While brainstorming for a topic of research, I have come across a few different areas of study that interest me: Voice, narrative sound, echoic sound, and sound walking all in relation to feminist sonic art. When I began my search for topics the article “Voices in Movement: Feminist Family Stories in Oral History and Sound Art,” by Margaretta Jolly caught my attention. The article considered oral and narrative history to be “central to feminist politics.” It is argued that feminists have long loved oral history because of its “potential to capture the non-elite experience and because of the intimacy and equality it offers as an interview form.” In this way, Jolly ties together narrative stories, aural history, and installation in feminist sound art.

“But sound is gendered in dimensions that exceed questions of vocal representation. It involves the painful relationship that women have with the visual and the gaze, the lateral and unconscious elements of the aural as repository of the domestic, the sensual and sexual, the bodily place in the world and its connection to others. “

Margaretta Jolly

During my initial research into feminist sound art, I came across an interesting argument centered around echoic sound. The book “Sound and Literature” by Ella Finer argues there is an intersection between feminism and sounds through echo. The book also references and analyzes Echo, the Greek mythological character.