May 2023 | Sound Out, by Sharon Gal

May 2023 | Sound Out, by Sharon Gal May 31, 2023

Resounding Spaces

Sound Out by Sharon Gal, at the Kilburn Tin Tabernacle

31/05/23

‘It is thus necessary for voices to be heard, however unwelcome they may be, which insist on this fundamental mismatch between the ‘official’ parameters of policy-making and the realities of the situation.’ - Displacing Neoliberalism, Doreen Massey (Soundings, 2015). Published as the final chapter of ‘After Neoliberalism? The Kilburn Manifesto’, Edited by Stuart Hall, Doreen Massey, Michael Rustin.

‘Each of us has a voice, every voice is unique and anyone can take part.’ - Sharon Gal, Interdisciplinary artist, performer, vocalist and composer.

On the afternoon of May 20th, 2023, the Kilburn Tin Tabernacle in London played host to an experimental participatory performance led by interdisciplinary artist, performer, vocalist and composer Sharon Gal. Aptly titled ”Sound Out,” this unique gathering of experimental sound artists, performance artist, enthusiasts and local residents in Kilburn pushed the boundaries of sonic exploration and spatial intervention, offering an unforgettable experience that demonstrated the transformative power of artistic expression, expanded our understanding of the auditory realm, and delved into the possibility of hyper-dimensional space within the context of Kilburn’s vibrant urban fabric. Nestled within the vibrant community of Kilburn, an area that is part of the London Plan 2021’s strategic area for development, the Tin Tabernacle has long been a symbol of cultural heritage and community gathering. Stepping into the Kilburn Tin Tabernacle, a beautifully restored Victorian church, the audience was immediately enveloped by an atmosphere of anticipation and curiosity. The venue’s distinctive architecture and acoustics serve as a fitting backdrop for an afternoon that promised to take the audiences on a time-travel fantasy – an auditory journey that invites us all to breathe personal stories into the collective memories of the space. In this space, the auditory landscape is alive with evocative sounds that contribute to its unique character and atmosphere. The amplified sound of the corrugated-iron roof reverberates, blending with the arrival of the overground train at Kilburn High Road Station. This combination creates a symphony of mechanical hums and metallic echoes, adding an industrial element to the sensory experience. As people move across the wooden floor, their footsteps create a gentle, rhythmic whispering that becomes an integral part of the space’s sonic tapestry. The floor acts as a medium for communication, allowing participants to listen with their feet, attuning themselves to the subtle nuances and vibrations that resonate throughout the space. However, the true essence of the space lies in the intangible soundscape created by the diverse bodies present within it. These bodies, representing a variety of identities, experiences, and perspectives, engage in perpetual dialogue and connection without relying on words alone. Their movements, gestures, and shared presence form a language of their own, transcending verbal communication. The sound of the space, therefore, becomes a composition composed of the interplay between the external soundscape and the dynamic interactions among individuals. It is a symphony of creaking floors, echoing trains, and the collective energy of people engaging in meaningful exchanges. These nonverbal dialogues foster connections, bridge gaps, and create a sense of belonging, as the space becomes a meeting point for diverse voices and shared experiences. In this way, the auditory elements of the space contribute to its overall ambiance, enveloping participants in a multisensory experience that transcends words and embraces the power of embodied presence and nonverbal communication. Drawing inspiration from the Kilburn Manifesto (2013), written by geographers Doreen Massey, Stuart Hall, and Michael Rustin, Gal’s immersive performance created a symphony of voices that resonated with the manifesto’s call for progressive change and collective action. Doreen Massey’s work on space and place has emphasized the importance of understanding the specificities of locations and their social relations. In the Kilburn Manifesto, Massey, Hall, and Rustin reflect on the changing landscapes of Kilburn and advocate for a more inclusive and equitable urban future. Gal’s Sound Out event at the Kilburn Tin Tabernacle brilliantly aligned with this perspective, shedding light on the sonic geography of the area. Sharon Gal, known for her pioneering work in experimental music and sound art, curated a diverse lineup of artists whose practices intersected with the realms of improvisation, field recordings, and electronic manipulation. Through her experimental approach to sound, Gal seamlessly intertwined the past, present, and future of Kilburn. The Tin Tabernacle, with its rich history as a place of worship, served as an evocative backdrop for the event. The live improvisations led by Sharon Gal at the “Sound Out” event not only transformed the physical space of Kilburn Tin Tabernacle but also had a profound impact on the attendees’ perception of their surroundings. The collaborative nature of the improvisations, with participants who had only just met three hours prior, added an element of spontaneity and unpredictability to the performance, creating a truly unique sonic experience. By inviting participants to engage with each other and their immediate environment, Gal facilitated a collective exploration of space and its sonic memories. The resulting improvisations became a dialogue between the performers, the venue, and the audience, blurring the boundaries between creator and receiver. This transformative process encouraged attendees to re-engage with their surroundings, inviting them to perceive the space in a new light. The sonic memories of a place can be deeply evocative, triggering personal associations and emotions. Gal’s improvisations amplified these sonic memories, allowing attendees to connect with the history and energy embedded within the Kilburn Tin Tabernacle. The resonances of the past mingled with the present soundscape, creating a rich tapestry of auditory textures that enveloped the space and its occupants. This re-engagement with the surroundings went beyond mere observation. Attendees were invited to actively participate in the creation of the sonic landscape, becoming co-creators and collaborators in the improvisations. The spontaneous interactions between the participants generated a sense of collective agency, fostering a communal bond that transcended individual experiences. Through this transformative process, Gal encouraged the audience to reconsider their relationship with the environment and their role within it. By breaking down the barriers between performer and audience, she challenged the traditional hierarchy of artistic production and empowered attendees to become active participants in the creative process. This reimagining of the artist-audience dynamic opened up new possibilities for engagement and blurred the lines between artistic disciplines. By embracing the collaborative nature of the improvisations and the shared experience of the attendees, Gal facilitated a dynamic exploration of the space and its sonic possibilities. The transformative power of these interactions served as a reminder of the potential for art to reshape our perception of the world around us and the relationships we forge within it. One of the key tenets of the Kilburn Manifesto is the recognition of the importance of collective action and solidarity. Gal’s ‘Sound Out’ event exemplified this principle by fostering a sense of communal listening. Participants, drawn from diverse backgrounds and perspectives, came together in shared sonic exploration. Gal’s use of collaborative improvisation encouraged attendees to actively engage with one another, breaking down barriers and promoting dialogue. In this way, ‘Sound Out’ became a sonic manifestation of the Kilburn Manifesto’s vision of forging inclusive communities. The Kilburn Manifesto calls for the amplification of marginalized voices and the empowerment of communities. Gal’s Sound Out event echoed this sentiment by giving voice to local residents and artists. It not only celebrated the present moment but also acted as a catalyst for change. The transformative power of sound, combined with the ethos of the Kilburn Manifesto, created a sense of urgency and a call to action. Attendees were encouraged to reflect on the event’s sonic tapestry and its potential to spark dialogue, inspire activism, and foster a collective desire for positive social transformation. Sharon Gal’s ‘Sound Out’ event at the Kilburn Tin Tabernacle served as a powerful manifestation of the ideals put forth in the Kilburn Manifesto. This event was part of the broader long-term project, ’Take a Walk on Kilburn High Road,’ which aimed to engage with the local community and explore the multifaceted nature of Kilburn’s cultural landscape. This project provides a live-in-action retrospective review of the ‘The Kilburn Manifesto’ (2013) on Kilburn High Road, in Kilburn, conceived as a collective vision for the area, seeks to challenge social and cultural norms, empower communities, and promote inclusivity and diversity. Every month, this project supports artist-led and participatory project that embody these principles by creating a space where diverse voices and perspectives converged, fostering a sense of collective ownership and celebration of Kilburn’s unique identity. One of the key objectives of ‘Take a Walk on Kilburn High Road’ was to bring together artists, local residents, and other stakeholders to reimagine the high road as a site of cultural and social exchange. The concept of taking a walk on Kilburn High Road goes beyond mere physical movement. It symbolizes an invitation to explore and experience the richness of the local community, its histories, and its aspirations. This initial stage of the project has showcased the potential of artistic interventions to amplify unheard voices, foster collective action, and inspire a more inclusive and equitable urban future. As we reflect on this transformative event, we are reminded of the enduring power of art to ignite conversations, challenge the status quo, and reimagine our shared spaces. To support the project, and read about the goal and aims please click on the crowdfunding page here: PAPRIKA Collective Crowdfunding Page This text is co-written with Open AI’s language model GPT 3. Published by PAPRIKA Collective.

SOUND OUT @ The Tin Tabernacle 20th May 23

With: Susan Sentler, Linda Sheard, Iris Colomb, Helen Davison, Ash McNaughton, Felix Macintosh, Jo Morrison, Steve Russell, Karina Townsend, Anne Robinson, Suke Driver, Andrew Page, Bo Hobbs, Émilie Newman, Georgina Brett, Gardyloo Spew, Ada Hao, Sharon Gal

A short documentation of Sound Out: Video and Sound edited by Felix X Tigersonic (A Binaural recording which sounds great with headphones)

Check back on PAPRIKA Collective’s website for the full version in June, 2023.

- This article is co-written with the AI language model GPT-3.

(AI-generated text is in italics.)