ContentsIntroductionWriting Indigenous Space1. Hungry ListeningEvent Score for Guest Listening I2.Writing about Musical Intersubjectivityxwelala:m, Raven Chacon's Report3. Contemporary Encounters Between Indigenous and Early Music Event Score for Return4. Ethnographic Redress, Compositional ResponsibilityEvent Score for Responsibility: "qimmit katajjaq / sqwelqwel tl' sqwma:y"5. Feeling ReconciliationEvent Score to ActAcknowledgmentsConclusionNotesBibliographyIndex
Dylan Robinson is a xwelmexw (Sto:lo) writer, Canada Research Chair in Indigenous Arts, and associate professor at Queen's University in Kingston, Ontario. He is coeditor of Arts of Engagement: Taking Aesthetic Action in and beyond the Truth and Reconciliation Commission of Canada and cocurator of Soundings, an internationally touring exhibition of Indigenous art scores.
"In this brilliant and wide-ranging work, Dylan Robinson refuses to write about anything. Instead he demonstrates what it means at the practical, ethical, and political levels to write relationally with other living beings, including music, sound, belongings, languages, lands, ancestors, and readers. In method and content, Hungry Listening is a challenge to settler colonial sensory and political orders as well as a powerful affirmation of Indigenous thought, practice, and art."--Beth Piatote, author of The Beadworkers and Domestic Subjects"Hungry Listening is a necessary and creative confrontation of the consequences of settler colonialism for Indigenous music and sound territories. Offering a robust critique of inclusionary performance as settler mis-audation, Dylan Robinson forwards a transformative politics of listening, a practice of guest listening that refuses capture and certainty. At once playful and intensely serious, Hungry Listening experiments with affective event scores and forms of direct address to allow readers to imagine approaches to visiting with Indigenous sound and performance."--Eve Tuck, University of Toronto"Dylan Robinson employs a xwelmexw (Sto lo) reading, listening, and thinking practice to enact a decolonial critique of the 'sonic encounters' between Indigenous vocal traditions and Western classical and popular music. Hungry Listening, by one of the field's most generous, perceptive, visionary, and generative scholars, will be a game changer in the areas of Indigenous, sound, and performance studies."--Michelle Raheja, author of Reservation Reelism: Redfacing, Visual Sovereignty, and Representations of Native Americans in Film