This piece of writing by Tânia Mello Neiva is chapter 11 from the seminal book Making it Heard: a History of Brazilian Sound Art (Rui Chaves and Fernando Iazzetta, 2020 – Bloomsbury).

In this chapter, Tânia discusses ‘some examples of Brazilian women artists active in experimental music and sound art’ trying to identify how their work, by resisting hegemonic values, can socially transform these musical scenes.

In the first part of the chapter, the authors presents ‘the context of sound art and experimental music in Brazil’, followed by presenting the work of three artists: Lílian Campesato, Leandra Lambert, and myself.  The article moves on to explore in detail my praxis, as,  the author finds it ‘more representative of a political approach to sound art’. 

Tânia Mello Neiva is a PhD on musicology from UFPB – Federal University of Paraíba (2018). She studies Brazilian women in experimental music from a feminist perspective. She has been dedicating herself to the studies of gender in music since 2004. In addition to a researcher, she is a cellist, performer, and educator.