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      <image:caption>Photo by Justine Jaime</image:caption>
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      <image:caption>Photo by Justine Jaime</image:caption>
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      <image:caption>Photo by Justine Jaime</image:caption>
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      <image:caption>Photo by Joseph Cha</image:caption>
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      <image:caption>Photo by Nailah Middleton</image:caption>
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      <image:caption>Photo by Justine Jaime</image:caption>
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      <image:caption>Photo by Joseph Cha</image:caption>
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      <image:caption>Photo by Joseph Cha</image:caption>
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      <image:caption>Photo by Joseph Cha</image:caption>
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      <image:title>Performance - Sharon Chohi Kim as Wiindigo</image:title>
      <image:caption>Sweet Land with Industry Opera</image:caption>
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      <image:title>Performance - As Wiindigo in the opera Sweet Land with Industry Opera Company</image:title>
      <image:caption>An immersive opera about the first contact</image:caption>
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      <image:title>Performance - ATLAS by Meredith Monk with LA Philharmonic</image:title>
      <image:caption>Directed by Yuval Sharon at Walt Disney Concert Hall</image:caption>
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      <image:title>Performance - Katabasis with Four Larks at Getty Villa</image:title>
      <image:caption>An immersive opera about the Underworld</image:caption>
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      <image:title>Performance - Sleepless: The Music Center's After Hours</image:title>
      <image:caption>Artistic Direction and Concept by Carole Kim. Visuals by Brena Bynum, Alicia Goreckii, Moses Hacmon, Regine Verougstraete, Ursula Brookbank and Jordan Biren. Dressing Rooms 3 &amp;4 composed by Ilk and Miles Cooper Seaton; live sounds by Ilk, Blake Baldwin and Chris Foss at the Dorothy Chandler Pavilion.</image:caption>
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      <image:title>Performance - Undine with Four Larks (LA Times; 2017)</image:title>
      <image:caption>A mythical junkyard opera</image:caption>
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      <image:title>Performance - The Magic Flute</image:title>
      <image:caption>As Pamina in Mozart's Singspiel in Youngdeungpo Theatre in Seoul, South Korea</image:caption>
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      <image:title>Performance - Hopscotch</image:title>
      <image:caption>  Hopscotch, a mobile opera for 24 cars with The Industry Opera Company directed by Yuval Sharon and musical director Marc Lowenstein. Photo by Casey Kringlen  </image:caption>
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      <image:title>Performance - Figaro 90210</image:title>
      <image:caption>A multi-cultural adaptation of Mozart's Le Nozze di Figaro with Los Angeles Opera Company. Libretto by Vid Guerrero, conducted by Douglas Kinney Frost and directed by Melissa Crespo.</image:caption>
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      <image:title>Performance - Sila: The Breath of the World</image:title>
      <image:caption>John Luther Adams's West Coast Premier of Sila: The Breath of the World for The Ojai Music Festival, 2015.</image:caption>
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      <image:title>Performance - Jeepneys</image:title>
      <image:caption>Composed by Anna Petrisko at Historical Monument 157, 2015. Photo by Eric Gardner</image:caption>
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      <image:title>Performance - Aesop's Fables</image:title>
      <image:caption>A music theatre production with food and found objects directed by Park Cofield, written by Mike Kenny, and composed by Daniel Berkov-Hopkins presented by Mammoth Lakes Repertory Theatre, 2014.</image:caption>
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      <image:title>Performance - Rabbit Sorbet</image:title>
      <image:caption>A multi-disciplinary concert with works by Luciano Berio, Ulrich Krieger, Michael Day and Kate Soper, in collaboration with visual artist Hannah Plotke, 2014.</image:caption>
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      <image:title>Performance - Unreal City</image:title>
      <image:caption>A musical adaptation of T.S. Eliot's The Wasteland, composed by Christina Ward, Christoffer Schunk, Danny Wood, Coleman Zurkowski and Chris Prophet; Concept by Sara Sinclair Gomez; 2015.</image:caption>
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      <image:title>Performance - We Three Queens</image:title>
      <image:caption>A contemporary electro-acoustic opera about unapologetic fate. Vocalists Sara Sinclair Gomez, Micaela Tobin and Sharon Chohi Kim embody three historical sirens of ill repute: Mary Tudor, Elizabeth Bathory and Wu Zetian using texts adapted from Gertrude Stein’s Tender Buttons. Composed by Ilk. 2016</image:caption>
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      <image:title>Work - SWEET LAND</image:title>
      <image:caption>The Arrivals wash up on the shore. They make contact with another civilization they call “the Hosts.” And from there, the story splinters, following diverging perspectives. Starting as a procession through the LA State Historic Park, Sweet Land becomes an opera that erases itself. — The Industry</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/55a37cb9e4b082d007469896/1611006247302-LJFEBOTCCVDZY18RKPJ7/ATLAS_LAPhil_SamComen_June2019_0314_FINAL.jpg</image:loc>
      <image:title>Work - ATLAS</image:title>
      <image:caption>Inspired by the life of explorer Alexandra David-Néel, Meredith Monk’s three-act “quest opera” uses Monk’s inimitable and hypnotic style to explore the loss and rediscovery of our inherent wonder. More than 20 years since Atlas first made its impact, Yuval Sharon conceived and directed this landmark new production at Monk’s request, the first outside producer of any of Monk’s works.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/55a37cb9e4b082d007469896/1611010278505-LXCTMDJBEN5K5QKD2F45/Katabasis1.jpg</image:loc>
      <image:title>Work - KATABASIS</image:title>
      <image:caption>katabasis is a processional performance inspired by ancient Greek and Roman mystery rites that led congregants through a series of sensorial and spiritually illuminating encounters. In fourlarks' fete of music, spectacle, and immersive physical theatre, a company of trans-disciplinary performers guide the audience across the grounds and gardens of the Getty Villa, to commune with the dead and receive blessings for this life and the next.</image:caption>
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      <image:title>Work - BELARION: A SPACE OPERA</image:title>
      <image:caption>We invite you to join Jack Parsons, renowned Rocket Scientist and Occult practitioner, for a very special soirée. We will be moving throughout the building. Follow Jack wherever he goes… The immersive, experimental opera serves as both a loving tribute and theatrical dramatization of Jack Parsons’ scientific and magickal practices, and the fascinating space in which his two passions internally collided. We hope this piece inspires you to learn more about the special man from Pasadena that always dreamt of launching a rocket to the moon, right here from the Arroyo Seco.</image:caption>
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      <image:title>Work - GIFTS OF THE SPIRIT</image:title>
      <image:caption>Gifts of the Spirit: Prophecy, Automatism and Discernment is Ron Athey's vision for an "automatic writing machine" brought to life in collaboration with the composer Sean Griffin as a performance/installation made up of 16 writers, six typists, a hypnotist, vocalists, and musicians.</image:caption>
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      <image:title>Work - HOPSCOTCH</image:title>
      <image:caption>From the LA River to the Bradbury Building, from rooftops to abandoned parking lots, from inside an Airstream to the back of a limousine zooming through the unsuspecting city streets, The Industry’s audacious mobile opera Hopscotch took Los Angeles by storm in Fall 2015. — Hopscotch Opera</image:caption>
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      <image:title>Work - SLEEPLESS</image:title>
      <image:caption>A durational media installation transforming the LA Opera basement dressing rooms of the Dorothy Chandler Pavilion.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/55a37cb9e4b082d007469896/1611079791785-NE51B9UVMG2A8UBPNO6L/Undine.jpeg</image:loc>
      <image:title>Work - UNDINE</image:title>
      <image:caption>A junkyard opera. An ecofeminist songspiel for 2017. Presented for one weekend only in our secret performance garage in DTLA. A visually immersive concerto for bells, bass, junk percussion, harp, marimba, cello, water, chimes, voices &amp; dancer. Supported by a small project grant from New Music USA</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/55a37cb9e4b082d007469896/1611087228525-5ZFNLF50IS9ZF961SBB0/Unseal+Unseam1.jpg</image:loc>
      <image:title>Work - UNSEAL UNSEAM: AN ELECTROACOUSTIC OPERA</image:title>
      <image:caption>Unseal Unseam is a retelling of Béla Bartók's classic opera, Bluebeard's Castle, viewed through the eyes of his wife, Judith. In this piece we examine the too-often invisible world of domestic violence in order to hold space for healing and solidarity. Using a combination of extended vocal techniques, noise and electronic music, composer Sharon Chohi Kim and sound artist Micaela Tobin create a lustrous cacophony of amplified objects and operatic singing. Director Shannon Knox and librettist Cordelia Istel reimagine Judith travelling through her own psychological purgatory to reclaim her life.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/55a37cb9e4b082d007469896/f5d5dad2-8559-4b6c-aef5-94836853c04f/HIAH-71.jpg</image:loc>
      <image:title>Work - HOPE IS A HAMMER</image:title>
      <image:caption>January 4th, 2023 at Human Resources Los Angeles Directed by Sharon Chohi Kim and Elana Mann Sculptures by Elana Mann Compositions by Sharon Chohi Kim, Corey Fogel and adrienne maree brown Choreography by Stephanie Zalatel Costumes by Jill Spector Performers: Erin Barnes, Cory Beers, Mikaela Elson, Corey Fogel, Sara Sinclair Gomez, Christopher Hadley, Sharon Chohi Kim, Divya Maus, Carol Ockman, Molly Pease, Kathryn Shuman Hope is a Hammer is an interdisciplinary performance piece with sound, sculpture, text and movement. This piece was in collaboration with artist Elana Mann’s sonic sculptures and was performed at Human Resources Los Angeles. The piece confronts the silencing of women’s voices and the struggle body sovereignty in both the U.S. and abroad.</image:caption>
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      <image:title>Work - Unstuckness Practice</image:title>
      <image:caption>Unstuckness Practice (2022) is a cyclic performance piece about somatic release through explorations of animal behaviors, upregulation and downregulation processes to release “stuckness” in the mind and body. The music was inspired by textures, interconnectedness, patterns and cycles of nature. This piece was performed at Neighborhood Unitarian Church in Pasadena, California, and was supported by Open Gate Theatre and Pasadena Arts and Culture Grant. Created and Composed by Sharon Chohi Kim Performers: Mikaela Elson, Sara Sinclair Gomez, Wells Leng, Kathryn Shuman</image:caption>
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      <image:title>Work - “Can you hear me?”</image:title>
      <image:caption>Can You Hear Me (2022) is a sound piece composed and recorded for Elana Mann’s “hands-up-don’t-shoot-horn” for the exhibition Unprotected at Epoch Gallery in 2022. This exhibition is shown through a virtual recreation of the United States Supreme Court in response to the overturning of Roe v. Wade. This piece was featured on KCRW’s Greater LA. Composed by Sharon Chohi Kim Vocalists: Mikaela Elson, Sara Sinclair Gomez, Kathryn Shuman</image:caption>
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      <image:title>Work - Four Miniatures for Nancy Holt Sun Tunnels</image:title>
      <image:caption>During my residency at Montello Foundation, I visited Nancy Holt’s Sun Tunnels in the Great Basin Desert in Utah. I created four vocal improvisations in response to the natural sounds of the surrounding environment. (2021)</image:caption>
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      <image:title>Work - Unstuckness Practice: a sound film</image:title>
      <image:caption>Director: Sharon Chohi Kim and Jennifer Bewerse Composer, Sound Engineer, Performer: Sharon Chohi Kim Produced by Music For Your Inbox Director of Photography: Jennifer Bewerse Unstuckness Practice is a sound film that traces a visceral journey of returning to the body and voice after years of numbness. Through layered sound and image, it explores what it means to move through trauma—not toward resolution, but toward sensation, presence, and resonance. This sound film was paired with mail art “HEATWAVE” by artist Hellen Jo.</image:caption>
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      <image:title>Work - The Sea Monster</image:title>
      <image:caption>The Sea Monster was an installation and performance art piece in Museum of Latin American Art, and an extension of Long Beach Opera’s production of Handel’s Giustino in 2022. I used a hydrophone, contact mics, wine glass and hair dryer for the soundscape. Directed by James Darrah and Raviv Ullman Design by Adam Rigg, Kate Campbell, Pablo Santiago-Brandwein and Mike Rathbun Sounds and Improvisation by Sharon Chohi Kim</image:caption>
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      <image:caption>October 26th, 2024 at MoCA Geffen Warehouse Created, Composed, Directed and Choreographed by Sharon Chohi Kim Movement Direction by Chantael Duke Performers: Mikaela Elson, Sara Sinclair Gomez, Sharon Chohi Kim, Kathryn Shuman Fiber is a performance of vocal textures and choreographed gestures that traces the threads of communication between animals, plants, water, and land. Rooted in play, listening, and mutual dependence, the work explores nonhuman sentience—how whales speak, how forests grieve, how dogs tremble—decentering the human and offering a quiet, embodied sense of belonging within Earth’s living systems. Each part—Channels, We’ve Just Discovered Whales Have Language, Pando Forest Mourns, Earth Quakes, Dogs Shake, Waterbodies, and We Are—invites the audience to consider how we might move, sound, and feel with the more-than-human world.</image:caption>
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      <image:title>Work - Nothing Here Is Entirely Foreign</image:title>
      <image:caption>June 6th, 2025 at Oracle Egg Creation, Installation and Performance by Chantael Takeuchi and Sharon Chohi Kim Nothing Here is Entirely Foreign is a performance of ceremony, movement and sound centered on the persimmon. Drawing from matrilineal stories and inherited gestures, the piece traces the quiet transmissions of culture through food, language, and care. Rooted in Korean and Japanese familial histories, it explores how ancestral memory lives in the body, what ripens across generations, and the sensual, corporeal rituals of everyday life. The performance weaves personal and collective memory, offering a tender meditation on diaspora, intimacy, and the sensory imprint of love passed down.</image:caption>
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      <image:title>Work - GYOPO x LA Phil Insight Diasporic Refractions</image:title>
      <image:caption>June 8th 2025 at Walt Disney Concert Hall Garden “Vault” Composition, Performance and Costume by Sharon Chohi Kim Vault is a musical performance that investigates the concert hall as both site and symbol. Drawing on themes of cultural dissonance and fractured musical identity, the piece enacts a physical and sonic deconstruction: a fragment of the Walt Disney Concert Hall is metaphorically “peeled” from the architecture, then shaken, struck, and scraped. What emerges is a collision of noise and beauty—a raw, embodied composition that questions what it means to belong, perform, and resonate within institutional space.</image:caption>
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      <image:title>Work - Paayme Paxaayt</image:title>
      <image:caption>March 22nd, 2025 Performed at sunset on the banks of the Los Angeles River, this piece engaged the river as an active collaborator. Instruments were submerged in the flowing water, allowing the river’s movement to physically "play" them. Using hydrophones, I amplified both the river’s natural sounds and the resonances of a metal bowl filled with its water, creating a layered sonic landscape. Vocalizations and costume design were inspired by the Great Blue Heron—an iconic and recurring presence along the L.A. River—and by elements of Korean shamanism. The performance was co-produced by Living Earth, Nina Sarnelle, Black Cube Nomadic Museum, and Spectra Studio.</image:caption>
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      <image:title>Work - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Work - HOPE IS A HAMMER</image:title>
      <image:caption>January 4th, 2023 at Human Resources Los Angeles Directed by Sharon Chohi Kim and Elana Mann Sculptures by Elana Mann Compositions by Sharon Chohi Kim, Corey Fogel and adrienne maree brown Choreography by Stephanie Zalatel Costumes by Jill Spector Performers: Erin Barnes, Cory Beers, Mikaela Elson, Corey Fogel, Sara Sinclair Gomez, Christopher Hadley, Sharon Chohi Kim, Divya Maus, Carol Ockman, Molly Pease, Kathryn Shuman Hope is a Hammer is an interdisciplinary performance piece with sound, sculpture, text and movement. This piece was in collaboration with artist Elana Mann’s sonic sculptures and was performed at Human Resources Los Angeles. The piece confronts the silencing of women’s voices and the struggle body sovereignty in both the U.S. and abroad.</image:caption>
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      <image:title>Work - "We Might Appear As Forest Fires"</image:title>
      <image:caption>May 2023 with Berggruen Institute "To a forest," Mannon said, "we might appear as forest fires. Hurricanes. Dangers. What moves quickly is dangerous, to a plant. The rootless would be alien, terrible.” — “Vaster than Empires,” Ursula K. Le Guin, 1971 “We Might Appear as Forest Fires” is an ecstatic performance that combines opera, electronic sound, and dance that took place at the Beverly Estate in Los Angeles, California. The dancers used the environment—the pool, the forest, and even the audience—to invigorate and inform their movements under a violet twilight and tangled, lush canopy. “We Might Appear as Forest Fires” was the culmination of the project Vaster than Empires, a science and speculative fiction Writer’s Workshop, that explored the concept of collective intelligence. The performers embodied this theme. Curator: Alice Scope Director: George R. Miller Composer, Vocalist, Performer: Sharon Chohi Kim Composer, Performer: ARSWAIN (Freddy Avis) Dancer-Choreographer: Layne Paradis Willis Dancer: Mike Tyus Costume Designer: Julio Cesar Delgato</image:caption>
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      <image:title>Work - Distance Duet: a de-creation myth and dance opera</image:title>
      <image:caption>March 8, 2025 at the Los Angeles Central Library Presented by LA Phil Insight Distance Duet is a selection of Carolyn Pennypacker Riggs’s work-in-process operatic epic. Non-human narrators - stones, a river, wind, desert grasses, fire - operate in vastly different timescales while acting out a rock-paper-scissors-inspired circle of longing. Their stories unfold over eons, simultaneously, in cycles that repeat, permutate and evolve over the course of the performance. Stones recall their shifts and splits, water floods and recedes, the desert grasses evolve, the wind wants to touch everything.  Originally conceived at High Desert Test Sites in Joshua Tree, these “duets” are expansive interactions across space and time, not limited to a single moment, melody, nor confined to a single location. Every act is a duet, every action is interrelated, in spite of our perceived separation. Composed/directed by Carolyn Pennypacker Adapted movement by Ryan Heffington and Caroline Partamian Additional Sound Design by Michael Hilger Costumes by Carolyn Pennypacker Riggs and Bonita Knight, Ryan Heffington, 69 us, Meals, 323 Performers: Janai Amey, Rachel Beetz, Jess Basta Arlene Deradoorian, Lucia Joyce, Sharon Chohi Kim, OBSIDIENNE OBSURB, Taylor Plenn, Kathryn Shuman, Yiwen Tang, Carolyn Pennypacker Riggs, Community Chorus and High Desert Choir</image:caption>
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      <image:title>Work - Heal Hear Here by Freewaves</image:title>
      <image:caption>Saturday May 20, 2023 at LA State Historic Park The event began with a collaborative performance by Tina Calderon, Lazaro Arvizu Jr., and Sharon Chohi Kim, acknowledging the history of the land and honoring its ancestral presence. The day concluded with a solo performance by Kim, opening with vocalizations that echoed natural sounds and animal calls to invoke the living environment of the park. Balancing a jug of water on her head, she carried it as both offering and symbol of life’s sustaining force. The water was poured into an amplified metal bowl and “played” as an instrument, drawing out its resonances in dialogue with the voice. The performance closed by returning the water to the ground, evoking cycles of reciprocity and renewal, and reminding us that water and land are not only carriers of our voices and stories, but also vital collaborators in their transmission. These performances were supported by Fulcrum Arts Heal Hear Here is a reparative afternoon of collective care in nature to help provide our communities with healing art practices to begin to recover from years of isolation, fatigue, injustice, and hardship. 30 artist groups selected by 30 organizations featuring music, processions, movement, sound, and workshops.</image:caption>
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      <image:title>Work - CONTROL + F</image:title>
      <image:caption>July 2025 in West Hollywood with Art in Odd Places Performers: Caroline Blaike, Sharon Chohi Kim, Elana Mann "Control + F" is a performance by Sharon Chohi Kim and Elana Mann that fuses sonic sculpture and voice. The work amplifies tensions around freedom of speech, the dissonances of communication, and the attempted silencing of voices. Kim moves and sings in relation to Mann’s Call to Arms sculpture, wearing a flowing robe printed with nonsensical letters that symbolize the fragmentation and distortion of language. The performance unfolds as a trio: Kim vocalizes a list of words banned by the current presidential administration—reportedly identified and punished through the “command F” keyboard shortcut—while Caroline Blaike translates the forbidden words into ASL, and Mann enacts the role of active listener through her sculptural instrument. Together, the three performers expose the fragility of language, the politics of listening, and the embodied struggle for expression.</image:caption>
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      <image:title>Work - Someday, One Day, Some Say</image:title>
      <image:caption>October 7th, 2023 at UCSD Mandeville Art Gallery Composition and Direction by Sharon Chohi Kim Sculpture and Text by Elana Mann Performed by SD New Verbal Workshop Someday, One Day, Some Say is a performance weaving voice and sonic sculpture into a resonant call for collective strength. Rooted in text that envisions the uniting of voices as both peaceful and powerful, the work embodies a rallying force for body autonomy and gender freedom—transforming sound into a site of resistance, liberation, and shared possibility.</image:caption>
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      <image:title>Work - Soft Monuments</image:title>
      <image:caption>August 2025 at Maple St. Construct in Omaha, Nebraska This exhibition, a collaboration with Nick McPhail, gathers three works in conversation around memory, impermanence, and the unseen structures that hold personal and collective experience.  Ginkgo Materials: Vellum paper, wire This suspended figure, made from hundreds of hand-cut ginkgo leaves, takes the shape of a woman. Set in motion by fans, she rustles gently, like breath, or a whisper through ancient trees. In Korean folklore, a ginkgo once grew from a heartbroken woman’s tears. Its extraordinary longevity and resilience, even surviving the atomic blast in Hiroshima, have made it a symbol of rebirth, endurance, and memory. The piece offers a quiet response to a painful truth: South Korea has the highest rate of women’s suicides in the world. Each leaf is a trace, each movement a memory. The ginkgo, a living fossil and silent witness, carries grief in its rings and whispers of healing across time and air. Video Installation: I performed with the ginkgo figure at the Tempietto in Little Italy, breathing with it, listening to its whispers. I held fans to its body and whispered a poem written long ago by a 16th century Korean poet Heo Nanseolheon – her words speaking to the quiet burdens of being a woman in her time.</image:caption>
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      <image:title>Work - Make it stand out</image:title>
      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:title>Work - Murmurations</image:title>
      <image:caption>September 12th, 2025 at REDCAT Creator, Composer, Performer, Co-Choreographer: Sharon Chohi Kim Film and Video Projection: Jennifer Bewerse Collaborative Choreographer: Stephanie Zaletel Performers: Sara Sinclair Gomez, Molly Pease, Kathryn Shuman  Murmurations — both spontaneous flocks of starlings and the hum of continuous sounds. Drawing on the intelligence of decentralized and adaptive systems in nature, this performance is a meditation on shape-shifting and collective intelligence. Bodies resonate in responsive negotiation of sound and movement, while layered film and video evoke the textures and behaviors of organic systems. Live soaring vocals mix with electronics and choreography, blurring sound, body, and imagery.</image:caption>
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      <image:title>Work - Pando Forest</image:title>
      <image:caption>October 24th, 2025 at Ford Theatre Inspired by the Pando aspen colony, the “Trembling Giant”, Pando Forest envisions a living body made of many bodies, all breathing through one root system. In this voice-and-movement work, the forest grieves as a chorus: each tree sensing the others’ sorrow, each one offering its own strength back into the network. Each “tree” becomes both an individual and a conduit, passing grief and resilience throughout the whole. Composed by Sharon Chohi Kim for HEX, as a part of DIRECT ADDRESS: theater as discourse. It is a celebration of the First Amendment and an experiment in making art out of the present tense. Produced by The Ford and Cornerstone Theatre Company Performed by Molly Pease, Chloe Vaught, Saunder Choi, Fahad Siadat and James Hayden</image:caption>
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      <image:title>Work - Speak Again</image:title>
      <image:caption>December 2025 at Los Angeles Municipal Art Gallery Performers-Composers of HEX — Chloe Maliav, Saunder Choi, Fahad Siadat, James Hayden, Molly Pease, Sharon Chohi Kim Sculptures: Elana Mann Direction: Sharon Chohi Kim This program moves along the shifting edges of hearing, listening, and speaking, and how sound gathers in the body before it becomes language. Across the pieces, calls and gestures explore the ways we reach toward one another: how voices overlap, guide, interrupt, or steady us; how meaning forms, dissolves, or drifts; how listening can be an opening and a deepening. The works live in the thresholds where inner noise meets communal resonance and where ritual becomes a way of sensing. Throughout, the experience of those who are hard of hearing and the devices through which they hear offers a vital lens, reminding us that listening is never singular. It is tactile, relational, and shaped by the ways each body gathers and shapes sound.</image:caption>
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      <image:caption>January 4th, 2023 at Human Resources Los Angeles Directed by Sharon Chohi Kim and Elana Mann Sculptures by Elana Mann Compositions by Sharon Chohi Kim, Corey Fogel and adrienne maree brown Choreography by Stephanie Zalatel Costumes by Jill Spector Performers: Erin Barnes, Cory Beers, Mikaela Elson, Corey Fogel, Sara Sinclair Gomez, Christopher Hadley, Sharon Chohi Kim, Divya Maus, Carol Ockman, Molly Pease, Kathryn Shuman Hope is a Hammer is an interdisciplinary performance piece with sound, sculpture, text and movement. This piece was in collaboration with artist Elana Mann’s sonic sculptures and was performed at Human Resources Los Angeles. The piece confronts the silencing of women’s voices and the struggle body sovereignty in both the U.S. and abroad.</image:caption>
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      <image:title>Speak Again (2025) - Speak Again</image:title>
      <image:caption>December 13th, 2025 at LA Municipal Art Gallery Composer-Performers: Chloe Maliav, James Hayden, Saunder Choi, Sharon Chohi Kim, Molly Pease, Fahad Siadat Sculptures and Text: Elana Mann Direction: Sharon Chohi Kim  Speak Again moves along the shifting edges of hearing, listening, and speaking, and how sound gathers in the body before it becomes language. Across the pieces, calls and gestures explore the ways we reach toward one another: how voices overlap, guide, interrupt, or steady us; how meaning forms, dissolves, or drifts; how listening can be an opening and a deepening. The works live in the thresholds where inner noise meets communal resonance and where ritual becomes a way of sensing. Throughout, the experience of those who are hard of hearing and the devices through which they hear offers a vital lens, reminding us that listening is never singular. It is tactile, relational, and shaped by the ways each body gathers and shapes sound. —Kim This performance was a part of Too Fast To Sing curated by Hugo Cervantes.</image:caption>
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