Abstract This essay explores how the musical practices of four contemporary Latin American sound artists – Mar Alzamora, Pablo Bas, Ana Rodriguez and Eufrasio Prates – engage with ecological crises and socio-environmental issues. Focusing on the region’s biodiversity and colonial histories, we combined a critical literature review with the analysis of works involving soundwalks, electroacoustic compositions, free improvisation and real-time synthesis. These practices incorporate environmental sound, oral memory and situated listening to construct eco-sonic narratives critical of colonial legacies. Rather than aiming to highlight artistic innovation, the essay investigates how these works contribute to an expanded understanding of Latin American sound/landscapes within environmental sound art. Through the examination of aesthetic, technological and political strategies, we identified principles such as relational listening, spatial immersion and collective creation as central to these practices. Our findings contribute to discussions on art as a mode of knowledge, showing how sonic approaches can question dominant narratives, reshape perceptions of place and foster ecological awareness.
Neto et al. (2026) studied this question.