Marlo Eggplant (Leeds, UK/ Baltimore, MD)


Chrisie Caulfield (Leeds, UK)

Furchick (Perth, Australia)

Marya Errin Jones (Alberquerque, NM, USA)

Nuyulu Callejas (Brooklyn, NY, USA)

Nelly Khorsun (Moscow, Russia)

Marisa Demarco (Alberquerque, NM, USA)

Monica Isabel Sanchez (Washington D.C.)

Ingrid Plum (Brighton, UK/Denmark)

The musical pattern/technique of 'call and response' is useful to the understanding of the mutual practices of feminist collectives. The roots of 'call and response' in musical discourse lie within a framework where a leader presents a space for democratic direct interaction by introducing a line of music/sound/words. An immediate aural reaction is returned in kind, signifying the singular expressions of reciprocation/accordance/enquiry invoked from members within the performance space.

In this film, a call was made out to the international 'Ladyz in Noyz' collective, a virtual collaborative network of women practitioners in experimental musics and sound arts. The network functions as a frame or 'the leader' in which all that participate are acknowledged and counted as unique and integral voices to the whole community. The initial call/performance was sent out to members and responses were culled in this audiovisual collage. In addition to being a document to the ideals of the 'Ladyz in Noyz' network, this film exemplifies the ways music and feminist networking can be demonstrated, heard, and seen.

The film premiered at Tusk Festival 2016 and at the Women in/on Sound June 2016 gallery.

A film review by Tristan Bath was published in The Wire, December 2016, Issue 394.

Another review can be found here: International Call and Response: Ladyz in Noyz | Yeah I Know It Sucks

'malay/taos/RP/PI' (2017)

marlo de Lara

The piece concerns the ongoing presence of mass deaths, political unrest, and haunting of the Philippines. From mulitple colonizations and US imperial relations to its precarious global position of constant natural disasters, this multimedia piece is a commentary on its temporal loop of national traumas.

Duration: 27 minutes, sound/film/installation

Additional film credits:

Poem:  ‘Ghosts of Sea Salt Corpses’ by Isabella Borgeson

All images, sounds, and footage originate from Youtube and rights retained by source. For more details, email