Sarah Woodland is a researcher, practitioner, and educator in applied theatre and participatory arts, with a particular focus on engaging with communities and groups from diverse social and cultural backgrounds, and those with experience of the criminal justice system. She is Dean’s Research Fellow at the Faculty of Fine Arts and Music, University of Melbourne, Australia.Wolfgang Vachon has been creating with and supporting children and youth through theatre and other arts practices for three decades. His work has primarily been with people who are street involved, homeless, 2SLGBTQ+, survivors of trauma, and those living in state care. Wolfgang teaches Child and Youth Care at Humber College in Toronto, Canada.

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• List of FiguresList of ContributorsIntroduction: Distilling an Interdisciplinary ApproachSarah Woodland and Wolfgang VachonPART 1First Knowledges FirstIntroduction1. Bu’ra’nga’man | Dadirri | Yimbilli: Echoes of Listening to CountryBianca Beetson, Vicki Saunders, Sarah Woodland, and Leah BarclayPART 2Sonic Knowing: Meaning and ResonanceIntroduction2. Audio drama inquiry: A telling method of researchWolfgang Vachon3. What does a cellphilm (cellphone + film production + intention) sound like? The ethics and aesthetics of cellphilm methodCasey Burkholder and Katie MacEntee4. Composing place: Creating participatory sound portraits and compilationsMaureen Flint, Morgan Shiver and Ryanne Whyte5. The radio play as restorative justice education: A creative collaboration between a grassroots organisation and artistsTanyss Knowles and Frank J. TesterPART 3Sonic Assembly: Building Communities and PublicsIntroduction6. More-than-social listening: Undercover engagements and undoing auditory normsJill Halstead and Brandon LaBelle7. Reinscribing the noise: New media walk technologies and the politics of community engagementChristos Carras and Eric Lewis8. Hyper-listening and co-listening: Reflections on sound, selfhood, and solidarityBudhaditya Chattopadhyay9. I make noise therefore I am: Aesthetics of sonic experimentation in participatory art and cultureVadim KeylinPART 4Sonic Disruptions: Creating Auditory Counter-NarrativesIntroduction10. Sound travels faster over water: Sonically re-designing institutional aural architecture with The Verbatim FormulaMaggie Inchley and Sylvan Baker11. Yellow Couch Convos Podcast series: Navigating identity politics through collective voices and counternarrativesRosemary (Rosa) Cisneros12. Many Worlds in One Place: Composition as a Site of EncounterToby Young13. Odyssey on the airwaves: A journey from HMP to hopeGary Anderson and Niamh MalonePART 5Sonic Resistance: Soundscapes of Protest and ActivismIntroduction14. Engaging communities in listening to ecosystems: Case studies from acoustic ecology research in Australia and MexicoLeah Barclay15. Aural counterpublic resistance: Noise, silence, and acoustical agency in protest tacticsNimalan Yoganathan16. Street hassle: Noise, art, and activismMitchell Akiyama, in conversation with Don’t Rhine and Syrus Marcus WareConcluding AcknowledgementIndex

Sarah Woodland is a researcher, practitioner, and educator in applied theatre and participatory arts, with a particular focus on engaging with communities and groups from diverse social and cultural backgrounds, and those with experience of the criminal justice system. She is Dean’s Research Fellow at the Faculty of Fine Arts and Music, University of Melbourne, Australia.Wolfgang Vachon has been creating with and supporting children and youth through theatre and other arts practices for three decades. His work has primarily been with people who are street involved, homeless, 2SLGBTQ+, survivors of trauma, and those living in state care. Wolfgang teaches Child and Youth Care at Humber College in Toronto, Canada.

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• List of FiguresList of ContributorsIntroduction: Distilling an Interdisciplinary ApproachSarah Woodland and Wolfgang VachonPART 1First Knowledges FirstIntroduction1. Bu’ra’nga’man | Dadirri | Yimbilli: Echoes of Listening to CountryBianca Beetson, Vicki Saunders, Sarah Woodland, and Leah BarclayPART 2Sonic Knowing: Meaning and ResonanceIntroduction2. Audio drama inquiry: A telling method of researchWolfgang Vachon3. What does a cellphilm (cellphone + film production + intention) sound like? The ethics and aesthetics of cellphilm methodCasey Burkholder and Katie MacEntee4. Composing place: Creating participatory sound portraits and compilationsMaureen Flint, Morgan Shiver and Ryanne Whyte5. The radio play as restorative justice education: A creative collaboration between a grassroots organisation and artistsTanyss Knowles and Frank J. TesterPART 3Sonic Assembly: Building Communities and PublicsIntroduction6. More-than-social listening: Undercover engagements and undoing auditory normsJill Halstead and Brandon LaBelle7. Reinscribing the noise: New media walk technologies and the politics of community engagementChristos Carras and Eric Lewis8. Hyper-listening and co-listening: Reflections on sound, selfhood, and solidarityBudhaditya Chattopadhyay9. I make noise therefore I am: Aesthetics of sonic experimentation in participatory art and cultureVadim KeylinPART 4Sonic Disruptions: Creating Auditory Counter-NarrativesIntroduction10. Sound travels faster over water: Sonically re-designing institutional aural architecture with The Verbatim FormulaMaggie Inchley and Sylvan Baker11. Yellow Couch Convos Podcast series: Navigating identity politics through collective voices and counternarrativesRosemary (Rosa) Cisneros12. Many Worlds in One Place: Composition as a Site of EncounterToby Young13. Odyssey on the airwaves: A journey from HMP to hopeGary Anderson and Niamh MalonePART 5Sonic Resistance: Soundscapes of Protest and ActivismIntroduction14. Engaging communities in listening to ecosystems: Case studies from acoustic ecology research in Australia and MexicoLeah Barclay15. Aural counterpublic resistance: Noise, silence, and acoustical agency in protest tacticsNimalan Yoganathan16. Street hassle: Noise, art, and activismMitchell Akiyama, in conversation with Don’t Rhine and Syrus Marcus WareConcluding AcknowledgementIndex

Sarah Woodland is a researcher, practitioner, and educator in applied theatre and participatory arts, with a particular focus on engaging with communities and groups from diverse social and cultural backgrounds, and those with experience of the criminal justice system. She is Dean’s Research Fellow at the Faculty of Fine Arts and Music, University of Melbourne, Australia.Wolfgang Vachon has been creating with and supporting children and youth through theatre and other arts practices for three decades. His work has primarily been with people who are street involved, homeless, 2SLGBTQ+, survivors of trauma, and those living in state care. Wolfgang teaches Child and Youth Care at Humber College in Toronto, Canada.

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• List of FiguresList of ContributorsIntroduction: Distilling an Interdisciplinary ApproachSarah Woodland and Wolfgang VachonPART 1First Knowledges FirstIntroduction1. Bu’ra’nga’man | Dadirri | Yimbilli: Echoes of Listening to CountryBianca Beetson, Vicki Saunders, Sarah Woodland, and Leah BarclayPART 2Sonic Knowing: Meaning and ResonanceIntroduction2. Audio drama inquiry: A telling method of researchWolfgang Vachon3. What does a cellphilm (cellphone + film production + intention) sound like? The ethics and aesthetics of cellphilm methodCasey Burkholder and Katie MacEntee4. Composing place: Creating participatory sound portraits and compilationsMaureen Flint, Morgan Shiver and Ryanne Whyte5. The radio play as restorative justice education: A creative collaboration between a grassroots organisation and artistsTanyss Knowles and Frank J. TesterPART 3Sonic Assembly: Building Communities and PublicsIntroduction6. More-than-social listening: Undercover engagements and undoing auditory normsJill Halstead and Brandon LaBelle7. Reinscribing the noise: New media walk technologies and the politics of community engagementChristos Carras and Eric Lewis8. Hyper-listening and co-listening: Reflections on sound, selfhood, and solidarityBudhaditya Chattopadhyay9. I make noise therefore I am: Aesthetics of sonic experimentation in participatory art and cultureVadim KeylinPART 4Sonic Disruptions: Creating Auditory Counter-NarrativesIntroduction10. Sound travels faster over water: Sonically re-designing institutional aural architecture with The Verbatim FormulaMaggie Inchley and Sylvan Baker11. Yellow Couch Convos Podcast series: Navigating identity politics through collective voices and counternarrativesRosemary (Rosa) Cisneros12. Many Worlds in One Place: Composition as a Site of EncounterToby Young13. Odyssey on the airwaves: A journey from HMP to hopeGary Anderson and Niamh MalonePART 5Sonic Resistance: Soundscapes of Protest and ActivismIntroduction14. Engaging communities in listening to ecosystems: Case studies from acoustic ecology research in Australia and MexicoLeah Barclay15. Aural counterpublic resistance: Noise, silence, and acoustical agency in protest tacticsNimalan Yoganathan16. Street hassle: Noise, art, and activismMitchell Akiyama, in conversation with Don’t Rhine and Syrus Marcus WareConcluding AcknowledgementIndex