The idea and meaning of ‘freedom’ in free improvisation has largely been determined by a masculine subject position. This paper proposes a thinking of free improvisation from a feminist perspective, drawing upon the writings of Donna Haraway, Sara Ahmed and Anna Löwenhaupt Tsing, and on our own practices as improvising musicians. Reflecting on our own experiences in music and life, we ask: What does it mean to be a feminist free improviser? What inspires us to seek freedom through our improvisation practices? Can thinking improvisation through the lens of feminist theory inform our improvisational practices? We seek to think improvisation from a collective, inclusive origin. We posit that improvising is always, as Donna Haraway has suggested, ‘making-with’: creating, moment-to-moment, requiring interaction with the environment and its inhabitants. Free improvisation is not free if its practice is delimited by an exclusive world view. ‘Feministing’ free improvisation can challenge assumptions that undermine free improvisation's claim to freedom.

中文翻译：

---

女权自由即兴创作

自由即兴创作中“自由”的概念和意义在很大程度上取决于男性主体的立场。本文从女权主义的角度提出了一种自由即兴创作的思考，借鉴了唐娜·哈拉维、萨拉·艾哈迈德和安娜·洛文豪普特·清的著作，以及我们自己作为即兴音乐家的实践。反思我们自己在音乐和生活中的经历，我们问：成为女权主义自由即兴演奏者意味着什么？是什么激励我们通过即兴创作来寻求自由？从女权主义理论的角度思考即兴创作能否指导我们的即兴创作实践？我们寻求从一个集体的、包容的起源来思考即兴创作。我们假设即兴创作总是，正如唐娜·哈拉维所建议的那样，'制造-with'：创造，每时每刻，需要与环境及其居民互动。如果其实践受到排他性世界观的限制，那么自由即兴创作就不是免费的。“女权主义”的自由即兴创作可以挑战那些破坏自由即兴创作对自由的主张的假设。