Making space: an exchange about women and the performance of free noise

This article considers the spatial politics of contemporary performance spaces constructed through DIY, improvised noise scenes. Noise (as something performed) is often categorized as “experimental,” “free,” or “avant garde.” It carries associations of emancipation, eschewing as it does conventional musical training, and the constraints of formal compositional and linguistic expression. Unfolding as a debate between the two authors, this article reflects on the contributions post-structural feminist theory brings to an understanding of where and how women practitioners negotiate noise-performance spaces. By considering noise as a conceptual object as well as noise as sonic performance, and by reflecting on debates around radical democracy, the authors debate the issue of female-only performance spaces and their implications on what we can express and how we might be understood. This contribution seeks to initiate further debate on the inherent complexities of how women create and negotiate spaces of noise performance in the face of normative assumptions and associations that have simplified the debate – for example, that the loud, discordant, and arrhythmic is obnoxious, dangerous, and historically a masculine domain.