Sexual harassment, or the fear of experiencing it, has become part and parcel of the female experience within public spaces. This fear is exacerbated in a moving space because there is a level of control that one secedes when in a public vehicle. This sense of vulnerability places spatial constraints on women, leading to an altered relationship with the sound marks present within such a space. It also brings to the fore a heightened sense of placeness and fear that one will be targeted and sexually harassed because they are a woman. “Aware” interrogates the vulnerability of being within such a space as a woman, and is based on my subjective experience as a commuter in Nairobi, Kenya. 

“Aware” draws on previous journeys that I have taken throughout my lifetime, as well as a soundscape fieldwork undertaken in 2019. Here, I applied an ethnographical emplaced lens and took a closer look at the vulnerability of being within a fast-paced, enclosed, moving space as a woman. Taking an in situ approach, I acknowledged that my placeness within such a space intersects on multiple levels. Here, I utilised the recorded soundscapes as perceptual constructs in dialogue with my femininity and socio-cultural background. 

Additionally, I considered how a heightened sense of placeness can be replicated sonically, acknowledging that such a musical interpretation cannot fully embody the effects of such experiences. In utilising these soundscapes to create music, I also embrace the socio-cultural influences in my creative voice.

Aware (Soundscape |Electroacoustic Composition)

SO https://soundcloud.com/davenunes

Mastered by Killing Skills
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Fireboy DML - Peru (FS Green & Dave Nunes Remix)

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[APWW #495] [Originally aired 2006]
Viewed through the lens of music, the Congo presents a stark contrast. From the ravages of the slaving Portuguese, to King Leopold's virtual slave state in the late 19th century, through the monumental corruption and ruthless oppression of the regime of Mobutu Sese Seko that ended in 1997, this African heartland has known a history of unrelieved brutality and sadness. And yet, its cities have produced some of the most innovative and ebullient popular music the continent has known in the past century. Beginning in the 1950s, when Congolese music began to be distributed on vinyl records, it found admirers and imitators throughout East, West and Central Africa, and in much of southern African as well. With Congolese-born ethnomusicologist and author Kazadi wa Mukuna and arts educator and community scholar Lubangi Muniania as guides, this Hip Deep program will delve into the untold stories and messages disguised within the lyrics of Congolese songs. Produced by Sean Barlow. 

Untitled (BDTH)

Mwen

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