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Sound and Detention: Writing about music, sound and confinement

Kate Herrity

Music becomes his bridge, a tether between displacement and possibility, a fragile articulation of belonging in a world that refuses to accommodate him. But sound is never neutral. It carries histories of violence, it registers absence, and it disrupts imposed silences (Kyratsou and Murphy, chapter 20).

What does it mean to foreground the rhythms of life, songs of loss and longing, crashes and clangs of gates, state agents, violence and disarray in the context of confinement? Over 11.5 million people are in prison around the world, and an estimated 117 million are subject to forced displacement. Both sets of figures are accelerating rapidly (ICPR 2024, Humanitarian action 2026). The edited volume and accompanying audio archive – Sound and Detention: Towards Critical Listening, Sonic Citizenship and Social Justice – uses close attention to soundscapes in places and processes of confinement as a source of sensemaking. Privileging the aurality of incarceration, contributors foreground critical listening as a mode through which to explore sonic citizenship and social justice. In doing so the volume evokes the auditory imagination to reconsider the shifting position of detention at a crucial point of intersection between social, political, economic and cultural life.

Expanding method: ‘Listening nearby’

What does it mean to listen carefully, critically? In the book’s introduction we argue for a “listening nearby”. Following Trinh T. Minh-Ha’s exhortation towards ‘speaking nearby’, we adopt a listening practice that ‘does not objectify, does not point to an object as if it is distant from the speaking subject or absent from the speaking place. A [listening] that reflects on itself and can come very close to a subject without, however, seizing or claiming it (Chen 1992). In Sensory penalities we argue “In our ocularcentric world, foregrounding sonic perceptions and experiences holds potential to disrupt conventional understandings of social life and systemic and structural pressures, and in so doing expands capacity for considering punishment anew (Herrity et al 2020)”.

Working in this way, attending to the aurality of our experience, holds the potential to bring us closer: “listening ‘immerses us in the world’, where seeing ‘removes us from it’…relies on ‘physical contact’, where seeing requires physical distance”. (Chapter 18 Hector McInnes “Pfft Ensemble: Sonic Fiction in a small Highland prison during a global pandemic”). Listening in this way offers the means of developing relational understanding: “Over the next several years, we unravelled the intricate relationship between sound and architecture within 42 carceral spaces. Shifting our focus from music in prisons to soundscapes of the jail, we recognized the potential for a deeper understanding of the carceral experience through sound. We all became students of the soundscape. Learning became relational. (Chapter 1 Benjamin J. Harbert, Joel Castón and Michael Woody “Ear Training for Incarceration: Carceral Acoustemology within the Contemporary Jail”). Listening nearby also, we argue, expands opportunity for enacting agency : “I was just playing birdsong, but sound can be really powerful, it can make a person reflect on their ‘sound being” (Chapter 2 Kate Herrity and Justin Wiggan Emotional Overdubbing: listening passports to sonic agency in the Fens Unit, HMP Whitemoor). Listening nearby shifts proximity, is relational and agentic

Listening Nearby: A found poem from contributed pieces, list below*.

The constant barrage of noise overwhelms life behind bars

Memories about their mother 

Everyday bureaucratic rhythms of institutional life 

The body granulated into sound, light; selves loosening into others 

The institutional melody of people…waiting, waiting

That day saw the end of two different choirs, the formation of one 

Singing was an integral part of our lives. There we made the choices 

‘We were singing at the top of our voices’ 

Until they can, simply, choose

Hearing a man’s cries and the sounds of batons hitting flesh 

A sonic isolation from the reality, where the mind gets lost 

The prison has ears and it is always listening 

This ongoing silence 

Static…weights and limits on people’s ability to move

Refugees across spaces

Where are you today?

Where did the sounds take us? 

Joy in existence

Suspended in bureaucratic inertia

Songs of despair and longing

I hear gunfire in the distance

The book

Sound and Detention is a snapshot of ongoing relationships forged through research, projects and reflections on carceral soundscapes in a variety of times and settings. Using creative as well as academic writing, memoir, sound art, song, these continuing projects place human creativity at the centre of ways of knowing about processes and practices of confinement. Drawing from a range of practitioners, those with lived experience, artists, activists and academics we ask important questions about the role of sound and music in transformative justice and how attention to the sonic can provide impetus to imagine alternatives to the prison and immigration industrial complexes. Accompanying audio resources encourage engagement with the book’s ideas in a multiplicity of ways, as well as showcasing some of the creative, compelling work contributors’ produce.  

Through deep engagement with sound, music and listening, we seek to collectively unsettle western, androcentric epistemologies and knowledge hierarchies, specifically with respect to places of detention. Tuning in to the particularities of sound holds the capacity to listen nearby – making space to hold distinct perspectives and positionalities in respectful simultaneity – while also cementing connections to broader questions of social justice and solidarity.

“Prisons of note”

For Aine and Lucy, Sound and Detention was part of the broader Prisons of note project, funded by the Norwegian Research Council. Their work explores uses of music in criminal justice in three locations: Ireland, Norway and Iceland. Amongst the plethora of multi-media outputs thus far, are two powerfully evocative films.

“Pros and Cons” examines the effects of an inside-outside prison choir in Mountjoy prison:

This also forms the subject of chapter 6 in the book, written by the InHouse Harmony Choir and Caroline Jones of SOLAS.

“Real Life, Venja’s Harem” details the support network comprised of women leaving prison making music:

The book is a collaboration as well as part of ongoing conversations between artists, activists, academics, people in prison and those scattered in the diaspora. It is also a project nearly ten years in the making, between a musicologist, a sound artist and a criminologist in Norway, Sweden and England. We launched the book in Oslo this January:

* Full list of contributors:

Lucy Cathcart Frödén, Kate Herrity and Áine Mangaoang (line 1, p1)

Benjamin Harbert, Joel Castón and Michael Woody (line 2, p19)

Kate Herrity and Justin Wiggan (line 3, p37)

Rijul Kataria, Puneeta Roy, and Bhanu Mehta (line 4, p61)

Phil Crockett Thomas (line 5, p67)

Kirstin Anderson (line 6, p73)

InHouse Harmony Choir and Caroline Jones (line 7, p81)

Mary L. Cohen, Naomi Davis, Michael Blackwell, and Anthony Rhodd

Anna Papaeti (line 8, p113)

Lara Quicler Moriarty and Cristina Palomares Toledano (line 9, p131)

Sayati Das (line 10, p146)

Alim Braxton and Mark Katz (line 11, p149)

Christina Hazboun (line 12, p153)

Emilie Amrein and André De Quadros (line 13, p160)

M.J. Grant and James E.K. Parker (line 14, p168)

Tom Western (line 15, p190)

Keith Nyende, Josué Aganze Musoda, Atuhairwe Leocadious and Erin Cory (line 16, p199)

André Dao (line 17, p213)

Hector MacInnes (line 18, p220)

Tesfalem Habte Yemane, Habtat Zerezghi and Hyab Teklehaimanot Yohannes (line 19, p239)

Chrysi Kyratsou and Fiona Murphy (line 20, p258)

Guilnard Moufarrej (line 21, p280)

Ailbhe Kenny (line 22, p290)

References

Cathcart Frödén, L., Herrity, K., Mangaoang, A. (2026) Sound and Detention: Towards Critical Listening, Sonic Citizenship and Social Justice. Bloomsbury

Chen, N. N. (1992) ‘”Speaking nearby”: a conversation with Trinh T. Minh-Ha’ Visual Anthropology Review, 8(1), 82-91

Herrity, K., Schmidt, B.E., Warr, J. (2021) (Eds) Sensory Penalities: Exploring the Senses in spaces of punishment and social control. Emerald Publishing – Jason and I discussing the book on the emerald podcast: https://www.emeraldgrouppublishing.com/sensory-penalities-decoding-consequences-sensory-punishment

Humanitarian Action (2026) Global Humanitarian Review 2026, “Trends in Crises and Needs: a world at breaking point” [Online] https://humanitarianaction.info/document/global-humanitarian-overview-2026/article/trends-crises-and-needs-world-breaking-point

Institute of Crime and Justice Policy Research (2024) “Prison populations continue to rise in many parts of the world, with 11.5 million held in prisons worldwide” [Online] https://www.icpr.org.uk/news/2024/prison-populations-continue-rise-many-parts-world-115-million-held-prisons-worldwide

Categories
mobilities prison

Ghost in the sweatbox

Jason Warr

“Long is the way and hard, that out of Hell leads up to light”

Milton: Paradise Lost (lines: 432-433)

I once spoke to a member of the INLA who said that he had been tortured by the British military in the six Counties. He said the hoods, the sensory deprivation, the shouting, the beatings, the white noise were bad but the real pain, the blot out everything but the very fibres of your body pain, came from the stress positions. Being forced into cramped and crouched positions for extended periods of time so the pain built and built and became all consuming – even after being allowed to move. As I sat there in the cramped Perspex and metal box, knees painfully wedged against the ridged front, arse numb from the hardened seat, broiling in nought but my boxers as the mid-morning sun turned the, only moments before, icy box into an oven, fighting the staccato and nauseating swaying, the caustic smell of ancient vomit, sweat, plastic, and fear burning my nose and throat this is what I thought about. Torture.

As I sit here in my academic office the echoes of that confined sensorium experienced 20+ years ago revisit me. I shiver. I don’t often reflect upon the embodied experiences of my decade plus incarceration, preferring rather to rationalise, examine, evaluate. I did then, and still do impose a distance between myself and my memories. I utilise them to inform research questions and interpretations of the contemporary prison. They are a filter. However, if we wish to explore the true nature of prison, punishment, and processes of social control (that is after all what my job as a prison’s researcher is) it behoves me to find the honesty in my own experiences. To no longer deny my embodied captivity but to explore it in all its sensorial glory. That it is what I have done in our book and what I do here. For the prison is an embodied experience, not just one of mind. The prison doesn’t just impose itself upon the ghost but the machine as well. The ‘penal’ is sensorially encoded into every constraint and restraint that you as a prisoner are subjected to. Bars, bells, bolts, bangs, and boxes – all are experienced through the senses; all communicate a symbolic message – thou art prisoner!

I don’t know whether the INLA man told me the truth about him being one of the ‘Hooded Men’. It mattered not. As I sat there it was that particular story that my discomforted mind dragged forth. Of course, I am not saying my experience was similar to the horrors of ‘enhanced, 5-point, interrogation’ but it was, nevertheless, what my mind conjured as the pain in my knees grew, my back began to cramp, and every thought narrowed to the nagging senses of my twisted and uncomforted body. I had never been inside one of these contraptions before. In the preceding years, though experiencing multiple moves and journeys doubled cuffed and squished between the sweating and nervous bodies of officers, I had been moved in singular roomy vans or cars. Yet here I was, for the first time, going fuck knows where, in a sweatbox.

An apt name. A box of sweat.

Long is the way and hard …

That morning I had been rudely forced from sleep as 4 officers had burst into my cell. Panic. Fear. I had jumped out of bed, sleep blinded, clad in just my boxer shorts, and had swung at the unknown, amorphous, and blurry bodies in front of me. Thems the rules in prison. The hard lessons you learn in Young Offender Institutions – people burst in on you, you fight. There is no choice but to fight. Connection. Crunching impact as fist impacts with something. “Ooogh”. Hands reach, bodies swarm, lights flash, shadows dance, uniforms glimpsed, grips take hold. Pain. Sharp and intense. Arms going one way, head another, kick in the nuts. The swing may have been a bad idea! “What the fuck Guv? What’s going on?” Grips loosen. I’m told to calm the fuck down and comply. I do. I’m told that I’m being moved. I cry that I have a visit that day. I complain. Grips retighten, twisting. Pain. I’m told that my mum will be notified when the wing officers come on in the morning. I struggle but it’s no good. I’m being ghosted.

Ghosting … old prison slang for being forcibly and unexpectedly moved from hosting prison to somewhere else in the estate. A laydown or permanent move. You know not. I did not know why I was being ghosted. I was told that it was for security reasons. I didn’t know where I was being sent. Security reasons. Laughingly they told me I was heading up North. What the fuck?? Ghosting is one of the more pernicious aspects of being in prison. The discombobulation. The anxiety. The stress. The not knowing. The deprivation of certitude. It ruptures what ontological security you may feebly cling to. You do not warrant security; you gave that up when you came to prison.  It creates a schism between you and the spaces you inhabit. Nothing is solid. Nothing permanent. No place is yours. Transportation has a long history in carceral practices. The process itself is designed to both physically and symbolically cast you as an outsider, no longer a member of this society, you belong outside, over there, away from us. Any sense of belonging, of community, is to be denied to you, your civic status revoked. That loss is encoded into the very embodied experience of transportation. Of course, in my ghosting, I am not saying that I am some Jim Jones being sent o’er seas to Botany Bay[1] nor a Sarah Collins heading for Van Dieman’s shore[2]. However, the forced movement, and the status and powerlessness it reinforces, are microscopic instances of the same power being imposed for the same reasons.

So, there I sat, in my boxers, sweating, in pain, rocking and banging about as the vehicle ran roughshod over pothole and bump. Heading to where I knew not in the barren North. Cramped, nauseous, muffled, a world of green blurring by, no comforting concrete to be seen. Wilderness. The interminable minutes stretched into hours. The heat and funk rose as the plastic of the booth, the miniature cell, closed in and compressed the air around me. The stench of me combining with that older undertone of vomit and detergent and heat to make my own self a source of disgust. The roar of the tyres and the diesel engine, pitched to the point of visceral white noise, intruded into my mind; occasionally blocking out the pain emanating from my lower limbs and back. My thoughts, when they came, were bloody and black. I raged. I wanted to hurt anyone associated with that experience. With every passing, torturous mile I became more feral. With every passing mile I shrank, I became less. To survive I needed that journey to end. Even if all that lay at the end was another cell and countless years.

Long is the way …


[1] MacColl, E and Lloyd, A L (1957) ‘Jim Jones at Botany Bay’, Convicts and Currency Lads, Australia: Wattle Records.

[2] See old English Ballad Female Transportation: https://digital.nls.uk/english-ballads/archive/74892349?mode=transcription