Raven Chacon’s Silent Choir unfolds not in a concert hall but in the open air, where bodies themselves become the score. First performed at the Oceti Sakowin camp, near Standing Rock Indian Reservation in North Dakota during the 2016–17 No Dakota Access Pipeline (NoDAPL) resistance protests in Washington, D.C., the piece instructed its participants to stand together and remain silent. No instruments, no amplification — only the charged quiet of presence. Chacon transforms silence into insurgency. In his work, silence is not absence but occupation: a deliberate refusal to be drowned out by the machinery of state, obliteration, and capital.