.psi-web.org/article/view/164/154 How to breathe,
a rhythmic dance,
Inhale, exhale, find your balance.

Three steps
reveal,
unmask your face,
Release the burdens, let your soul breathe.

Work, create, and teach,
Love amidst sickness, a lesson.

Ten ways to converse about shadows in the mind,
Navigate the darkness with words so kind.

Learn
Two new rituals, for the living, for the dead,
A sacred dance,
Tell a story where memories are bred.

Listen.
Seven podcasts echo,
Join a protest at home,
A symphony of voices, where movements spring forth.

Creativity blooms in protests, diverse,
Bake bread, turn vegan, let your voice traverse.
Through the stages of grief
Five steps to healing, on sacred ground.

Set up a Teams meeting, the digital class,
In the virtual realm, where connections amass.
Take attendance virtually, a distant gaze,

Six ways to engage,
And as you breathe, ponder the belief within,
What keeps your heart beating?

Life's flavours entwine,
A symphony of existence, a journey into the divine.

]]> The mixtape, conceived as a sonic canvas, aims to delve into the intricate connections between belief, breath, and resilience through a curated blend of diverse music, poetry, and soundscapes. Refiloe_Lepere-Combat_Breathing-Track2.mp3 Mon, 1 Dec 2025 12:00:05 GMT 112 no full 7 1 Refiloe Lepere Combat Breathing Mixtape 3: We the Living https://gps.psi-web.org/article/view/164/154 How to breathe,
a rhythmic dance,
Inhale, exhale, find your balance.

Three steps
reveal,
unmask your face,
Release the burdens, let your soul breathe.

Work, create, and teach,
Love amidst sickness, a lesson.

Ten ways to converse about shadows in the mind,
Navigate the darkness with words so kind.

Learn
Two new rituals, for the living, for the dead,
A sacred dance,
Tell a story where memories are bred.

Listen.
Seven podcasts echo,
Join a protest at home,
A symphony of voices, where movements spring forth.

Creativity blooms in protests, diverse,
Bake bread, turn vegan, let your voice traverse.
Through the stages of grief
Five steps to healing, on sacred ground.

Set up a Teams meeting, the digital class,
In the virtual realm, where connections amass.
Take attendance virtually, a distant gaze,

Six ways to engage,
And as you breathe, ponder the belief within,
What keeps your heart beating?

Life's flavours entwine,
A symphony of existence, a journey into the divine.

]]> The mixtape, conceived as a sonic canvas, aims to delve into the intricate connections between belief, breath, and resilience through a curated blend of diverse music, poetry, and soundscapes. Refiloe_Lepere-Combat_Breathing-Track3.mp3 Mon, 1 Dec 2025 12:00:06 GMT 92 no full 8 1 Refiloe Lepere Combat Breathing Mixtape 4: What Do You Believe in That Keeps You Breathing? https://gps.psi-web.org/article/view/164/154 How to breathe,
a rhythmic dance,
Inhale, exhale, find your balance.

Three steps
reveal,
unmask your face,
Release the burdens, let your soul breathe.

Work, create, and teach,
Love amidst sickness, a lesson.

Ten ways to converse about shadows in the mind,
Navigate the darkness with words so kind.

Learn
Two new rituals, for the living, for the dead,
A sacred dance,
Tell a story where memories are bred.

Listen.
Seven podcasts echo,
Join a protest at home,
A symphony of voices, where movements spring forth.

Creativity blooms in protests, diverse,
Bake bread, turn vegan, let your voice traverse.
Through the stages of grief
Five steps to healing, on sacred ground.

Set up a Teams meeting, the digital class,
In the virtual realm, where connections amass.
Take attendance virtually, a distant gaze,

Six ways to engage,
And as you breathe, ponder the belief within,
What keeps your heart beating?

Life's flavours entwine,
A symphony of existence, a journey into the divine.

]]> The mixtape, conceived as a sonic canvas, aims to delve into the intricate connections between belief, breath, and resilience through a curated blend of diverse music, poetry, and soundscapes. Refiloe_Lepere-Combat_Breathing-Track4.mp3 Mon, 1 Dec 2025 12:00:07 GMT 353 no full 9 1 Refiloe Lepere Combat Breathing Mixtape 5: Breathing While Black https://gps.psi-web.org/article/view/164/154 How to breathe,
a rhythmic dance,
Inhale, exhale, find your balance.

Three steps
reveal,
unmask your face,
Release the burdens, let your soul breathe.

Work, create, and teach,
Love amidst sickness, a lesson.

Ten ways to converse about shadows in the mind,
Navigate the darkness with words so kind.

Learn
Two new rituals, for the living, for the dead,
A sacred dance,
Tell a story where memories are bred.

Listen.
Seven podcasts echo,
Join a protest at home,
A symphony of voices, where movements spring forth.

Creativity blooms in protests, diverse,
Bake bread, turn vegan, let your voice traverse.
Through the stages of grief
Five steps to healing, on sacred ground.

Set up a Teams meeting, the digital class,
In the virtual realm, where connections amass.
Take attendance virtually, a distant gaze,

Six ways to engage,
And as you breathe, ponder the belief within,
What keeps your heart beating?

Life's flavours entwine,
A symphony of existence, a journey into the divine.

]]> The mixtape, conceived as a sonic canvas, aims to delve into the intricate connections between belief, breath, and resilience through a curated blend of diverse music, poetry, and soundscapes. Refiloe_Lepere-Combat_Breathing-Track5.mp3 Mon, 1 Dec 2025 12:00:08 GMT 89 no full 10 1 Refiloe Lepere Combat Breathing Mixtape 6: The Leak https://gps.psi-web.org/article/view/164/154 How to breathe,
a rhythmic dance,
Inhale, exhale, find your balance.

Three steps
reveal,
unmask your face,
Release the burdens, let your soul breathe.

Work, create, and teach,
Love amidst sickness, a lesson.

Ten ways to converse about shadows in the mind,
Navigate the darkness with words so kind.

Learn
Two new rituals, for the living, for the dead,
A sacred dance,
Tell a story where memories are bred.

Listen.
Seven podcasts echo,
Join a protest at home,
A symphony of voices, where movements spring forth.

Creativity blooms in protests, diverse,
Bake bread, turn vegan, let your voice traverse.
Through the stages of grief
Five steps to healing, on sacred ground.

Set up a Teams meeting, the digital class,
In the virtual realm, where connections amass.
Take attendance virtually, a distant gaze,

Six ways to engage,
And as you breathe, ponder the belief within,
What keeps your heart beating?

Life's flavours entwine,
A symphony of existence, a journey into the divine.

]]> The mixtape, conceived as a sonic canvas, aims to delve into the intricate connections between belief, breath, and resilience through a curated blend of diverse music, poetry, and soundscapes. Refiloe_Lepere-Combat_Breathing-Track6.mp3 Mon, 1 Dec 2025 12:00:09 GMT 263 no full 11 1 Javier Perez No Comparison / Just So Small https://gps.psi-web.org/article/view/130/159 The audio and accompanying “found poem” text provided come from a workshop series conducted with a group of previously-incarcerated men in which Cape Town’s history was critically engaged with to explore enduring legacies of captivity and racialization. Specifically, they derive from a recorded walking history tour that took place from Church Square through the Castle of Good Hope under the facilitation of Social History Educator at the Iziko Slave Lodge Museum, Najumoeniesa “Nadjwa” Damon. This experimental project begins by poetically rendering the two-hour recorded tour into a transcribed ‘found poetry,’ by which the researcher brings out the already-existing poems woven into transcripts as a way to “evocatively explore and convey some of the essences, experiences, and emotions of the… storied lives” (Wells 2004: 8). To conduct the found poetry technique, the project takes inspiration from Douglas Kearney’s ‘performative typography,’ an approach influenced by graffiti’s visual tactics as well as hip hop’s sonic aesthetics and production techniques to create visual layouts that forefront nuanced sonic experiences to written poetry (Kearney 2015). Kearney’s poetry not only takes on visually provocative approaches that are as musical as they are typographical but is often performed using particular techniques akin to sampling and remixing. Thus, the accompanying text, “No Comparison / Just So Small” approaches the found poem analysis through a kind of a sonic sampling that is then captured in the four-minute audio recording. The poem specifically takes shape as a two-pager, each page respectively reflecting discussions that take place by Church Square and within the Castle. Together, the audio and text amplify moments from discussions during the tour that highlight different ways the group grappled with the history and its resonances to their lived experiences.

]]> An experimental analysis of a previously-incarcerated group’s walking history tour to the Castle of Good Hope through found poetry and sonic sampling Javier_Perez-No_Comparison_Just_So_Small.mp3 Mon, 1 Dec 2025 12:00:10 GMT 251 no full 12 1 Abu Dhabi Public Spaces Collective Improvised Access: Listening for African Migrants’ Journeys through an Abu Dhabi Public Park https://gps.psi-web.org/article/view/131/179 "Improvised Access: Listening for African Migrants’ Journeys through an Abu Dhabi Public Park" is a sonic manifestation of how African migrants in Abu Dhabi renegotiate their place in a segregated economy in search of upward social mobility and agency. The research emerges from the ongoing project “Abu Dhabi’s Public Spaces” sponsored by NYU Abu Dhabi’s Arts and Humanities Division, and explores African migrants’ creative use of an open public space in the city to forge connections, seek opportunities, and ultimately create their own sense of belonging. The soundscape seeks to amplify the tactics of improvisational urbanism that African migrants bring from their home countries while navigating between “productive visibility” and “hypervisibility.” In so doing, their improvised access to the park becomes a gateway to access social and job networks and, ultimately, the city itself.

]]> "Improvised Access: Listening for African Migrants’ Journeys through an Abu Dhabi Public Park" is a sonic manifestation of how African migrants in Abu Dhabi renegotiate their place in a segregated economy in search of upward social mobility and agency. Abu_Dhabi_Public_Spaces_Collective-Improvised_Access.mp3 Mon, 1 Dec 2025 12:00:11 GMT 1170 no full 13 1 Anne E. Stoner Desired Paths, Required Movement: A Guide to Traveling With Chronic Illness in This Place https://gps.psi-web.org/article/view/128/173 This work calls into question the ableist underpinnings behind the history of walking research and Western beliefs surrounding wandering. Consisting of an audio walk and corresponding interpretive maps, Stoner creates a guide to walking and moving through urban areas from the chronically ill perspective. The work asks, “who is able to wander?” by placing the listener into her thought processes as a chronically ill individual. Stoner explores and criticizes the Western history of walking and wandering research, beginning with Thoreau and discussing the Situationists, the flâneur, environmentalism, and finally 21st century ideals surrounding walking. This work is made available to the public through QR codes engraved on maps placed in a guerrilla manner into the micro areas which they depict.

]]> Consisting of an audio walk and corresponding interpretive maps, Stoner creates a guide to walking and moving through urban areas from the chronically ill perspective. Anne_E_Stoner-Desired_Paths_Required_Movement.mp3 Mon, 1 Dec 2025 12:00:12 GMT 1115 no full 14 1 Joanne Scott Invasibility, Movement, and Agency: Exploring Plant-Human Relationships in the Plantationocene https://gps.psi-web.org/article/view/119/160 This sound walk invites participants to listen to a mix of texts, sounds and songs that explore plant-human relationships, while guiding them on a walk through an urban or rural environment of their choice. The walk aims to reveal the ways in which our relationships with plants, in the era of the Plantationocene, are still guided by the logic of the plantation. This is particularly evident in damaged and simplified ecosystems, where human and more than human labour is violently monetised to create ‘cheap nature’ (Moore and Patel 2018) through intensive and monocultural agricultural and horticultural practices (Barua 2023). The walk also prompts participants to seek out plants whose growth is ‘wild’ or ‘out of place’ in that they have not been intentionally planted by humans, or are considered alien or invasive to the place where they are growing. Banu Subramaniam (2014) argues that ‘like human immigrants, alien plant and animals are seen as “other,”’ with ‘colonial and racist narratives of dirt, disease, and hygiene’ present in the ways in which human and plant immigrants are characterised (231). This in turn creates a logic of ‘invasibility’, which is applied to humans and plants and has been used throughout history to separate ‘the human and nonhuman bodies into those that belonged and those that were considered invasive’ (Kirbis 2020, 837). In relation to the plants they encounter, participants are prompted to consider ‘vegetal agency’ in relation to human wants and needs, specifically what labour the plant is doing on whose behalf and under what conditions. The experience reveals damaging colonial legacies that persist for plants, people, and the relations between them through felt, material engagements with vegetal growth. It also offers prompts for forming different relationships with plants, focusing on principles of right relation and reciprocity, practised by Indigenous peoples across the world.

]]> This sound walk invites participants to listen to a mix of texts, sounds and songs that explore plant-human relationships, while guiding them on a walk through an urban or rural environment of their choice. Jo_Scott-Invasibility_Movement_and_Agency.mp3 Mon, 1 Dec 2025 12:00:13 GMT 2084 no full 15 1 Julieanna Preston HARK: Monday 22 February 2021, 14 St. Mary’s Street, Thorndon, Te Whanganui-a-Tara, Aotearoa https://gps.psi-web.org/article/view/126/161 In the 2021 performance HARK, delivered in Whanganui-a-Tara, Aotearoa, over seven summer nights, a letter written to my great-grandmother Stança was read aloud at one of seven houses I have lived in since immigrating to this country. The attending public were part of a unique collision of weather, place, urban ambiance, my posture, gestures, and vocal elocution in relation to intimate correspondence. As sonic migrations across time and space, HARK made public a personal, political, and oral imaginary, a desperate plea to belong to place, here and there, and to people living, and not. 

]]> As sonic migrations across time and space, HARK makes public a personal, political, and oral imaginary, a desperate plea to belong to place, here and there, and to people living, and not. Julieanna_Preston-HARK1.mp3 Mon, 1 Dec 2025 12:00:14 GMT 746 no full 16 1 Julieanna Preston HARK: Tuesday 23 February 2021, 3 Lipman Street, Mount Victoria, Te Whanganui-a-Tara, Aotearoa https://gps.psi-web.org/article/view/126/161 In the 2021 performance HARK, delivered in Whanganui-a-Tara, Aotearoa, over seven summer nights, a letter written to my great-grandmother Stança was read aloud at one of seven houses I have lived in since immigrating to this country. The attending public were part of a unique collision of weather, place, urban ambiance, my posture, gestures, and vocal elocution in relation to intimate correspondence. As sonic migrations across time and space, HARK made public a personal, political, and oral imaginary, a desperate plea to belong to place, here and there, and to people living, and not. 

]]> As sonic migrations across time and space, HARK makes public a personal, political, and oral imaginary, a desperate plea to belong to place, here and there, and to people living, and not. Julieanna_Preston-HARK2.mp3 Mon, 1 Dec 2025 12:00:15 GMT 1215 no full 17 1 Julieanna Preston HARK: Wednesday, 24 February 2021. 5 Tutchen Avenue, Mount Victoria, Te Whanganui-a-Tara, Aotearoa https://gps.psi-web.org/article/view/126/161 In the 2021 performance HARK, delivered in Whanganui-a-Tara, Aotearoa, over seven summer nights, a letter written to my great-grandmother Stança was read aloud at one of seven houses I have lived in since immigrating to this country. The attending public were part of a unique collision of weather, place, urban ambiance, my posture, gestures, and vocal elocution in relation to intimate correspondence. As sonic migrations across time and space, HARK made public a personal, political, and oral imaginary, a desperate plea to belong to place, here and there, and to people living, and not. 

]]> As sonic migrations across time and space, HARK makes public a personal, political, and oral imaginary, a desperate plea to belong to place, here and there, and to people living, and not. Julieanna_Preston-HARK3.mp3 Mon, 1 Dec 2025 12:00:16 GMT 865 no full 18 1 Julieanna Preston HARK: Thursday 25 February 2021, 56 Motuhara Road, Plimmerton, Aotearoa https://gps.psi-web.org/article/view/126/161 In the 2021 performance HARK, delivered in Whanganui-a-Tara, Aotearoa, over seven summer nights, a letter written to my great-grandmother Stança was read aloud at one of seven houses I have lived in since immigrating to this country. The attending public were part of a unique collision of weather, place, urban ambiance, my posture, gestures, and vocal elocution in relation to intimate correspondence. As sonic migrations across time and space, HARK made public a personal, political, and oral imaginary, a desperate plea to belong to place, here and there, and to people living, and not. 

]]> As sonic migrations across time and space, HARK makes public a personal, political, and oral imaginary, a desperate plea to belong to place, here and there, and to people living, and not. Julieanna_Preston-HARK4.mp3 Mon, 1 Dec 2025 12:00:17 GMT 937 no full 19 1 Julieanna Preston HARK: Friday 26 February 2021, 106 Pirie Street, Mount Victoria, Te Whanganui-a-Tara, Aotearoa https://gps.psi-web.org/article/view/126/161 In the 2021 performance HARK, delivered in Whanganui-a-Tara, Aotearoa, over seven summer nights, a letter written to my great-grandmother Stança was read aloud at one of seven houses I have lived in since immigrating to this country. The attending public were part of a unique collision of weather, place, urban ambiance, my posture, gestures, and vocal elocution in relation to intimate correspondence. As sonic migrations across time and space, HARK made public a personal, political, and oral imaginary, a desperate plea to belong to place, here and there, and to people living, and not. 

]]> As sonic migrations across time and space, HARK makes public a personal, political, and oral imaginary, a desperate plea to belong to place, here and there, and to people living, and not. Julieanna_Preston-HARK5.mp3 Mon, 1 Dec 2025 12:00:18 GMT 1156 no full 20 1 Julieanna Preston HARK: Saturday 27 February 2021, 9 Konini Road, Hataitai, Te Whanganui-a-Tara, Aotearoa https://gps.psi-web.org/article/view/126/161 In the 2021 performance HARK, delivered in Whanganui-a-Tara, Aotearoa, over seven summer nights, a letter written to my great-grandmother Stança was read aloud at one of seven houses I have lived in since immigrating to this country. The attending public were part of a unique collision of weather, place, urban ambiance, my posture, gestures, and vocal elocution in relation to intimate correspondence. As sonic migrations across time and space, HARK made public a personal, political, and oral imaginary, a desperate plea to belong to place, here and there, and to people living, and not. 

]]> As sonic migrations across time and space, HARK makes public a personal, political, and oral imaginary, a desperate plea to belong to place, here and there, and to people living, and not. Julieanna_Preston-HARK6.mp3 Mon, 1 Dec 2025 12:00:19 GMT 1179 no full 21 1 Julieanna Preston HARK: Sunday 28 February 2021, 10 Kapiti Lane, Ōtaki Beach, Kapiti Coast, Aotearoa https://gps.psi-web.org/article/view/126/161 In the 2021 performance HARK, delivered in Whanganui-a-Tara, Aotearoa, over seven summer nights, a letter written to my great-grandmother Stança was read aloud at one of seven houses I have lived in since immigrating to this country. The attending public were part of a unique collision of weather, place, urban ambiance, my posture, gestures, and vocal elocution in relation to intimate correspondence. As sonic migrations across time and space, HARK made public a personal, political, and oral imaginary, a desperate plea to belong to place, here and there, and to people living, and not. 

]]> As sonic migrations across time and space, HARK makes public a personal, political, and oral imaginary, a desperate plea to belong to place, here and there, and to people living, and not. Julieanna_Preston-HARK7.mp3 Mon, 1 Dec 2025 12:00:20 GMT 811 no