There’s a story about several blind men who are asked to describe what an elephant looks like. Each man touches a different part, like the trunk, ears, tail, and feet. While each man’s description is vastly different, they are describing the same animal. In Sound Spring, Catalina Alvarez takes a similar approach to uncovering the history of her new hometown, Yellow Springs, Ohio.
Filmmaker/educator Alvarez interviews her subjects, chosen to cover a broad demographic spectrum, and then lets them tell their stories of Yellow Springs.
Karen McKee shares her family’s long history in Yellow Springs, describing it as a peaceful haven after the abolition of slavery. Her father served as police chief during the 1964 civil rights demonstrations in town. Rose Pelzl, the rollerblading meter reader, reflects on the decline of Antioch College as she skates through town. Her family had lived there for several generations, Rose illustrates the tension between Yellow Springs’ idealistic past and its uncertain present.
Charles Arthur Williams performs a breakdancing freeze while recounting frustrations with Antioch College’s administration. He is accompanied by Shane Creepingbear, who, through rap, describes his experiences with racism as a Native American student. Their performances overlap, highlighting resilience and identity within the community.
“…ties the town’s everyday life to its broader artistic and historical roots…”
Talon Silverhorn, introduced earlier as a photographer, becomes a symbolic presence by the film’s end. Ann Bohlen discusses her efforts helping those in need, and Rukiya Robertson, the artist first seen at the unicycle shop, ties the town’s everyday life to its broader artistic and historical roots.
The best way to describe Sound Spring is as an inventive and experimental journey. Alvarez conducted in-depth interviews with twelve residents she connected with. As a teacher at Antioch College, she used her experiences in psychoanalysis and training in active listening to capture the authentic, imperfect way people naturally recall their memories. Alvarez then asked participants to re-stage their original recorded words, overlaying their real voices with the recordings. This takes some getting used to. Alvarez’s philosophy centers on embracing uncertainty, layering time, memory, and performance to create a living, breathing portrait of the village’s collective history.
The participants’ stories in Sound Spring speak to the racial history of Yellow Springs. Once considered a safe haven for the families of freed slaves, the college served as a focal point for civil rights demonstrations. Many spoke of a once conservative town that now focuses on themes of community.
I personally like the film’s reflective storytelling. The participants are more than willing to embrace the project and see what comes of it. Though the disjointed nature of the storytelling is inherent in the project, the process and final product are fascinating to behold.
Catalina Alvarez’s experimental portrait of Yellow Springs doesn’t just recount history; Sound Spring reimagines and honors the art of storytelling. If you’re ready to trade the polished nostalgia of traditional documentaries for the messy truth of a living, breathing community, Sound Spring is an unforgettable listen to the heartbeat of a town.
"…embracing uncertainty, layering time, memory, and performance..."
