Diana A. Chesterdianachester.com/wp-content/uploads/2017/11/... · Theyyam exhibition and research. I would also like to thank Dr. Michele Bambling for asking me to participate in

CreativeResponse-ANewLookatArchiving:TheRoleArtistsPlayinDevelopingCreativeResponsefromField

RecordingsofEthnographicResearch

DianaA.Chester

Adissertationsubmittedinpartialfulfillment

oftherequirementsofthedegreeof

DoctorofPhilosophy

inDigitalMedia–FacultyofEngineering,UniversityofPorto

Dr.RuiPenha

December2016

ii

Copyright©2016byDianaChester

iii

I. Abstract

InthisworkIquerytraditionalethnographicapproachestothe

preservationofheritageandculturewherebyanethnographerentersa

communitytocarryoutresearch,thusrunningtheriskoffolklorizingparticular

culturalpractices.Academicdocumentationofacommunity,whileofcourse

valuable,maytendtoisolatecertainpractices,freezearchivaldocumentationin

time,andmissthenaturalandvitalevolutionofheritagethatchanges

organicallyovertime.Iarguethatinsteadofenteringacommunitysolelyasan

“expert”intentoncollectingandrecordingdata,ethnographersshouldalso

considerthevalueofobservinghowatargetcommunity,increativedialogue

withtheethnographer,choosestoengagewithculturalmaterialandpracticesin

acontemporaryanddynamicway.

Thus,theresearchandmaterialofculturalheritagegatheredforan

archiveincludesnotonlytraditionaldocumentationofculturalpracticesbutalso

thewaythecommunitychoosestorepresenttheirpracticestothoseoutsidethe

community,throughtheprocessofcreativeresponse.Inthisway,

ethnographersandartistscanworkwithtargetcommunitiestocreateatypeof

preservationthatacknowledgesnuanceddetailsofthecommunity,their

interactions,intergenerationaldynamics,andtheimpactoftheevolutionofthe

communityinthecontextofthechanginglandscapeandclimateoftheworld

aroundit.Thisapproachtoethnographicresearchanddocumentationmoves

awayfromtraditionalobservation-basedpreservationandtowardanapproach

thatengagesacommunityintheirownpreservation.

iv

SpecificallyIaminterestedintheemergingareaofdigitalmediastudies,

andtherelationshipbetweensoundstudies,archiving,anddigitalethnography.

Iexploretheseparationbetweenpracticeandtheoryintheacademy,and

proposeaparadigmthatpresumesthereisabenefitfromunifyingthesetwo

areas.Throughtheexplorationofnewapproachestoarchivingrootedin

emergingformsofcommunicationandexpressionthroughdigitalmedia—a

practicecriticaltoscholarlyresearch—Iconsiderthevalueofincludinginthe

archiveacreativehumanresponsetoculturalheritage,whichisrootedinthe

transformationofculturalartifactsandmaterials.Finally,Idiscusswaysin

whichcreativeresponsecanbuilduponandcontributetoadiscourseindigital

mediastudies—aframeworkthatattemptstomediatetheintersectionalityof

ethnographyandsoundstudieswhileconsideringthepossiblecontributionsto

thearchive,activism,andcollaborationthatstemfromthishybridresearch.

v

II. Resumo

Estetrabalhoquestionaatradicionalabordagemetnográficanasua

missãodepreservaçãodopatrimóniocultural,emparticularquantoaopapeldo

etnógrafo,dasuarelaçãocomacomunidadequeestudaeoriscodefolclorização

dealgumaspráticasculturais.Oformatoacadémicotradicionaldedocumentação

daspráticasculturaisdeumacomunidadepode,nãoobstanteoseuvalor,tender

aisolarestaspráticasnumperíodolimitadodetempo,cristalizando-ase

perdendoocontactocomasuanaturalevoluçãoaolongodotempo.Propomos

queaobservaçãodomodocomoumacomunidadeescolheinteragircom

materiaisepráticasculturaisdeumaformadinâmicaeemdiálogocriativocomo

etnógrafopoderáacrescentarvaloraomaterialrecolhidofaceàsimplesentrada

destenacomunidadecomoumespecialistainteressadoemrecolhere

interpretardados.

Destemodo,apesquisaeosdadosdopatrimónioculturalreunidosparao

arquivoincluemnãoapenasadocumentaçãotradicionaldepráticasculturais,

mastambémaformacomoacomunidadeescolherepresentarassuaspráticas

paraalguémdeforadacomunidade,atravésdoquechamamosdeprocessode

respostacriativa.Osetnógrafoseartistaspodemassimtrabalharcomas

comunidades-alvoparacriarumtipodepreservaçãoqueincluidetalhessobrea

comunidade,assuasinterações,adinâmicaintergeracionaleoimpactoda

evoluçãodocontextoeclimaemtornodacomunidade.Estaabordagemà

pesquisaedocumentaçãoetnográficaafasta-se,então,daobservaçãoerecolha

tradicionaisemdireçãoaumaabordagemqueenvolveacomunidadena

preservaçãodassuasprópriaspráticas.

vi

Estetrabalhoinsere-senaáreaemergentedosestudossobremedia

digitais,emparticularnarelaçãoentreasáreasdosestudossonoros,dos

arquivosedaetnografiadigital.Éexploradaaseparaçãoentreteoriaepráticana

academiaepropostoumparadigmaqueilustraobenefícionasuaunificação.

Atravésdaexploraçãodeumanovaabordagemaoarquivo,baseadaemformas

emergentesdecomunicaçãoeexpressãousandomediadigitais,éanalisadoo

valordeincluirnoarquivodeumapráticaculturalarespostacriativahumanaa

essaprática,fundadanatransformaçãodosmateriaiseartefactosculturais.Por

fim,édiscutidaaformacomoarespostacriativaserelacionaecontribuiparaos

estudossobremediadigitais,comoumapráticaquemedeiaainterseçãoentre

etnografiaeosestudossonoros,aomesmotempoemquepretendecontribuir

paraoarquivo,oativismoeacolaboraçãoqueemergemdestecampode

investigaçãohíbrido.

vii

III. Acknowledgments

Iwishtothankthosewhohavesupportedandencouragedmethroughout

thisproject.Imuststartwithaspecialthankyoutomyadviser,Dr.RuiPenha

forhiskindness,insight,inspiration,andhumanguidancethroughthisprocess.

Ruitookmeonasalong-distanceadvisee,whichinitselfischallenging,andhas

beenamotivationalspiritthroughoutthisprocess.Itisbecauseofhisapproach

tomentorshipthatIhavebeenabletoremainpositivethroughoutthisprocess.

Thisresearchandresultingdissertationwouldnothavebeenpossible

withoutcollaborationswiththecommunitiesinwhichIhaveconducted

research.IwouldliketothankDhanarajKeezharaandhiswife,NishaRaj,for

theirkindness,support,andwonderfulcreativespiritsascollaboratorsonthe

Theyyamexhibitionandresearch.IwouldalsoliketothankDr.Michele

BamblingforaskingmetoparticipateintheLestWeForgetProjectandforher

unendingcollaborativespiritandgenerosity.Itisbecauseofhersupportand

encouragementthatIwasabletopartnerwithLestWeForget,workwitha

groupofamazingEmiratigirls,andconductresearchontheproject.Iwouldalso

liketorecognizethenumerouscommunitiesandindividualcollaboratorsaround

theworldwhohelpedcontributetothesoundmapproject,thoughtheyaretoo

manytonameheretheirwillingnesstorecordsoundsintheircommunitieshas

grownthisprojectinabeautifulway.

IwouldliketoacknowledgeallofmyProfessorsatFEUP,aswellasDr.

CarlosGuedes,ScottFitzgerald,andDr.IlanaWebster-Kogenfortheiracademic

support,withoutwhichIwouldnothavebeenabletocompletemycoursework

inatimelyfashion.

viii

IalsowanttoacknowledgeMarisaSilvaforhelpingtoushermethrough

andnavigatethesystemsandprocessesatFEUP,withoutwhichIwouldhave

beenlost,anddefaultedonmanypayments.

Iamparticularlyappreciativetothemembersofmyvivajurywhotookthe

timetoreadthroughmydissertation.ThisincludesDr.RuiPenha,Dr.António

Coelho,Dr.SarahWeiss,Dr.LindaO’Keeffe,andDr.HelenaRodrigues.Without

theirexpertiseandguidanceIwouldnothavetherareopportunitytodiscussmy

researchandfindingswithsuchadynamicgroupofexperts.

IwouldliketothankStephanieHopkinsandAnneCherryfortheir

invaluablefeedback,guidance,andeditingofmywork.

Mygreatestgratitudegoestomyfriendsandfamilyfortheirdailysupport.

SpecificallyIwouldliketothankcolleaguesandfriendsinAbuDhabiincluding

MaggieBavusowhoremindedmedailyoftheimportanceofcompletingthis

projectwhilecookingmedeliciousdinnersoften.Iwouldalsoliketorecognize

XeniaMarkowitt,Dr.MarionWrenn,Dr.MartinDaughtry,Dr.KatWilliams,and

Dr.KenNielson,whoseencouragementandexpertiseonhowtogetthroughthe

writingofadissertationeasedthepsychologicalintensityoftheprocess.

Iwanttothankmyfamily,CherylChester,MichaelChester,JaredChester,

DonaldFischer,MarieCanzoneri,andEmilyChesterfortheirloveandsupport.

AndImustacknowledgeDr.HeidiStalla,forherendlesscollaborative

spirit,motivation,kindnessandpartnership,throughouttheprocessof

envisioningandwritingthisdissertation.ItisbecauseofherthatIbelievedI

couldtacklesuchaprojectinthefirstplace.

ix

ThekeymethodologicalfactorinAnthonyDunne’sworkiswhatheterms‘prafunctionality,’orusingtheprocessofinventionasamodeofdiscourse.

(Dunne,2006)

TableofContents

I. Abstract..............................................................................................................................iiiII. Resumo.................................................................................................................................v

III.Acknowledgments..........................................................................................................vii

IV.ContentsoftheCD-ROM.............................................................................................xiiiV. ImageIndex..................................................................................................................xviii

VI.NotesonTerminology...................................................................................................xx1 Introduction........................................................................................................................1

1.1SectionOne:Introduction..............................................................................................21.1.1Approach................................................................................................................................21.1.2Motivation..............................................................................................................................61.1.3StatementoftheProblem................................................................................................81.1.4Goals......................................................................................................................................101.1.5CommentsonMyArtisticProcess............................................................................101.1.6OverviewoftheDissertation......................................................................................13

2 LiteratureReview..........................................................................................................16

2.1SectionOne:TheArchive............................................................................................172.1.1TheArchive.........................................................................................................................172.1.2ArtistsandtheArchive..................................................................................................212.1.3Activism................................................................................................................................29

2.2SectionTwo:DigitalMediaStudies.........................................................................342.2.1DigitalMediaArchiving.................................................................................................342.2.2SoundStudies....................................................................................................................362.2.3SoundArt.............................................................................................................................482.2.4ArtsResearch.....................................................................................................................57

2.3SectionThree:EthnographicResearch.................................................................632.3.1Ethnography.......................................................................................................................632.3.2DigitalEthnography........................................................................................................672.3.3Ethnomusicology..............................................................................................................722.3.4AppliedEthnomusicology............................................................................................75

3 Theyyam...........................................................................................................................79

3.1SectionOne:Introduction...........................................................................................803.1.1Introduction.......................................................................................................................80

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3.1.2 MyArtisticCollaborator............................................................................................803.1.3 Keezhara,India..............................................................................................................843.1.4 TheTheyyamFestival................................................................................................873.1.5 EmbodimentandCasteMarginalization............................................................92

3.2SectionTwo:MyPersonalJourney..........................................................................953.2.1TheStoryofMyJourney................................................................................................953.2.2 Keezhara’sGeography..............................................................................................1033.2.3 StructureoftheFestivalandImportantEvents............................................1033.2.4 PressCoverage............................................................................................................1173.2.5 RelevantImagesandSounds................................................................................118

3.3SectionThree:TheExhibition.................................................................................1233.3.1 EverydayLife:ARepertoireofRitualandPerformance...........................1233.3.2 CollectingMaterialsandFieldRecordings......................................................1263.3.3 TheCreativeProcess:DesigningtheSoundscape........................................1293.3.4 ListeningtotheComposition................................................................................1323.3.5 TheExhibitionOpeningCeremony....................................................................1363.3.6 ResponsestotheExhibit.........................................................................................138

3.4SectionFour:ChallengesandLimitations...........................................................1413.4.1 MyRoleasanObserverandCreativeResponder........................................1413.4.2 Limitations....................................................................................................................149

3.5SectionFive:Conclusion............................................................................................1503.5.1 Time,Place,andInfiniteConvergences............................................................150

4. LestWeForget..............................................................................................................157

4.1SectionOne:AnIntroduction..................................................................................1584.1.1 Introduction..................................................................................................................158

4.2SectionTwo:Context..................................................................................................1594.2.1 AbuDhabiandtheUAE...........................................................................................1594.2.2 MicheleBamblingandtheZayedUniversityStudents..............................1614.2.3 HowIBecameInvolvedwithLestWeForget................................................1654.2.4 LWFBeforeIBecameInvolved............................................................................1664.2.5 TheWarehouse421Exhibition...........................................................................170

4.3SectionThree:OriginalContributions.................................................................1734.3.1. TheWorkshops..........................................................................................................1734.3.2 CritiqueSessions........................................................................................................1764.3.3 DigitalMediaArchivingTools...............................................................................1824.3.4 ExhibitionTechnology.............................................................................................1834.3.5 AdditionalContributions........................................................................................185

4.4SectionFour:Discussion...........................................................................................187

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4.4.1 CrowdsourcingCulturalHeritage.......................................................................1874.4.2 GenderandRepresentation...................................................................................1914.4.3 LanguageandRepresentation..............................................................................1934.4.4 Censorship.....................................................................................................................1954.4.5 CreativeResponseandtheLivingArchive......................................................1984.4.6 EthicalResponsibilityandCollaboration........................................................200

4.5SectionFive:Conclusion............................................................................................2024.5.1 Activism..........................................................................................................................2024.5.2 TheArchive...................................................................................................................2034.5.3 PreservingCulturalPracticesandTraditions................................................205

5 SonicStoryboarding:TheCalltoPrayer..............................................................207

5.1SectionOne:Introduction.........................................................................................2085.1.1 Introduction..................................................................................................................2085.1.2 TheHistoryoftheAdhan........................................................................................2105.1.3 TheStoryBehindtheSonicStoryboardProject...........................................213

5.2SectionTwo:StorytellingPlaceandSpace..........................................................2155.2.1 TheStoryBehindtheSonicStoryboardProject...........................................2155.2.2 SoundMapping...........................................................................................................2165.2.3 CollaboratingwithCommunitiesAroundtheWorld..................................2195.2.4 EthicalConsiderations.............................................................................................220

5.3SectionThree:TheExhibition................................................................................2265.3.1 TheExhibition.............................................................................................................2265.3.2 Technology....................................................................................................................2285.3.3 AmbisonicRecording...............................................................................................2305.3.4 ArduinoandMax/MSP.............................................................................................2325.3.5 Interactivity,Reactivity,andParticipation.....................................................2335.3.6 Analytics.........................................................................................................................2365.3.7 Limitations....................................................................................................................243

5.4SectionFour:Conclusion...........................................................................................2465.4.1 Conclusion.....................................................................................................................246

6 Discussion......................................................................................................................251

6.1SectionOne:Introduction.........................................................................................2526.1.1 Introduction..................................................................................................................2526.1.2 IntergenerationalArchiveBuilding....................................................................2546.1.3 EthicalConsiderationsfortheOutsider-Insider...........................................2566.1.4 Listening.........................................................................................................................2586.1.5 CreativeResponseThroughHumanMediation............................................261

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6.1.6 CreativeResponseThroughTechnologicalMediation..............................2656.1.7 Conclusion.....................................................................................................................267

7 Conclusion:CreativeResponse...............................................................................272

7.1SectionOne:Conclusion............................................................................................2737.1.1 Summary........................................................................................................................2737.1.2 ImportantFindings....................................................................................................2747.1.3 OriginalContributionthroughthisThesis......................................................2817.1.4 FutureWork.................................................................................................................285

VII.References......................................................................................................................289AppendixA:RelatedPublications......................................................................................298AppendixB:TheyyamFestivalFieldNotes...................................................................299AppendixC:LestWeForgetWorkshopCurriculum..................................................312

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IV. ContentsoftheCD-ROM

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V. ImageIndex

Chapter3:TheyyamImage3.1 Page85 MapofIndiaImage3.2 Page86 MapofKeralaImage3.3 Page86 MapofKeezharaImage3.4 Page98 Dhanaraj’sChildhoodhomeinKeezharaImage3.5 Page98 TheroomwhereIstayedatDhanaraj’smother’shomeImage3.6 Page98 Thelivingroom/diningroomImage3.7 Page98 NishainthekitchenpreparingfoodImage3.8 Page103 SketchofKeezharaImage3.9 Page108 AburningbundleduringthefirstnightoftheTheyyamparadeImage3.10 Page112 TheBhagavathyTempleandassociatedgroundsImage3.11 Page112 ThottamperformanceImage3.12 Page114 MusiciansandeldersduringThottamImage3.13 Page115 ThottamritualImage3.14 Page115 CheenikkuzhalanddrummingduringeveningTheyyamImage3.15 Page117 ArticleinMalyalampaperonmyresearchinKeezharaImage3.16 Page120 Fireworksilluminatetheskyduringthefirstnightofthefestival.Image3.17 Page122 TempleMinderssmashingacoconutafterdailyThottamImage3.18 Page122 Theyyamartistpaintsthefaceofanotherartistinpreparationfor

performance.Image3.19 Page122 AlargepileofcoconutssitsinfrontoftwoTheyyamasanoffering.Image3.20 Page123 BasketindressingroomwithTheyyamcostumeitemsImage3.21 Page123 TheyyamperformerputtingonankleandfootjewelryImage3.22 Page126 PaintingbyDhanarajKeezharaImage3.23 Page126 MixedmediapiecebyDhanarajKeezharaImage3.24 Page132 TheexhibitionatIMAHallinKannurImage3.25 Page132 VisitorstotheexhibitionImage3.26 Page132 ComputerandsoundcardrunningProToolsforexhibitionImage3.27 Page132 VisitorlisteningcloselytospeakerImage3.28 Page137 ThecoconutpalmstructurebuiltbyTheyyamperformersforthe

openingceremonyoftheexhibitionImage3.29 Page138 TheTheyyamceremonyattheexhibitionopeningatIMAHallin

Kannur

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Chapter4:LestWeForget

Image4.1 Page165 ArtisticresponsescreatedbystudentstophotographstakenofthemselvesduringthedevelopmentoftheZayedUniversityexhibit

Image4.2 Page170 TheintroductionwalltotheWarehouse421exhibitionofLestWeForget

Image4.3 Page171 Page254oftheLestWeForgetbookImage4.4 Page172 Page298oftheLestWeForgetbookImage4.5 Page174 82photographsonthephototableintheLWF

ExhibitionatWarehouse421Image4.6 Page178 PhotosofsoundworkshopswithLWFinternsImage4.7 Page178 PhotosofsoundworkshopswithLWFinternsImage4.8 Page178 PhotosofsoundworkshopswithLWFinternsImage4.9 Page180 FamilyphotoofEmiratiboyinuniformImage4.10 Page181 FamilyphotoofEmiratiboywithairconditionerImage4.11

Page184 Log-inscreenofLestWeForgetExhibitionmobileapp

Image4.12 Page184 Photo#374writtenstoryandaudioonmobileappImage4.13 Page185 OldtelevisionondisplayingalleryatWarehouse421

Chapter5:SonicStoryboard

Image5.1 Page227 PingultrasonicsensorsandphotographsImage5.2 Page228 GalleryspacewithexposedcablingImage5.3 Page229 ScreenshotoftheMaxPatchfortheexhibitImage5.4 Page238 Mapshowingwherethesoundmapwebsitewas

accessedfrombetweenAugust18,2014,andDecember18,2015

Image5.5 Page240 MapshowingcountriesfromwhereusersaccessedtheprojectspagebetweenAugust18,2014,andDecember18,2015

Image5.6 Page241 MapshowingmomentsofinteractionwiththewebsitewhenusersaccessedtheprojectspagebetweenAugust18,2015,andDecember18,2015.

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VI. NotesonTerminology

ForthepurposesofthisdissertationIwillrefertothesoundfield

recordingsIhavecollectedthroughmyresearchasrecordingsoftraditional

sounds.Thelanguageoftraditionalsoundsisadaptedfromthe

ethnomusicologicalcategorizationoftraditionalmusic,whichisdistinctiveand

separatefromthedesignationsofbothfolkloremusicandworldmusic.As

LaurentAubertstates,“Numerouspeopleagreethattraditionalmusicgenresare

expressionsofidentitydistinctfromthe‘derivativeproducts,’whichare,for

example,theso-calledfolkloremusicorthosebelongingtothepresentworld

musicmovement”(Laurent,2007,p.16).Ihavechosentheterminology

“traditionalsounds”asanintentionaloffshootofthecategorizationoftraditional

music,inanattempttonameandconnecttwoimportantcharacteristicsofthe

resultingsoundsthatIwillbeusinginthedevelopmentofcreativework.First,I

amattemptingtoproperlycategorizethesoundsIhaverecordedandbelieve

theyarebestexplainedastraditionalmusic;however,inordertoremain

sensitivetoculturalvalueswithinthesetraditions,inparticularnotreferringto

theAdhan,thecalltoprayer,asmusical,Iwillrefertotheserecordingsas

traditionalsounds.Second,Irecognizeandwanttohonorthatthereare

commoncomponentsoftraditionalmusic,includingform,content,meansof

production,listeningconditions,socialandculturalcontext,andvalues,thatmay

becompromisedorchangedintheprocessofrecordingandartisticcreation

(During,1994).ForthisreasonIwillrefertotherecordingscapturedinthefield

asthoseoftraditionalsounds,andnottraditionalmusic,whileacknowledging

xxi

thatthetraditionalsoundsrecordedareinfactoftraditionalmusic,asper

Aubert’sdescription:

Ingeneral,musicfromthetraditionalrealm–anditisthesameforall

arts–isofremoteoriginandreliesondirect,essentiallyoral

transmissionofitsforms,techniquesandrepertoire.Thistransmission

canvaryconsiderablyinitsmethods,butisinitselftheguarantorof

authenticity,thelinkinanuninterruptedchainjoiningmastersand

disciplesthroughtime.Everyartistadaptsthereceivedinheritance,

developingandcalorizingitaccordingtopersonaltasteandcurrentstyle.

Notbeingasimpleimitator,theartististhelivingincarnationsof

tradition,aswellastitsdepositoryandguarantor.Theartistalsohasthe

dutytotransmitasmuchofitaspossible,toteachthefollowing

generation,includinghisorherownpersonalcontributions.(Laurent,

2007,p.19)

1

1 Introduction

2

1.IntroductionIwouldarguethatitistheartist’sunderstandingofthepotentialvalueof

“becomingness”throughculturalcapitalthatappliestothepresentmomenttoo.AshasbeenstatedbyDerrida,the‘vision’toseewhatneedstobearchivedisnowtheworkoftheartist/s:toanticipatethearchiveitself”(White,2013,p.55).

1.1 SectionOne:Introduction

1.1.1Approach

Istartwiththeassumptionthatanyexplorationofselfintheworldis

connectedtotheexplorationofthehumancondition;thatanindividual’s

personalexperiencecannotbeseenasisolatedfromcollectiveoruniversal

experience.Usingtheemotionalselftoexpressidentity,especiallyinrelationto

aspectsofmaterialculture,leadstoaprocessoflearningthatallowsfor

profoundintersubjectiveconnectionswiththeexperiencesofothers;inshort,

personalinteractionsareessentialtocomplexunderstandingsoftheworldat

large.

Currentlywehavecertainstandardsthatgovernethnographicresearch,

whichhelptoguidethewayacademicsinteractandengagewithcommunities,

cultures,andpeoplewhomtheyareresearching.Traditionally,theroleof

ethnographer,asIdiscussinthesecondchapter,hasbeenunderstoodasone

whoobserves,describes,anddocumentsculturalpracticesandartifactsfor

purposesofpreservation.Fieldworkistheobservationalcomponentof

ethnographicresearch,whichrequirestheresearchertomaintainextreme

objectivityinregardstothecommunitytheyareresearching,inordertoensure

theirobservationsanddocumentationareunbiased.(BarzandCooley,2008)

3

Someethnographershaveattemptedtoredefinetraditionalethnographic

standardstoencompasspartialsubjectivityoftheresearcher(Pinketal.,2016).

Oftenwhenacademicethnographersresearchacommunity,theybringto

theirresearchasenseofexpertiseandcloutgrantedthembytheacademy.The

artifactstheycollectandpreserveareoftenacombinationofwritten

observations,photographs,interviews,andartifacts.Theirwritten

documentationbecomesafolklorizationofacommunityoraculturalpractice.

Thisfolklorizationcomesaboutwhenanethnographersnotesand

documentationareseenastheexpertrepresentation,whichthentendstofreeze

thearchivaldocumentationofthatcommunityinthatwrittenobservation.One

outcomeoffolklorizationisastagnantvieworportrayalofacommunityor

traditionatthemomentofdocumentation,intheparticularwaythemomentis

captured.Thissnapshotbecomestheunderstandingofthecommunityor

tradition,unfortunatelyignoringtheevolutionofthecommunityovertime.

Thechallengeinherentinthistraditionalethnographicapproachisthat

trueobjectivityisarguablynotachievable.Thequestionis,canwetrulybe

objectiveaboutanything?Ourunderstandingoftheworldaroundisfiltered

throughourpersonallensandexperience.Inordertoaddressthisproblemin

ethnographicresearch,thisdissertationbuildsonthecurrentstandardsin

ethnographicpractice,whileoperatingundertheassumptionthataresearcher

cannothaveobjectiveviews.Byassumingthatobjectivityisnotachievableand

admittingthatyouaresubjective,onesolvesmuchoftheproblemofnotbeing

abletobeobjective.Conductingethnographicresearchfromasubjective

perspective—arguablyonethatallethnographershavehistoricallyfunctioned

fromifobjectivityisnotpossible—allowstheresearchertheabilitytointeract

4

withthecommunityinwaysthattraditionalethnographicstandardshavenot

supported.

Byengagingwiththecommunityandcedingopportunityforengagementto

thecommunity,theethnographerisnolongerfolklorizingorarchivingtheir

ethnographicresearch,rathertheyarecreatingatypeofpreservationthat

allowsfornuanceddetailsofthecommunity,theirinteractions,inter-

generationaldynamics,andtheimpactoftheevolutionofthecommunityinthe

contextofthechanginglandscapeandclimateoftheworldaroundit.This

approachtoethnographicresearchanddocumentationmovesawayfrom

traditionalobservation-basedpreservationandtowardanapproachthat

engagesacommunityintheirownpreservation.

AsIelaborateuponinChapter2,TheLiteratureReview,HarrisBergeris

notedwithdefining“ExpressiveCulture”inhisbookStance:IdeasaboutEmotion,

Style,andMeaningfortheStudyofExpressiveCulture,torefertoanytypeof

socialbehaviorwithanaestheticdimension.WhenIdiscussthecultural

traditionsandperformancesIcapturethroughfieldrecording,Iwillreferto

“sensitiveexpressiveculture”associalbehaviorwithanaestheticdimensionthat

isuniquelyattachedtoaparticularculturalheritagethatcanbecarelessly

appropriatedbyanoutsider.

Ibeganmyresearchbylookingatcreativeresponsestomaterialofsensitive

expressiveculturethatIhadcreated,eitherbymyselforcollaboratively,inthree

differentcasestudies.Ifirstappliedanethnographiclenstohelpmerecordand

documenttheculturalmaterial,suchastheTheyyamfestivalinIndia,and

positionmyselfasan“observer.”Ifocusedparticularlyonsound,outofthebelief

thatsoundgivesusaccesstoculturalandoraltraditionsandheritage,aswellas

5

theabilityforpeopletocurrentlyreflectonthatheritage.Soundisalsothe

compositionalmediumIchosetouseacrossallthreecasestudies.Inthecaseof

theTheyyamfestival,Icollaboratedwithavisualartisttocreateacreative

responsetothefestivalintheformofanexhibitthatmergedhisvisualartwith

mysoundscape,asanattempttocallattentiontocastehierarchiespresent

withinthefestival/culture.IntheLestWeForgetcasestudy,Iworkedwitha

vernacularphotographycollectionteamtocollect,document,andfacilitate

communitymember’screativeresponsetostoriesandoraltradition,toward

developinganarchiveoftheEmiraticommunity,andtosupporttheopeningof

anexhibitiononEmiraticulturalheritage.IntheSonicStoryboardproject,I

collectedrecordingsofthecalltoprayerfrommosquesaroundtheworld,and

createdawebbasedrepositoryfortheseadhans,aswellasdevelopedan

interactivesoundinstallation,positioningvisitorsasaugmentersoftheadhan,as

awayoflookingmorecloselyatIslamophobiathroughthenuanceoftheadhan.

Forthepurposesofthisdissertation,Ilookedbackateachoftheseinstances

ofcreativeresponseandasked,ineachcase:Whatdidthecreativeresponses

contributetothepreservationandsustainabilityofculturalheritage?Whatwere

someofthelimitationsandchallengesofusingcreativeresponse?Andfinally,

whatlarger“lessons”abouttherolecreativeresponsemightplayinthefutureof

archives,canIdrawfromthesecasestudies?

Myresearchexploreshowthedisciplinesofdigitalmedia,ethnographic

practice,andthearchivescanjoinalargerconversationaboutsustainingcultural

heritageforposterity.Iidentifywaysthatartworkdevelopedthroughcreative

responsetodocumentationofculturaltraditioncancaptureimportanttemporal

momentsinthecontextofthesociopoliticalframeworksinwhichtheyexist.The

6

fieldsofdigitalmedia,ethnography,andarchivalstudiescanworktogetherto

notonlypreservecertainaspectsofculturalheritage,butalsotosolidify

importantaspectsofaparticularsocietyandmakethemrelevantinthepresent

day.

Identifyinghowtotransformortranslateform,orreshapingtheformal

propertiesofcultureandheritageforgreaterunderstandingcanbeabasisfor

changingthewayweunderstandthingsthatareunknown.Exploringanew

culture,transformingmaterialfromthatculture,andpreservingtheresultofthis

explorationandtransformation(throughtheprogressivemediumsof

ethnography,artspractice,andarchiving)allowfornewandessentialmarkers

ofunderstanding.

1.1.2Motivation

Bywayofintroductiontothiswork,Ifeelitwillbehelpfultogivereaders

somebriefcontextualinformationaboutmymultidisciplinarybackground,my

experienceslivingindiversecultures,andthereasonsbehindmychoiceto

pursuedigitalmediaasthemediumofmyresearchandpractice.Myearly

trainingintheartsincludedmusic,photography,andtechnicaltheater.In

collegeandgraduateschool,Ioptedtousephotographyasamediumtoexplore

andanalyzekeyquestionsandideasthatinformedmyacademicresearch

includingaprojectthatexploredgenderidentitythroughwomen’scollegesin

theUS,andaprojectthatlookedatthesociologicalimplicationsofgender

socializationinschoolingenvironmentsinIndia.TheonlyruleIsetformyself

whenitcametomyprogressionthroughthestagesofhighereducationwasthat

eachnextstephadtoallowmetocontinuetoexpresscreativity.

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WhenIfinishedmymaster’sdegree,myfocusturnedtowardcreating

artworkinresponsetotheheritageofparticularcommunities.InDecember

2005,ImovedtoIndiaandconductedqualitativeresearchwithinasociological

theoreticalframeworkofteachersatBanasthaliVidyapith,theschoolinrural

WesternRajasthanwhereItaughtforonemonth.Theresearchconsidered

gendersocializationamongelementaryschoolagedchildrenandamongwomen

doingtheirBAandBSdegrees,aswellasthebehaviorandassumptionsof

graduatestudentsintheM.Edprogramstudyingtobeteachers.Ichoseto

expressthefindingsoftheresearchintheformofaphotographicexhibition.

Shortlythereafter,myacademicinterestsinreligiousstudiesmergedwithmy

artisticpracticethroughfieldrecordings.Imaderecordingsofdifferent

religiousfestivalsandrecitationsasawayofparsinginclinationsIhadaboutthe

sonicandmusicalrelationshipsbetweenvaryingreligioustraditions.Forthe

nextfewyearsIwouldcontinuetoexploreandcomparethesoundrecordingsof

variousfestivalsandmusicalreligioustraditionsthroughtheuseofrecording

toolsandsoftwareinnovations.

In2010,afterImovedtotheMiddleEast,myvisitstoIndiabecamemore

frequentduetoeasyaccessandproximity,andmypracticeofrecordingreligious

festivalscontinuedinIndiaandbeganintheUnitedArabEmirates,whereIlived.

Mycreativeandresearchinterestsfurtherexpandedtoincludeethnographic

practice,madepossiblebymysustainedinvolvementincommunitiesinboth

IndiaandtheMiddleEast.Mysonicfascinationwithreligioustraditionwas

quicklypiquedbythecalltoprayerthatwasnowapartofmydailysoundscape.

Thisbeganacurrentlyfive-year-long,ongoingproject,inwhichIrecordthe

adhan(calltoprayer)frommosquesaroundtheworld.

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Myartworkandscholarlyresearcharenowsolidlyfusedasapracticethat

reliesonethnographicresearchofreligioustraditions,soundstudiestechniques

forrecordingandcomposition,andarchivalconsiderationsfortheoutcomesof

thishybridwork.Mymultidisciplinaryapproachtomakingartandconducting

researchmanagestostaytruetothepromisemadebymyyoungerself;thateach

newstepshouldallowmetocontinuetoexpresscreativity.

1.1.3StatementoftheProblem

Myworkhighlightsandrespondstoanumberofchallengesthatareconnected

tothefollowingessentialquestions.

• Recognizingthatartistswhousesensitiveexpressivematerialfrom

culturesotherthantheirown,needtodealwithacceptanceissuesboth

withintheirownculturesoforiginaswellastheculturesfromwhich

sensitiveexpressivematerialisbeingborrowed,wemustask:Howandto

whatextentcansuchanartist,playaroleinthearchivalpreservationand

sustainabilityofculturalheritageandtradition?

• Whatisitthattheparticipantobservercanwitnessandcontributefroma

vantagepointthatisneitherfullyinsideaculturenorentirelyatan

“objective”distancefromit?

• Howcanwemakeanarchiveliving?

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• Whatisthevalueofengagingpeopleinartisticresponseaboutcultural

artifactsfromtheirowncommunityandwhyshouldartisticcreation

mattertothearchive?

Asanexplanatorynotetosomeoftheabove,Iusemyownartisticpractice

inthisdissertation,creatingworkfromfieldrecordingsIhavemadeofsensitive

expressiveculture,alongwithcollaborationsIhavehadwithartistsand

membersofdifferentcommunitieshighlightedinmyresearch,toexplorethis

essentialquestionfromtheperspectiveofaparticipantobserver.BythisImean

thatwithinmyresearchIambothanartist(participant)whoseworkisobserved

andwrittenabout,aswellasaresearcherwhowritesaboutotherartists’work

aswellasmyown(observer).Myresearchproposesthatartisticpracticecanbe

alensthroughwhichartistsinquireaboutculture,community,andheritage.

Throughtheirroleasobserversofcommunities,thatarenottheirown,artists

developpracticesthatservesasaformofanalysisofthatcommunity.This

analysisisimportanttodocumentandpreservebecauseitoffersinquirybased

explorationofaspectsofculturalheritage,thatareplacedinrelationshiptoone

anotherandthecommunity,throughcreativemeansinawaythatmay

otherwisebemissedoroverlookedbymoretraditionalacademicinquiry.

CertainchallengesIhavefacedinclude,negotiatingthevariedand

sometimesconflictingdisciplinaryrequirementsasaresultoftakingona

multidisciplinaryapproachtoresearch;articulatingtheneedforandlegitimacy

ofincludingcreativeresponsesinarchives;findingspaceforcreativityand

personalexpressionwhilevaluingethnography’semphasisonethics;andthe

incorporationofethicalpracticeinartisticpractice.

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1.1.4Goals

Myintentioninthisdissertationistoplacedigitalmediaartisticpracticesin

sound,ethnographicresearch,andarchivalstudies,inconversation—withthe

followingintendedoutcomes:1)Tofurtherexistingdiscourseaboutthe

intersectionsandpotentialforhybriddisciplinaritybetweenartisticpracticeand

ethnographicinquiry.Thisapproachconsiderstheethicsofsuchworkandhelps

toprovideawayforartiststocreateworkwhentheyareengagingwithmaterial

ofsensitiveexpressiveculture.2)Toconsiderhowthespecificroledigital

mediaartistsplayincontributingtoanddevelopingnewmaterialsforthe

archivehelpstopreserveandsustainspecificculturalheritageandtraditions.

1.1.5CommentsonMyArtisticProcess Inordertowritethisdissertation,Ihaveattemptedtoclearlyidentifyand

articulatethequestionIwantedtoask,andtheproblemsthathavedrivenmy

research.However,giventhemultidisciplinaryapproachtomyresearch,formal

methodshavebeendifficulttoidentify.HereIwilldiscusssomeoftheproblems

Ihaveencounteredwithregardtomethodologythroughouttheprocessof

researchingandwriting.

Fromtheonsetitbecameclearthatthemultidisciplinarynatureofmy

interests,questions,andresearchmadeitdifficulttoidentifyanysingle

methodologythatwasappropriateforthescopeoftheproject.Myresearch

raisedquestionsacrossthedisciplinesofdigitalmediastudies,ethnographic

studies,ethnomusicology,archivalstudies,andartisticpracticeandresearch.In

ordertofindmethodsthatallowedmetoanalyzeanddiscussmyresearchIhad

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toidentifythekeyareaswithineachdisciplinethatmyworktouchedon,aswell

asthepointswheretheseareasoverlappedwiththeotherdisciplines.This

allowedmetoidentifythecurrentrelevantresearchanditsrelationshiptomy

proposedareaofinquiry.Ifoundthatthereareanumberofscholarswhoare

currentlyworkingonresearchanddevelopingmethodsthatconnecttwoofthe

disciplinaryframeworkswithindigitalmedia,ethnographicresearch,andthe

archives.Idecidedtousethemostinnovativeandrelevantmethodsbeing

developedbythesescholarswithinmyresearch,asishighlightedinChapter2.

TheworksIreferenceincludeJussiParikka’s(2013)workinmediaarchaeology,

HalFoster’s(2004)workinbringingartintothearchives,JonathanSterne’s

(2012)andBrandonLabelle’s(2015)workonsoundculture,SaraPinketal’s

(2015)workindigitalethnography,andFlorianDomboisetal’s(2012)workon

artisticpracticeasresearch.Iapproachedthisresearchlargelyfromadigital

ethnographymethodology,whichlooksatethnographicpracticeinadigital

mediaarena,andincorporatedrelevantresearchfromthearchival,

musicological,anddigitalmediadomains(mediaarchaeology,soundstudies,and

appliedethnomusicology)tosupportmyresearchandsomeofthehybrid

conclusionsthatresulted.

WhenIbeganmyfieldresearch,Isawtheprocessofethnographic

researchasfairlystraightforward,andconsideredthefieldrecordingsImadeas

apartoftheresearch,aswellasmaterialIwoulduseinmyartisticpractice.

WhenIbegantheprocessofmakingartfromthosefieldrecordings,Irealized

thatmyartisticpracticeconsideredtheoriginofthefieldrecordingsas

importanttotheprocessofcreatingsoundscapeswiththem.Thesetwo

approaches—ethnographicresearchandartisticpractice—wereplacedin

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relationtooneanother,makingitnecessarytofindaframeworkforlookingat

thetwopiecesoftheprocesstogether,whichwasmoredifficult.Itbecame

necessarytolookoutsideandbeyondthefootholdsofindividualdisciplinesto

findthescholarswhoareboundarycrossersintheirownright.Suchwriting

doesexist,andservesasanimportantframeworkforhowtoplacedisciplines

withlimitedscholarlyoverlap,inconversationwithoneanother.Forexample,

DavidSamuelsetal.(2010)in“Soundscapes:TowardaSoundedAnthropology,”

writesabouttherelationshipbetweenanthropologyandsoundscapes:“Itisour

hopethatbytracingthegenealogiesandhistoriesoftheconceptofthe

soundscapewewillpromotesuchattentionandenableanthropologistsand

otherscholarsofculturetoengagethefullpotentialofsound—andinsound—

forthetheoreticalprojectofanthropology”(Samuelsetal.,2010,p.340).The

writersconsidertherelationshipbetweenthesoundscapeandanthropologyto

bemutuallybeneficial,wherebyafocusonsoundallowsanthropologiststo

consideranduncoverhistoricalrelevancethroughasoundedcontext;onethat

theymayhaveotherwiseandpreviouslyoverlooked.Theauthorsalsowrite

aboutthehistoricalrelationshipanthropologistshavewithsoundasatoolfor

research,particularlyintheformoffieldrecordingasonethathasoftenbeen

discreditedinitsvalue.

Thehermeneuticsofvaryingdisciplinesaredifferent;asaresultitcanbe

challengingtoseetheinterconnectednessofresearchanalyzedusingtwo

differenthermeneuticframeworks.Developingresearchprojectsthatare

multidisciplinaryfromtheoutsetnecessitatesagreementbetweenresearchers

fromdifferentdisciplinesabouthowtheywillcollectandanalyzetheir

findings—or,attheveryleast,negotiationbetweencollaboratorsthatservesto

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challengedifferentepistemologicalandhermeneuticapproachestoresearch.

Thisprocessmakesusalwaysreturntothebasicyetfundamentalquestion

essentialtogoodresearchpracticesandoutcomes:Whatistheimportanceof

thisresearch,andwhy?

Similarly,amultidisciplinaryapproachisalsocriticaltothedevelopmentof

newepistemologies.Manydisciplinarysubfieldsaretheoreticallyrelatedto

theirparentdisciplines,thoughtheymaydeviateslightly;forexample,

ethnomusicologyasadisciplinegrewoutofanthropologyand,toaslightly

differentdegree,appliedethnomusicology,whichwascreatedasasubfieldof

ethnomusicology.Consideringthetheoreticalframeworksofindividual

disciplinesinrelationshiptooneanotherallowsforarobustanddynamic

dialogueabouttheinterconnectednatureofdifferenttheoriesofknowledgethat

couldresultinthedevelopmentofacompletelynewtheoryofknowledgethat

otherwisemightnothavebeenconsidered.

1.1.6OverviewoftheDissertation

Thisdissertationisorganizedinthreemainparts,firsttheproposed

questionandideasthatfueledthiswork,theintroductionandoverviewofthe

stateoftheart,whichisfollowedbytheresearchIhaveconductedtoexplore

thesequestionsandpostulateideas,thesearethethreecasestudieswhichI

drawfrom,andthethirdsectionisadiscussionofwhythesecasestudiesarein

conversationwithoneanotherandtheoutcomesandconclusionsIdrawfrom

thisresearch.

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Chapter1isanintroductiontotheoriginsofthisproject,whereitcame

fromandsomeofthekeyquestionsandideasthatdrovetheresultingresearch

andanalysis.

Chapter2reviewstheliteratureandresearchthatisrelevanttothisthesis

bygoingintogreatdepthinthreefieldsofinquirythatinformthetheoretical

frameworkofthedissertation.Thethreefieldsaredigitalmediastudies,

ethnographicstudiesasseenthroughethnomusicologyandapplied

ethnomusicology,andarchivalstudies,includingmediaarchaeology.Iwilllook

atseminaltextsandscholarsintheseareastoprovideafoundationandcritical

entrypointformymainideasandarguments.Ialsotaketheopportunityto

reflectonhowsomeofmyideasarerelatedtoandbuiltfromideasproposedby

scholarsinthesefields.

Chapters3,4,and5willcoverthreecasestudiesthatserveasthe

foundationofmyresearch.Chapter3isanin-depthethnographicstudyofthe

TheyyamfestivalinthevillageofKeezharainNorthernKerala,India.This

chapterprovidesdeepethnographicobservationofthefestivalandthe

community,focusingontheartisticcollaborationIhavewithartistDhanaraj

Keezharaandtheexhibitionwecreatedfromdocumentationofthefestival,

entitledEverydayLife.

Chapter4isacasestudyofLestWeForget,anEmirativernacular

photographycollectiondevelopedbyuniversitystudentsandtheirprofessorin

AbuDhabi,UnitedArabEmirates.Thechapterprovidesanethnographicaccount

ofthecollectionandassociatedexhibitionsdevelopedbythestudentsandthe

Emiraticommunity,throughintergenerationaldialogueandartisticresponse.I

specificallylookattheprojectthroughthelensoforalhistoryworkshopsI

15

conductedwiththestudents,lookingatwaystheycanbegintoincorporatethe

storiessharedwiththembytheirparentsandgrandparents,intoanartistic

exhibitionthatisusedtocommunicatethefindingsofthecollectionof

vernacularphotographs.

Chapter5looksatthethirdcasestudy,SonicStoryboard:TheCallto

Prayer,anexplorationoftheprocessofcollectingfieldrecordingsofthecallto

prayerfrommosquesaroundtheworld,andthewaytheserecordingswereused

todevelopaninteractivesoundinstallation,aswellasaweb-basedsoundmap

viewerscannavigatetolistentothecalltoprayerfromdifferentplacesaround

theworld.

Chapter6istheDiscussionsection,inwhichthethreecasestudiesare

placedinconversationwithoneanotherandwiththetheoreticalframeworks

fromthedisciplinesfromwherethisresearchisderived.TheDiscussionsection

bothasksandanswersquestionsaboutwhythesethingsareinconversation

withoneanother,whytheymattertooneanother,andwhythisworkmatters

morebroadlyasanimportantscholarlycontribution.

Finally,Chapter7servesasaconclusionandwillbeanoverviewofwhyI

havechosentoconductthisresearchandthekeyoutcomes,aswellasthe

originalcontributionthisworkmakestothefieldsofartisticscholarshipand

ethnographicresearch.HereIalsoprovideguidelinesforfurtherstudy.

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2 LiteratureReview

17

2.LiteratureReview

2.1SectionOne:TheArchive

2.1.1TheArchive

“[T]hequestionofthearchiveisnot,werepeat,aquestionofthepast.Itisnotthequestionofaconceptdealingwiththepastthatmight already be at our disposal or not at our disposal, anarchivableconceptofthearchive. It isaquestionofthefuture,thequestion of the future itself, the question of a response, of apromise andof a responsibility for tomorrow.The archive: ifwewant to know what that will have meant, we will only know intimestocome.” —JacquesDerrida(1995,p.36)

Onefundamentalquestionraisedbythisdissertationis:howandtowhat

extentcanartistsplayaroleinpreservingandsustainingculturalheritageand

tradition?Toapproachthisquestion,Iwillconsiderthedisciplinesofarchival

studies,ethnography,anddigitalmedia,asthesethreeareasareheavily

interconnectedinmyresearch,andnecessarytoexploreinordertoconsiderthe

questionsposedwithin.Tobegin,letuslookatthepassageabove,takenfrom

JacquesDerrida’sArchiveFever:AFreudianImpression(1995),inwhichhe

considersthequestionofthearchive.Derridaarguesthatthequestionofthe

archiveisaquestionofthefuture,ratherthanoneofthepresent,andalsoa

questionaboutthemeaningofthearchive,whichhearguescanonlybe

ascertainedinthefuture,whenpeoplelookbackonthatwhichhasbeen

archivedwithaneyethatcanseewhatthearchivecametomean.Derrida

arguesthatthequestionofthearchiveisalsoaquestionofourresponsibilityto

tomorrow.

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IinterpretDerrida’s(1995)statementtomeanthatwhatwechooseto

archive,theveryquestionofwhatthearchiverepresents,alsohasanimpacton

howweseetodayandtomorrow.Theobjectsandstorieswedeemimportantto

representusinthefuture,shapehowweidentifyourcommunityandourselves

today.Howwillwesee100yearsagoin300years?Derridaisarguingthatthe

verydecisionofwhatthearchiveis,whatitcontains,whatitaimstodo,andhow

itiswovenintothefabricofsociety,carriestheresponsibilityforwhat

tomorrowunderstandsoftoday.

MichelFoucault(1969)arguedinL'archéologiedusavoir1thatthe

“archaeologistofknowledge”usesphysicalobjectsandremainsfromthepastto

helpreconstructanarchiveinthepresent,andthatthisprocessreveals

informationabouthumanitiesrelationshiptothepastandthewayweconstruct

historicalmeaning.Foucaultalsoarguesthatthearchiveserves,asasystemof

whatisvaluedinasociety,whatischosentoberecorded,ornotrecorded,and

importantlyservesasadefinitionforwhichpartsofhistoryarewrittendown

andsaved.Thesescholarsforceustoquestionwhathistoryis,howour

understandingofthepastandpresentcreateanunderstandingofasocietyinthe

future,andhowwellweareabletodocumenthistorythroughthewrittenword.

AndasCharlesMerewetherposes,“Iswhatismateriallypresent,visibleor

legibleadequatetoaneventthathaspassedoutofpresenttime?”(Merewether,

2006,p.12).Derrida(1995)arguesthatpoliticalpowerinanycontextis

connectedtocontrolofthearchive,ascontrolofthearchiveiscontroloveran

aspectofsocietalmemory.

1WhileIgivereferencetoMichelFoucault’soriginalbook,whichwaspennedinFrenchin1969,asanon-Francophone,theversionIhavereadisthe1972EnglishtranslationbyAMSheridanSmithentitled,TheArchaeologyofKnowledge.

19

Archivesarecreatedwhenobjectsortextsaredeemedimportantto

preserveforaparticularcommunity.Storingandrestoringtheseartifactsis

integraltokeepingculturalmemoryortheimpactofanhistoricaleventalive.

Theimportanceofaneventtothecommunityplaysadecisiveroleinkeepingthe

pastaliveinthepresentmoment.Ineffectthepastneedstoserveasaliving

shadowtothepresent,andthatrepresentationofthepastshouldbeholistically

inclusive,notonlyofreproductionsofevents,butofseeminglytangential

elementsthatbecomecentralsignifiersoftime,space,context,andcultural

memory.

IntheiressayArchivingDigitalCulturalArtifacts,PeterLymanand

BrewsterKahle(1998)arguethatculturalartifactscreatedormigratedtoa

digitalmediumaremorefreelyaccessedandutilized,andthattheseartifactscan

berepresentedinvaryingforms,andareadaptablewithinemergingmedia

unliketheiranalogcounterparts,whichgenerallyliveinalibraryorinaphysical

archive.

Inpresentdaythepracticeoffieldrecordingreliesondigitalrecordersand

technologythatcreatesafilemadeupof1sand0s,whichacomputercan

interpretandusetoreconstructthevisualimageofananalogsinewaveinour

audioeditingsoftwareprograms.Thesedigitalrecordingsoforaltraditions,

histories,music,andsonicenvironmentstranslateculturefromtheanalogworld

aroundusintodigitalcontent,orasLymanandKahlecallit,digitalcultural

artifacts.Theprocessofthistranslationfromtheanalog—thatwhichwecapture

withourmicrophones—tothedigital—thatwhichismadeofsomany1’sand0’s

thatitcanonlytrulybeinterpretedbycomputers—arguablydistancesusfrom

20

theauthenticityofthatculture,andmovesusclosertoamoreauthentic

preservationofit.

LymanandKahle(1998,para.5)definecultureas“somethingwedo,a

performancewhichfadesintomemorythendisappears.”Thepreservationof

culturalpracticesandtraditionsthereforerequiresdocumentationand

archiving,andthedigitaldomainoffersnewapproachestothatpreservationand

distribution.InhisdiscussionoftheWorldWideWebasaculturalartifact

Lymansays,“thekeyquestionsaboutit[theweb]arenottobeansweredinthe

natureofitsartifactsalone,butintheemergingsocialformswhicharemade

possiblebythesenewmedia”(Lyman&Kahle,1998,para.8).Higherfidelityand

newdigitalformatsenhanceourabilitytoarchiveandprotectdigitalartifacts.

However,beyondthesuperficiallyobviousbenefitofeasierpreservationofthe

physicalobjectoftheartifact,thedifferencebetweenadecayingcassettetape

andabunchof1sand0sinacomputer,isthevalueofadigitalartifactin

circulatingthroughourgloballytransmediaworld.Whereasadocumentinan

archiveoftenmeansapieceofpaperinabuildinginaparticulargeographic

location,thisisnottrueforphysicalcollectionsthathavedigitizedtheirpaper

basedarchives,adigitalartifactcanmeaninformationthatcanbeaccessedina

varietyofformatsandlocations,possiblyfromalmostanywherethathasaccess

totheinternet.

InthisdissertationIsuggestthatcreativeresponsestoexpressivecultural

traditionsplayacriticalroleincapturingnotonlyimportantaspectsofthe

traditionitself,butalsopossesseswithinthemimportantmetadataofthetime—

informationaboutthepresentmomentinwhichthetraditionoccurred.Derrida’s

(1995)approachtodefiningandunderstandingwhatthearchivemeans,brings

21

ourattentiontotheinterpretativenatureofarchives,andtothefactthatweare

notjustseeingrecorded“facts”inanarchive,butinstead,wearewitnessingan

activeshapingofhistory.Iwouldsuggestthathisargumentsleaveamplespace

forarttobeanimportantpartofthedefinitionofthearchive,asartisticpractice

hasthepowertomakethecreativeactsofselectionandmaking—whichweare

doingwhenweconstructanarchive—exposed.

2.1.2ArtistsandtheArchive

Justasartistsarenolongertheloneagentoftheavantgarde, thearchivistisalsonolongeragate-keeperoftheinstitutionalorder; eachareguideswhoseknowledgeofthetopologyofdomainscansteerus

throughuncharteredyetcontestedterritoriesoftheexpandedfieldofthe archive.

-NealWhite(2013,p.61)

AnincreasingnumberofscholarsincludingFlorianDomboisetal.(2012),

HalFoster(2004),andJudyVakninetal(2013)arguethatcreative

documentationprojectscanplayanimportantroleintraditionalarchives,and

thatartistshaveauniquecapacitytomakehistoricalinformationcontemporary

andrelevant.Thisconceptwaspre-datedinthearchivalworldbythenotionthat

archivalpracticeitselfisapoliticalact(SchwartzandCook,2002).AndrewFlinn

(2011)arguesthathistorymakingandarchivingisfrequentlyconnectedto

socialtransformationandactivism.InthissectionIwillexplorethescholarsand

artistswhohavebeentrailblazersindefiningtheimportanceandneedfor

artisticpracticetobearchived,andthevalueartandartistscanbringtothe

22

archivebothwithregardtopoliticalagenda,andasconnectedtothearchival

missionofpreservationanddocumentation.

DianeTaylor(2003)considerstheideaof‘impacting’archivalmaterial

throughartisticchangeandthewaythisprocesscontributestothedevelopment

ofcritical,non-reproducibleknowledge.SheexpandsonthisideainTheArchive

andtheRepertoire,whenshedescribesariftbetween“archival”memory—

“itemssupposedlyresistanttochange”—andrepertoire,which“enacts

embodiedmemory-performances,gestures,orality,movement,dance,singing-in

short,allthoseactsusuallythoughtofasephemeral,non-reproducible

knowledge”(Taylor,2003,p.19).

Arepertoireisintangible;itdescribesalistofitemsorabodyofknowledge

orexperiences,ratherthanasolidobjectthatcanbereadorinterpretedasfrom

aspecifictimeorplace.Arepertoiresuggestsacollectionthatcanbetransferred

overtimeandspace.AccordingtoTaylor(2003),humannatureseemsinclined

tobuildsilosofknowledgeandexpertise,categoriesandclassificationsthatcan

leadtohierarchicalpowerstructures.Archivalmaterial,whichhasbeen

cataloguedandclassified,maintainsasemblanceofpureform,meaningthatthe

rawmaterialisconsidereduntouchedandunchanged.

Taylor(2003)arguesthatwhatchangesovertimeisthevalue,relevance,

ormeaningofthearchive,aswellashowtheitemswithinbecomeinterpreted

andevenembodied.Forexamplebonesremainthesamewhiletheirstorymay

change,dependingonthepaleontologistorforensicanthropologistwho

examinesthem.Itispossiblethatdifferentexpertsmaygleandifferenttypesof

informationaboutorigin,death,ortimelinefromthebones.Antigonemightbe

performedinmultipleways,whiletheunchangingtextassuresastablesignifier.

23

Writtentextsallowscholarstotraceliterarytraditions,sourcesandinfluences,

butarealsosubjecttochanginginterpretations.

In“ExperimentsandArchivesintheExpandedField,"NeilWhite(2013)

discussestheroleartsresearchhasrecentlyplayedinmediatingthearchive,

notingthattheexperiment,whichhaswidelybeenusedasamodelforhistorical

analysisofscience,isnowbeingusedtoanalyzeresearchinthearts.

Inthisapproach,new‘epistemicthings’andeven‘technicalobjects’

producedinthedevelopmentofexperimentalsystems,becomemethodsof

examiningthenatureandmaterialityofthearchiveandwhatknowledgeis

beingproducedinthedevelopmentofexperimentalarchives.(p.52)

White’sessayhighlightstheimportanceofcreativeandalternativemethods

inactivatingthearchives,whilerecognizingthechallengeofresearchingthe

impactthosecreativemethodshaveonthearchive.Whiteargues,

Inremainingattentivetothematerialresistancesofthearchive,the

artist…hasmorefundamentalvaluetothearchivethanasasymbolic,

aestheticallyresistant,engagedindividual…eachareguideswhose

knowledgeofthetopologyofdomainscansteerusthroughuncharteredyet

contestedterritoriesoftheexpandedfieldofthearchive.(2013,p.61).

Inotherwords,partofthevaluethatartistscanbringtoarchiving,accordingto

White,istheirattentivenesstothatwhichisactuallyapartofthearchive,the

materialthatbecomesarchived,andthatwhichisconsideredarchival.

WhileWhitearguesfortheimportanceofcreativemethodsasanapproach

toexploringthematerialityofthearchive,otherslikeHalFoster(2004)in“An

ArchivalImpulse”andJessicaSantone(2008)inMarinaAbramović’sSevenEasy

Pieces:CriticalDocumentationStrategiesforPreservingArt’sHistory,disagreeand

24

insteadsuggestthatitisactuallytheartistsandtheartworkthatshouldbe

exploredasimportantmaterialtobeincludedinthearchive.WhileFoster

arguesthatartistscanenliventhecurrentlystalearchives,Santonearguesthat

weshouldbelookingtowardthespecificsofartisticpracticeanddocumentation

asaroadmapforhowtore-engagewiththearchive.FosterandSantone’s

contributionshavebeencrucialtochangingthethinkingabouthowarchivesare

conceivedof,organized,andengagedwith;yet,whatismissingfromthe

researchonartistsinthearchivesistheartists’voicesthemselvesanda

significantmovementofartistparticipationinthequestionsofarchivingand

theirengagementwitharchivalmaterials.Iwillarguethatwhatisneededisan

approachthatcombinesartists’enliveningthearchivefromFoster’sperspective,

togetherwithartists’methodsandcreativeapproachesservingasaroadmapfor

thearchives,whichSantonecallsfor—essentiallyamethodthatcombines

researchonartistsinthearchiveandartists’engagementwitharchival

materials,forthepurposesofbetterunderstandingwhatartistscancontribute

tothepreservationandsustainabilityofimportantarchivalmaterials.

Foster(2004)positionsarchivalartasanimportantplayerinchangingthe

landscapeofthearchivalworld.Hewritesaboutthewaysartistsasarchivists

canenliventheotherwisestaleapproachtoarchivingthatweseeinmuseums

andothersimilarinstitutionsthroughtheirdifferentlyorientedapproachto

organization.Hewritesthatthe“movetoturn‘excavationsites’into

‘constructionsites’…suggestsashiftawayfromamelancholicculturethatviews

thehistoricalaslittlemorethanthetraumatic”(Foster,2004,p.22).ForFoster,

archivalarthasthepowertoshiftthewaywethinkaboutthepast—from

melancholicnostalgiatoactive,enlivenedcreationofacollectivehistory.

25

Foster’sworkisfundamentaltotheresearchIwillpresentinChapter4.

TheLestWeForgetCollectionisatthehelmofwhatHalFostercalls“anarchival

impulse,”where“archivalartistsseektomakehistoricalinformation,oftenlost

ordisplaced,physicallypresent.Tothisendtheyelaborateonthefoundimage,

object,andtext,andfavortheinstallationformatastheydoso”(Foster,2004,p.

4).Traditionally,archivalmaterialhasbeenconsideredsourceinformation,

unchangedandinitsoriginalform.Withthedigitalrevolutioncamegreater

accesstotoolsandresourcesfordigitalpreservationandrestoration,which

beggedthequestionofhowtomaintainmaterialinanarchive,withregardto

thesenewdigitaltoolsandformats.AsFoster(2004)pointsout,“sometimes

archivalsamplingspushthepostmodernistcomplicationsoforiginalityand

authorshiptoanextreme”(pp.4).Withthesenewtechnologies,alsocamenew

possibilitiesfororganizing,referencing,andaccessingarchivalmaterials,raising

questionsaboutthearchiveasaphysicalspacethatpeoplecometo,and

consideringnewwaystoengagethepublicinthearchive.However,itisnotthe

digitalrevolutionthathascausedagitationaboutwhatconstitutesarchival

material;thisquestionhasbeenraisedbytheartists.

Fosterplacesarchivalartinconversationwiththetraditionalmuseumas

archive,inordertolegitimizearchivalartistsandtheirwork.Heargues:

Finally,theworkinquestionisarchivalsinceitnotonlydrawsoninformal

archivesbutproducesthemaswell,anddoessoinawaythatunderscores

thenatureofallarchivalmaterialsasfoundyetconstructed,factualyet

fictive,publicyetprivate.Further,itoftenarrangesthesematerials

accordingtoaquasi-archivallogic,amatrixofcitationandjuxtaposition,

andpresentstheminaquasi-archivalarchitecture,acomplexoftextsand

objects(again,platforms,stations,kiosks…).(Foster,2004,p.5)

26

TheLestWeForgetprojectpushesourunderstandingofarchivedmaterial

byplacinganemphasisoncreativeresponseasavalidandcriticalcomponentof

itscollection.Bydoingso,LWFhascreatedaconversationandanentrypointfor

youngerEmiratigenerationstocareaboutandbeinvestedin—notjustlearn

about—theexperiencesofpreviousgenerations,andtheirrelationshiptothose

aspectsoftheirowncultureandheritage.

JessicaSantonearguesthatcreativearchivalprojectshavethecapacityto

“highlightloss,absence,fallibilityandtechnologicalmediationasinherentand

productiveaspectsofdocumentation”(Santone,2008,p.152).Shearguesthat

theseprojects“remindusofthe“found,yetconstructed”qualityofbotharchives

anddocuments.Theyencourageperformativeandcriticalresponsesfromusas

wecontemplatenewdocumentationstrategies”(Santone,2008,p.

151).Santone’sresearchsuggeststhatthecreativeapproachanartisttakesin

executingherworkcanpromoteactivereflectionontheprocessofarchiving

itself,andtheapproachtohowwethinkaboutpreservinginformationasa

society.

WhileTaylor(2003),White(2013),Foster(2004),andSantone(2008)all

valuetheroleoftheartistinthearchive,authorsDombois,Bauer,Mareis,and

Schwab(2012)offeradifferentapproachtolookingatthewayartistscan

interactwithavarietyofinstitutionsanddisciplines,throughtheconceptof

“artisticresearch.”Intheirbook,IntellectualBirdhouse:ArtisticPracticeas

Research,theauthorsassertthat,“artisticresearchisanactivityforborder-

crossers”(Domboisetal.,2012,p.11).Theysuggestthatthosewhoparticipate

inartisticresearchoftenfindthemselvesworkingbetweenvaryingdisciplines

27

andarenotboundtoaparticularfrontier.IntellectualBirdhousedefines“artistic

research”asbeing,

Independentof‘discipline’andmightoccurinallcontextsonceepistemic

expectationshaveshifted…itisbothamatterofproductiveandreflective

workonandwiththematerial,andartisticresearchofteninvolvestesting

formsofrepresentationotherthantextaswellasengaginginopen

negotiationswithknowledge.(Ibid,p.11).

Inheressay“ParadoxesExperiencedbyArtist-Thinkers,”RenéeGreen

(2012)suggeststhat“artistic-thinkers”allshareasimilarinquisitivenature,

whichentailsanalysisandinquirythatisrealizedthroughaformofcreation.

Greenalsosuggeststhatworkdevelopedby“artist-thinkers”enjoysatimeless

sustainabilitydueinparttothemethodsandanalysisusedincreation:“A

distinguishingfeatureineachoftheirproductionsisthatevenastimescontinue

tochange,itcanstillbecompellingtorevisitandreconsiderwhattheymadeand

thought”(Green,2012,p.271).Greene’sconceptof“artist-thinkers”asthose

whocreateatypeofscholarlyworkthatisalsoartisticisusefulbecauseit

considersthehybridityofanindividualwhoseworkisbothcreativelyminded

andengagedinanalysisandinquiry.Ifweunderstandartandcreativityasa

crucialpartofandwindowintoresearchanddocumentation,ratherthanasa

supplementarynon-scholarlyformofinquiry,thenactivelydevelopingcreativity

andcreativeprojectsbecomesawaytoenterandunderstanddifferent

disciplinaryareasofscholarshipandresearch.

R.MurraySchaferiscreditedwithcoiningthetermsoundscapein1977as

“anyacousticfieldofstudy”(Schafer,1977,p.7).Schaferarguestheimportance

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ofthesoundscapeasadocumentofasonicenvironmentinamomentintime,

muchlikeaphotographcapturesalandscape.Heargues,

Whilewemayhavenumerousphotographstakenatdifferenttimes,and

beforethemdrawingsandmapstoshowushowascenechangedoverthe

ages,wemustmakeinferencesastothechangesofthesoundscape…More

thanthis,soundsmayalterordisappearwithscarcelyacommentevenfrom

themostsensitiveofhistorians.(Schafer,1977,p.8)

Schafer(1977)categorizedthemainthemesofasoundscapeintothree

categories:keynotesounds,signals,andsoundmarks.Hedefineskeynoteasa

musicaltermthatistheanchortoneofacompositionthatmaybelistenedto

subconsciously.Schaferdefinessignalsassoundsintheforegroundthatare

consciouslylistenedto.TheclearestexampleSchafergivesisofsignalsthatare

acousticwarningdeviceslikebells,whistles,sirensandhorns.Thesoundmark,

derivedfromlandmark,isasoundthatisuniquetoorspeciallyregardedbya

community.Soundmarkshelptocreatetheuniqueacousticlifeofacommunity.

Inmyownworkonsoundscapedevelopment,documentingthesoundscapes

becomesbothawayofdocumentingculture,andalsoseeingasoundscapeasa

living,breathing,constantlychangingthingthatallowsanarchivisttonotonly

captureasonic“snapshot”ofaplaceandtime,butalsoputone’sfingerprinton

it.Archivingasoundscape,then,becomesanimportantbridgebetweenthe

artisticpracticeofsoundscapedesign,andtheculturalmomentsbeingcaptured

throughthefieldrecordingsandsoundscape.

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2.1.3Activism

Activismisnostrangertothearchive.In1977PatrickM.Quinn,archivist

atNorthwesternUniversity,wroteanessayentitledTheArchivistasActivist,

wherehereflectedonaturntowardactivisminthearchivalcommunityinthe

UnitedStatesbetween1970and1977.Intheessay,Quinn(1977)tellsthestory

ofprofessorHowardZinn,ahistorianfromBostonUniversity,whopresenteda

paperentitledTheAmericanArchivistandRadicalReformattheSocietyfor

AmericanArchivists(SAA)AnnualMeetingin1970.QuinnnotedhowZinn

calledforactionfromfellowarchiviststostriveforbetterdocumentationof

minoritiesandtofightfortheopeningofgovernmentdocumentstothepublic,

bothofwhichwereconsideredradicalnotionsatthattime.Quinntalksabout

thegaspsandshockfrommembersoftheSAAinresponsetoZinn’scallto

activism,aswellasattemptsintheyearsfollowingtofightagainsthiscallfor

transparencyandinclusion.Quinnthenmapsoutanoverviewofchangesinthe

fieldofArchivingoversevenyearsfollowingZinn’spaper,findingthattheSAA

didinfactmoveinthedirectionthatZinnwasinitiallyshunnedforproposing.In

concludingtheessay,Quinnwrites,

Whatthenisactivism?Isitnottheprocessbywhicheachindividual

archivistactsuponhisorherconvictions,ratherthanpassively

acquiescingtowhateverrealorimaginedconditionsorsetof

circumstancesconspiretocircumscribeourviews,ourvisions,ourgoals,

ouraspirations.Ifthatiswhatactivismisallabout,thenletushavemore

ofit.Letusincorporateitasanintegralcomponentofthearchival

revolutionofourtime.(Quinn,1977,p.10)

Inpresent-dayarchives,activismhasbeenincorporatedintothemissions

ofsomearchiveandheritageinstitutions.Activisminthearchivecantakea

30

varietyofforms,includingbutnotlimitedto:socialtransformationthrough

archiving,communityengagementandexternaloutreach,bringinggreater

diversityintothearchive,andre-orientingideasofcustodianshipofarchival

materialstoplacetheminthehandsofthosetowhomtheybelong.

WhileQuinn(1977)arguesthatactivismtookholdinarchival

communitiesintheearly1970’s,AndrewFlinn(2011)dateslargescalesocial

andculturalchangetothepostworldwartwoera,andarguesthatconcerns

aroundthestoriesofthosecommunitiestraditionallyignored,canbeconnected

totheemergenceofnewacademicdisciplinesfromthe1960’sthroughthe

1980’sinsocialhistories,identityhistories,andoralhistory.

Flinn(2011)providesanunderstandingofthewidespreadinterestin

activismwithinarchivalcommunitiesinhisarticle,“ArchivalActivism:

IndependentandCommunity-ledArchives,RadicalPublicHistoryandthe

HeritageProfessions.”Flinnexploresprojectsthatengageinradicalapproaches

tohistory-making,aswellastheresponsetotheseprojectsfromarchiveand

heritageprofessionals.Hisresearchisconcernedwithbalancingstoriesof

community-ledarchivalprojectsthathaveanactivistorientationwith

developingsuggestionsforarchiveandheritageprofessionalsandinstitutions

thatallowforthesenewradicalapproachestobeincorporatedintotheethosof

theseinstitutions.Flinn’sresearchfocusesonfourprojects;FutureHistories2a

wellestablishedarchiveofAfrican,Asian,andCaribbeanperformingartsinthe

UK,rukus!3TheBlackLGBTArchiveProject,MoroccanMemories4acollectionof

oralhistoriesandmaterialsofpeopleofMoroccanHeritageintheUK,and2FormoredetailsaboutFutureHistoriesandtheirworksee:http://www.futurehistories.org.uk3Formoredetailsaboutrukus!BlackLGBTArchiveprojectsee:http://www.rukus.co.uk4FormoredetailsaboutMorrocanMemoriesandMorrocanMemoriesFoundationsee:http://www.morrocanmemories.org.uk

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EastsideCommunityHeritage5,aprojectthatdocumentstheculturesofEast

London’sworkingclasscommunities.Headoptedanethnographicparticipatory

observationapproachtoobservethearchivesanddeveloprecommendationsfor

archiveprofessionalstotakeonamoreactiveengagementintheirrelationship

withthearchivebyincorporatinganactivistapproachtooutreachand

collectionsdevelopment,whichiscriticalforheritageandarchivalinstitutionsto

staycurrent,andmoreimportantlytomaintaintheirstatusas“trustedsitesof

informationandmemory”(Flinn,2011).

UnlikeQuinn(1977)andFlinn(2011),whoresearchtheoriginsof

activismanditsintersectionwiththearchives,AthanasiosVelios(2011)goes

onestepfurtherbysuggestingtheideaofCreativeArchiving.InCreative

Archiving:ACaseStudyfortheJohnLathamArchive,Veliosexploresthevalueof

interpretationandcreativeorganization,anditsimpactontheaccessibilityofan

archive.Thearticlespecificallyfocusesonadoptingcreativearchiving

techniquesforarchivesofcreativework,asameansofcollatingandinterpreting

awidebodyofworksothatitcanbemademoreeasilyunderstoodand

accessible.Veliosalsospeaksofthearchivistaseducator:

Theroleofthearchivistasaneducatorcanbecriticalforthe

communicationofideas,whichexistinthearchive.Thereisnodoubtthat

thearchivist’s/educator’sopinionispartialandsubjective,butthisisthe

casewithanyteacher.Inrecognitionofthearchivist’sawarenessofher

orhisownsubjectivity,theonlinearchiveisclearlymarkedasan

interpretation.(Velios,2011,p.267)

Thisapproachallowsfortheeducatororartisttomaptheirexpertise

ontothearchivalmaterialtocreateanewproduct,whilemaintaininga

5FormoredetailsaboutEastsideCommunityHeritagesee:http://www.hidden-histories.org.uk

32

distinctionbetweenthatwhichisthearchivalmaterialandthat,whichisthe

interpretation.Thisallowsforthepreservationofthearchivalmaterial,which

asFlinnhighlightsistherolemanyheritageandarchivalinstitutionsalready

play,whileaddingacreativearchivinglayerasanewtool,whicharchivescan

usetowardgreateractivism.

Yet,asPatrickQuinn’s(1977)workhighlights,noteveryoneinthe

archivalcommunityisopentochangeandthemovetowardactivism.A

tendencytowardsinitialpushbackagainstnewideasexistsineverycommunity

andcanactuallybebeneficial,asitforcesdebate,whichhelpspeopletofurther

developandquestiontheirproposalsandideas.Forthisreasonitisimportant

andinterestingtoshareVelios’sdiscussionontheargumentagainstcreative

archiving,inwhichheexploresthekeycriticismofcreativearchiving—thatthe

interpretation,beitbyartist,educatororarchivist,willhinderaccesstothe

collection.Veliossays,

Thisisindeedariskwhensuchheavyinterpretationbecomesthecoreof

thearchivalprocess.Therearetwoanswerstothis:(i)thearchivist

shouldbeawarethatthearchivemustbepracticalinsomewayandallow

reasonableconvenienttoolstobeusedsothatinformationretrievalis

maintainedaspartofthearchive’scorefunctionality.However,thisis

notariskofcreativearchivingonlybutanissuethatarchivistshaveto

addressregularly.(ii)Itistechnicallypossibletoavoidtheinterpretation

layerandallowtheusertoaccessrawdata.Inotherwords,the

interpretationlayershouldnotinterferewiththedataitselfandif

necessarythearchivalrecordscanbeaccesseddirectly.(Velios,2011,p.

268)

Veliosdiscusseshowaccessibilityisaproblemofallarchiving,andneeds

tobeaddressedregardlessoftheinclusionofacreativeapproach.Thinkingof

33

accessibilityasaregularconcernofallarchivingallowsustofocusonthe

particularbenefitsthatacreativearchivemightallow.

Quinn(1977),Flinn(2011),andVelios(2011)speakofthegrowthof

activismwithincommunitiesofarchivalprofessionals,andthepushbackand

initialresistancetonewideasandapproaches.InmyresearchIaimtocontinue

toexpandthecallforactivisminarchivesbyapproachingcreativeinterpretation

ofarchivalmaterialsasaformactivism.Thereisanimportantroleforartiststo

playinsupportingarchivalprofessionalsinactiveengagementthatcanbe

accomplishedbyshifting“theirfocusfromasolelycustodialandinstitutional

approachtosomething,whichisequallyconcernedwithsignificantarchivaland

heritagecollectionsinsideandoutsidethewallsoftheirarchive”(Flinn,2011,p.

15).Thisdissertationisinterestedininvestigatingwhatcreativearchivingcan

addtoarchivesandarchivalmaterials,allowingforartists’interpretationofthe

material,whichservesasasecondmeansortouchpointforaccesstothe

material.

DrawingonTaylor’s(2003)andVelios’(2011)work,myresearch

considerscreativearchivingasanimportanttoolintheshapingandpreservation

ofacommunity’sculturalheritageandhistory.Giventhenewnessofthisarea,

therearemorequestionsthananswers.Forexamplehowcanartbeincludedin

archives?;whatelementsofartisticworksarepossibletoarchiveandhow?;and

inwhatwayscanartisticpracticebeincorporatedintoarchivalcollections

developmentmorebroadly?However,eachquestionleadstoapotentialnew

areaofexplorationwithinarchiving,andopensupnewavenuesforengagement

withthepublicaswellasanexcitinghybridityacrossscholarlyandpractice-

34

basedinquiriesthatareconcernedwithcapturingandpreservinghuman

culture.

2.2SectionTwo:DigitalMediaStudies

2.2.1DigitalMediaArchiving

Mediaarchaeologystemsfromavarietyofareasandfields,includingstudies

inthearchaeologiesofpowerandknowledgeofMichelFoucault,Filmhistory,

andthemorecurrentstudiesoftechnicalmediaculturethatlooksatdigitaland

softwarecultureswithaneyetowardthepast(Parikka,2013,p.5).Accordingto

WolfgangErnstandJussiParikka(2013),“mediaarchaeologyisbothamethod

andanaestheticofpracticingmediacriticism,akindofepistemologicalreverse

engineering,andanawarenessofmomentswhenmediathemselves,not

exclusivelyhumananymore,becomeactive‘archaeologists’ofknowledge”(p.

55).Thoughsomeapproachestomediaarchaeologyfollowachronologicalor

narrative-drivenapproachtouncoveringthehistoricalelementsoftechnology,

othersdisconnectlineartemporality,ahumanorientation,fromthearchaeology

ofknowledge.Thetemporalityofarchivinginthearenaofdigitalmedia,

specificallythatofsonicmaterial,takesonmultiplemeaningsasdigitalmedia

proponentsconsidertherelationshipbetweentheculturalobjectormaterial

thatisbeingdocumentedandthetechno-epistemologiesthatareusedfor

documentation.Inhisbook,WhatisMediaArchaeology?,JussiParrika(2013)

arguesthattheassumedpermanenceofdigitalmemorythatcomeswith

documentingandarchivingartifactsandstoriesofculturalheritagethrough

digitalmeans,needstobequestioned,andthatinstead,couplingdegeneration

35

withregenerationisthekeycharacteristicofdigitalmemory,astheprocessof

archivingoftendegeneratesanartifactwhileattemptingtoregenerateits

accessibilityandlongevity.

Parikka(2013)namessixexamplesofdigitalarchaeologyart,oneofwhich

hecalls“Media,”whichhedefinesas“archaeologicalartthatdrawsfrom

concretearchives—inotherwords,artisticpracticeinformedbyarchivalwork

andhistoricalmaterials,adirectwayofworkinglikeahistorianbutforartistic

ends”(Parikka,2013,p.140).Asanewarea,mediaarchaeologydoesnotyet

haveacleararticulationofanartisticmethodology;however,itisloosely

identifiedbyitslookingtowarddigitalmedia,mediaculture,history,technology,

archaeology,andnotionsoftimeandspace.

Parikka(2013)notesthatsincethe1990stherehasbeenagenreofdigital

archaeologyartistswhotakeoldmediatechnologiesandthemesandresurrect

theminamoderndaycontext,ofteningalleriesormuseums,andonline.Theart

projects’hybridtheoreticalinclusivityandresultingthematicinclusivity,

highlightedbyParrikaasapartofdigitalarchaeologyart,seemsintuitively

connectedtotheobjectiveofdevelopingandoverlayingcreativeresponsesto

culturalarchivalmaterialtowardthesustainabilityofculturalheritageand

tradition(Parikka,2013).Myresearchseemstodivergefrommedia

archaeologyatthemoment,inthewaysinwhichitisalsofocusedontheliving

humanelementsinherentinethnographicresearch,whilescholarsinthe

emergingfieldseemtobemorefocusedatthemomentondissectinghistorical

technologicalobjectsandtechnologies.

BuildingoffofFoucault’s(1969)re-envisionedunderstandingofthe

archive,fromconcreteplacetothearchiveasaconditionofknowledge,this

36

dissertationlooksatanapproachtounderstandingthearchivethroughdigital

mediaarchiving,whichconsidersatemporalapproachtoarchivingthatplaces

relevantmultigenerationalsocialideologiesfromaculturalmomentin

conversationwithandabouthistoricalobjectsanddepictionsofthesame.Using

thelensofmediaarchaeology,Iaminterestedinconsideringthehermeneutics

oftechnologicallyinformedtheoriesofknowledgethatmightbeextractable,and

inverselyembeddable,withincreativeworkderivedfromdigitalethnographic

practices.Thisistosaythatwhendigitalapproachestoobservingand

documentingcommunities,suchasfieldrecordings,areincorporatedintodigital

mediaartthatismadeinresponsetoresearchwithinacommunity,theresulting

artisticpracticearguablycontainsdigitallyarchivableinformationaboutthe

communitythatwasobserved.Myresearchthereforemayserveasawayof

furtherexpandingonmediaarchaeologicalpracticebylinkingartand

ethnographyintothecurrentconversationonhistoryandtechnology.

2.2.2SoundStudies

Muchoftheworkthatischaracteristicofsoundarthaseithergoneoutsideorhasthecapacitytobringtheoutsideinside.” -StevenConnor(2011,p.130).

Theoriginsofsoundstudiesstemfromtwokeyfactors;theintroduction

ofnoisefromtheworldaroundusintothedevelopmentofmusic,facilitatedby

theinventionofthephonographbyThomasEdisonin1877,andachanging

sonorousenvironmentbeginningintheearly20thcentury(CoxandWarner,

2004).Thesoundsofthenaturalenvironmentchangedincrementallywiththe

adventofnewtechnologies,theindustrialrevolution,cars,andthetransitiontoa

37

morerapidpacedworld.Exploringtheuseofnoiseincompositionwasthe

entryintodeeperphilosophicalinquiryofwhatmusicis,whatsoundis,how

theyrelatetooneanother,andtheexperienceofhearingthroughcomposition.

AsDouglasKahn(2003)arguesinhisessay“TheSoundofMusic”inTheAuditory

CultureReader,“youhavetwosourcesforsounds:noise,whichalwaystellsyou

something—adoorcracking,adogbarking,thethunder,thestorm;andthenyou

haveinstruments…Musichastofindapassagebetweennoisesandinstruments”

(Kahn,2003,p.83).

Numerouscomposersfromthefirsthalfofthe20thcentury,including

LuigiRussolo,EdgardVarése,HenryCowell,JacquesAttali,andPierreSchaeffer,

wereinagreementthatallsoundswereimportantcomponentsofcomposition.

WhileRussolobelievedthatmusicandnoiseweredistinctlydifferententities,

otherslikeVarése,Cowell,andCagedevelopedcompositionalstylesthatbroke

downthesedistinctions.Inhis1929essay“TheJoysofNoise,”Cowellargued

thatnotonlyaremusicandnoisenotinoppositionwithoneanother,butthat

noiseisalreadyalwayscontainedinmusic(Cowell,2004,p.22).Similarly,

JacquesAttaliwrotethat“music,theorganizationofnoise…reflectsthe

manufactureofsociety;itconstitutestheaudiblewavebandofthevibrationsand

signsthatmakeupsociety”(Attali,1985,p.4).

In1914LuigiRussolo,whobelieved“thatthetraditionalorchestrawas

nolongercapableofcapturingtheimaginationofacultureimmersedinnoise,”

creatednewnoise-makinginstrumentshecalledintonarumori(Russolo,2004,p.

10).ComposerEdgardVarése,likeRussolo,wasinterestedincreatingnew

musicalinstrumentsthatcouldexpressadifferenttypeofsound.However,

Varésereferredtomusicas“themovementofsoundmasses,”whichremoved

38

thepreviouslyexistingdistinctionbetweenmusicandnoise(Varése,2004,p.

17).Hiscompositionsfocusedonfrequencies,intensities,andthematterof

soundincludingtimbre,texture,andmusicalspace,leadingtohisredefiningof

musicas“organizedsound.”

PierreSchaefferwasaradioengineerandannouncerwhowasfascinated

bythewayrecodingandbroadcastingchangedhowpeoplecouldhearandlisten

tosound.InfluencedbythephilosophyofEdmundHusserl,founderof

“phenomenology,”which“disregardsthetraditionalphilosophicaldistinctions

between‘subject’and‘object,’’in1966SchaefferpresentedTraitédesObjects

Musicaux(TOM),hisattemptatananalyticaltheoryforsoundbasedwork.In

TOMSchaefferarticulatesfourconceptsoflistening,1.concretemusic(musique

concrète),2.listeningfunctions,3.reducedlistening,and4.soundobjects,which

Iwillbrieflydescribehere.

AccordingtoSchaeffer,musiqueconcrètebeginsbyvaluingtheconcrete

propertiesofsounds,whichwereattainablebyreducedlistening,whichimplies

soundrecording.Theseconcretesoundsthenmovedtowardabstractstructures

inperformance.Thisapproachisincontrasttothetraditionalwestern

compositionalstyleatthetime,whichvaluedbeginningwithanabstractidea

andmovingtowardaconcreteforminitsperformance.Schaefferoftenrecorded

soundsofeverydaylife,andthroughprocessesoftechnologicalmediationand

manipulationaimedtoreduceanddiminishanyassociativepropertiesthesound

mighthavethatwouldconnectittothesourceofitscreation.Schaefferrejected

hisveryfirstcompositioninthestyle,Étudeauxcheminsdefer,becausethetrain

soundsweretoorecognizable(Kahn,2003,p.82).

39

Thefourmodesoflisteningare,Listening[Écouter],Perceiving[Ouïr],

Hearing[Entendre],andComprehending[Comprendre].Listeninginvolvesthe

recognitionoridentificationoftheeventthatproducedagivensound.

Perceivingisrecognitionofthesoundforthesounditself,withoutlookingfor

meaninginorinterpretingthesound.Hearingisrecognizingthepropertiesofa

sound,andcomprehendingentailstheunderstandingofamessagethatis

communicatedortransmittedbysound(Almeida,2014).

In1948Schaefferbroadcasthisfirstconcretemusiccomposition,entitled

“Concertdebruits,”whichwasasetofpiecescomposedentirelyfromrecordings

ofeverydayobjectsliketrainwhistlesandpotsandpans.Theideaofthemusic

objectorsoundobjectwasderivedfromSchaeffer’sstyle,as“musiqueconcréte

pullsintoitssonicnetanentirearrayofsoundsources,machines,andarchives

tocondenseallsuchthingsintoacompactmusicalobject”(LaBelle,2015,p.30).

Schaeffer’scompositionalmethod,whichaimstodisassociatesoundsfromtheir

sourceortomakethemunrecognizable,hasbeenlikenedbyDouglasKahnin

“TheSoundofMusic”tothatofanabstractpaintingthatdistortsactualmeaning.

FranciscoLopez,StephenVitiello,andJacobKirkegaardarguethatthelisteners

ofSchaeffer’sworkrelatenotsimplytothesound,“butalsotheevidenceofthe

artist’sintentionsastheymanifestinthesoundsandtheirorganization”(López

etal.,2009,p.126).

WhilePierreSchaefferhelpsusseetherelationshipbetweenrecorded

soundsandcomposition,JohnCageaddsanewdimensiontotheexplorationof

compositionbyusingsoundincompositionasameansofdefiningsonicculture.

JohnCage’scompositionalstyleofferedanewapproachtomakingmusicinthe

secondhalfofthetwentiethcentury,whichconsideredtherelationshipbetween

40

soundandmusic,andthatutilizedthefoundenvironmentasaspacefor

“renewedlisteningwithinamusicalframework”(LaBelle,2015,p.3)Cagewas

interestedincapturingandusingtherealnessofsoundintheworldaroundus,

andoftenplayedwithsoundsthatwerenottraditionallyconsideredmusical;he

composedpiecesthatdrewintoquestiontheveryessenceofwhatmusicwas.In

1937CagewroteTheFutureofMusic:Credo,whereheexpressedhisthoughts

andexcitementaboutusingsoundasacompositionaltool.Specifically,hespoke

ofmanipulatingrecordedsoundeffectsforfilms,viaafilmphonograph,to

producerhythms.Hesaid,“Withafilmphonographitisnowpossibletocontrol

theamplitudeandfrequencyofanyoneofthesesoundsandtogivetoitrhythms

withinorbeyondthereachoftheimagination”(Cage,1937,p.3).Cage’s

experimentswithsoundtooknoisesfromtheeverydayandtransformedthem

into“musicalinstruments”thatcouldbeusedtocreaterhythmsintime.

Thinkingaboutasonicculturehelpsusconceiveoftheimportanceof

relationshipsbetweensoundandculture,specificallytheactoflisteningtothe

sounds,people,andspaceofagivenplace,andthewaythosesoundssay

somethingaboutthecultureofthatplace.Furthermore,aconsiderationofthe

relationshipbetweensoundandculturecompelsustolistentoandforthe

culturebeyondthesounds—andthesilence—andintotheculturalframeworks

thatmakeuptheeverydayofagivencommunity.Aninquiryintosonicculture

helpstoprovideaconceptualframeworkforthemakingofmusic,andby

extension,creativework,aboutagivenculturethatistiedtothesoundsofthat

place.Cage’scomposition,4’33”,athreemovementcompositionforpiano,which

reliesonthepianistclosingthepianotopandtimingeachmovementinsilence,

isanexampleofhowCage’sworkisimportanttosonicculture.;thecomposition

41

becomesaboutthesoundsoftheplaceinwhichthemusicisperformed,and

silencebecomesaframethroughwhichtheaudiencebecomesawareoftheir

ownsonicculture.4’33”becomesabouttheaudienceinthespaceatthemoment

oftheperformance,aboutthemmovingintheirseats,uncomfortablyresponding

tothesilence,andaboutthesoundstheaudiencemakesbeingheardthroughthe

resonanceofthespace.ThiscompositionalsoexemplifieshowCage’s

compositionsexploredsonicculturebyexposingmusicasboththethinganda

reflectiononthething.

Cage’sworkalsobecameknownasawayofexploringanddefiningsonic

cultures.LaBellearguesthatCagedefinessonicculturethroughthewayhe

positionsmusicinrelationtosocialspace(LaBelle,2015,p.4).Cageisalso

knownforconceptuallyframingeverydaysoundsandhumaninterventionsin

thedevelopmentofmusicas“boththethingandareflectiononthething”

(LaBelle,2015,p.4).Thethingisthatwhichmakesthesound,orperhapsthe

personwhoinstigatesthemakingofthesound.Thereflectiononthethingisthe

waythatacompositionorframingofeverydaysoundsprovidesawindowinto

thatwhichmakesthesoundorthosewhoinstigatethesounds,andshapesto

someextentthewayhumansrespondtothesoundstheyhear.

Thesoniccultureofeachplaceisdifferent,andinthecaseof4’33”,the

‘silence’withineachperformancehallwillsounddifferentdependingonthe

soundstheaudiencemakes,theacoustics,ventilation,andtheabilityforoutside

soundstoenterthespace.Silence,thereforeisnotaconstantbutrather

changingvariable,dependingoneachplace.AsCagesaidinavideointerviewon

February4,1991,

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thesoundexperiencewhichIprefertoallothersistheexperienceof

silence.Andthesilencealmosteverywhereintheworldnowistraffic.If

youlistentoBeethovenortoMozartyouseetheyarealwaysthesame,

butifyoulistentotrafficyouseethatitisalwaysdifferent.(Cage,1991)6

Cage’scompositionsthereforealsosetthestagefortheconsiderationof

temporalityinmusic,andtheimportanceofacknowledgingourcontinually

changingsonicenvironments.

SchaefferandCagewereofteninspiredbythesoundsintheirnatural

environment.However,theyarebothinterestedinsoundforthesounditself

ratherthantheoriginofthesoundorthesounds’relationshiptootherthingsin

theenvironment(Lópezetal.,2009).

Musiqueconcreteequallyuncoversanentirelynewsetofmusical

possibilities,yetthroughverydifferentmeans:whereasCageaimsforthe

hereandnowofsoundbeyondthemechanicsofrepresentation,musique

concreteappropriatestechnologiesofsoundrecordingandreproduction

intheconstructingofmusicalwork.(Labelle,2015,p.4).

ForSchaeffertheexplorationandinclusionofsoundswasakeyelementofhis

compositionalpracticeandstyle,bringingfocustotheworldofsoundsaround

us,whileforCagetechnologywasakeyelementinhiscompositionalpractice,

stretchingourunderstandingofsoundandbyextensionmusic,throughthe

technologicalexplorationofsonicexpressionthatallowedustohearsounds

differently.

6YouTubeVideoofJohnCagefromFebruary4th1991https://www.youtube.com/watch?v=pcHnL7aS64Y

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Intheirengagementwithsoundsfromthenaturalworld,bothcomposers

speaktotherelationshipbetweensoundsandspace.AsBrandonLaBelle(2015)

tellsusinhisbookBackgroundNoise:PerspectivesonSoundArt,bothCage’sand

Schaeffer’swork“definesonicculturebycontinuallypositioningmusic,eitherin

relationtosocialspace,asinCage’sproject,orthroughmethodsof

appropriation,electronicmanipulation,anddiffusion,inmusiqueconcréte”(pp.

3-4).

R.MurraySchafer,acomposerandtheoristwhofocusedon

environmentalsoundandnoisepollution,wasknownforhisworkon“acoustic

ecology,”whichhewroteaboutinhis1977book,TheTuningofTheWorld.

SchaferfoundedtheWorldSoundscapeProjectwiththeintentionof

documentingandanalyzingthechangesinenvironmentalsoundscapesthrough

recordingsovertime.HeandtheWorldSoundscapeProjectpopularizedthe

term“soundscape.”AspreviouslymentionedinadiscussiononArtistsandthe

Archive,R.MurraySchafercoinedthetermsoundscapein1977andarguedthat

asoundscapeisadocumentofasonicenvironmentinaparticularmomentin

time(Schafer,1977).

ForthesakeofthisthesisIlooktowardadefinitionofsoundscape

providedbyDavidSamuels,LouiseMeintjes,AnaMariaOchoa,andThomas

Porcello(2010)in“Soundscapes:TowardaSoundedAnthropology.”Sameulset

al(2010)proposethatSchafer’ssoundscapeandtheideaofalandscapewere

analogousterms,“insofarasitattemptedtocontaineverythingtowhichtheear

wasexposedinagivensonicsetting.”Furthermoretheysuggestanimplicit

relationshipbetweenthesoundscapeandculturalpractice.“Similarly,as

landscapeisconstitutedbyculturalhistories,ideologies,andpracticesofseeing,

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soundscapeimplicateslisteningasaculturalpractice”(Samuelsetal.,2010,p.

330).

IutilizeSchafer’sconceptofasoundscapeinmyattemptstosonically

exploreculturalheritage,aswellasarchiveandattempttomakerelevant

modernresponsestothesesounds.AsJonathanSternepointsout,“tothink

sonicallyistothinkconjuncturallyaboutsoundandculture”(Sterne,2012,p.3).

Theconceptofasoundscapegivesusaccesstoaparticularculturethroughan

often-unrecognizedpath;whatwemightordinarilytakeforgranted,likethe

soundsofeverydaylife,becomeimportantkeystounlockingknowledgeabout

thatculture,whichisnotreadilyvisible.Asanordinarysensoryexperience,

soundsareoftenforgottenaboutasamodeofobservation.ForthisreasonIhave

foundthatsoundcanbeapowerfultoolfordevelopingfocusandencouraging

observation,andoftentakesthelistenerbysurprisewhenheorshefirstlistens

actively.

WhileSchaferarguesforthestudyofenvironmentalacoustics,claiming,

“totalappreciationoftheacousticenvironmentcangiveustheresourcesfor

improvingtheorchestrationoftheworldsoundscape”(Schafer,1977)others

likePaulDemarinis(2011),in“OnSonicSpaces,”suggestthatit’sactuallyastudy

ofacousticsandperceptionsofsoundintheprocessofsoundrecordingthat

allowsustofindhiddenmeaningintherelationshipbetweensound,technology

andculture.ForDemarinis,soundrecordingscanbeviewedasaporthole

throughwhichtomakeconnectionsabouthumanperceptions,technologyand

culture.

AlainCorbin(1998),goesonestepbeyondPaulDemarinis’(2011)work

bysuggestingthata“soundscapeissimultaneouslyaphysicalenvironmentanda

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wayofperceivingthatenvironment;itisbothaworldandacultureconstructed

tomakesenseofthatworld”(Corbin,1998,p.ix).SimilartoCage’sexplanation

ofsonicculture,whichImentionedearlier,Corbindescribesthesoundscapeasa

dynamictoolthatisabletoindependentlyrepresentaplace,suchasa

soundscapeofacity,andactasalensthroughwhichapersoncanexploreorre-

envisionaplacetheyarealreadyfamiliarwith.Corbin’sphilosophyisimportant

becauseitnamesthesoundscapeasatoolthatisbothcapableofcapturing

culture—inhiswords‘aworld’—andsimultaneouslyatoolthatiscapableof

reflectingonthat‘world’orculture.Corbin’selevationofsoundasamulti

dimensionaltoolforcapturingandreflecting,servesasthefoundationforhowI

attempttoengagewithsoundandsoundscapesinmyresearch.Byusing

recordingsofexpressiveculturaleventsandthencreativeartisticworkthatis

thensharedbackwiththecommunityfromwheretheexpressiveculturalevents

originate,myworkaimstocapturesoundscapesandthenreflectthembackto

thecommunitiesfromwheretheycame.

BrandonLabelle(2015)speaksofthevalueofcontextualpracticeand“site-

specificpractice”inthedevelopmentofcreativework.Hearguesthat

historicallywecanseetheimportanceandvalueofgroundingcreativeworkin

thehistoricalcontextofplaceandspace,whichiswhatIaimtodowiththe

developmentofartisticworkfromsonicfieldrecordingsofsensitiveexpressive

culture.By“sensitiveexpressiveculture,”Imeananytypeofsocialbehavior

withanaestheticdimension.SpecificallyIusethetermtorefertofestivals,

celebrations,religioustraditionsandrecitations,andperformance.Sensitive

expressiveculture,isanaspectofsocialculturethathasanaestheticdimension,

andwhichcanbedocumented.Labelleclaims:

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Theunderstandingthatartbringswithitthepossibilitytoaddressthe

world,beyondanabstractorelusivecategory,canbeseentogain

significancethroughoutthelatterpartofthetwentiethcenturyintheform

of‘site-specificpractice’ofthelate1960sand1970sandsubsequentforms

ofcontextualpractice.Suchmethodologiesproduceartworkthat,rather

thanseparateitselffromthespaceofitspresentation,aimstoincorporate

itintothework,frommaterial,suchasarchitecturalfeatures,to

informational,asinthegoverningcuratorialpremisebehindanexhibition

orlargersocialandculturalconventions.(LaBelle,2012,p.468)

Labelle’s(2012)claimsuggeststhat“site-specificpractice”hasfar-

reachingimplicationsonthespaceinwhichitisconducted,andthatthespace

canalsohaveanimpactontheartisticworkbecause‘site-specificpractice’aims

toincorporateitselfintoaspaceratherthanseparateitselffromit.Labelle’s

claimisrelevanttomyworkparticularlywithregardtothelatterpointhemakes

that“site-specificpractice”asamethodologyhastheabilitytobringtogetherthe

artworkandplacewithinwhichitiscreatedbywayoflargersocialandcultural

conventions.ThismatterstomyworkbecauseIbringfieldrecordingsofaplace,

backtoaplaceafterre-contextualizingtheworkthroughcreativepractice.

Showcasingthecreativeworkbackinasite-specificenvironment,inmycasethe

communityfromwhichtherecordingsweretaken,isanapproachthatwould

allowmycreativeworktoagainbecomeintegrallyrelatedtothespaceandplace

fromwhichtheoriginrecordingsweretaken,andwouldallowthenewcreative

worktobecomere-connectedandincorporatedintothecommunity.Imight

arguethatdisplayingthecreativeworkbackwithinthecommunitywherethe

ethnographicresearchwasconductedmakestheworkrelevanttothe

community.

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BuildingonAlainCorbin’s(1998)work,EmilyThompson(2002)argues

thatasoundscapeplaysaroleinalistener’srelationshiptotheirenvironment

andthatasoundscapehasmoretodowithcivilizationthannature,which

supportsherassertionthatsoundscapesareconstantlyundergoingchange

(Thompson,2002).

AsIdiscussfurtherinthethreecasestudies,oneofmyoverarching

reasonsformakingfieldrecordingsanddevelopingsoundscapesorsound

installationartfromthoserecordingsismydesiretohelpsustaincultural

heritageinagivenmomentintime.Myworkthereforeacknowledges,as

Thompson(2002)suggests,thatsoundscapesareconstantlyundergoingchange,

andthatitisthereforeimportantandvaluabletocaptureanddocumentagiven

soundscapeinagivenmomentintime.For,asDemarinis(2011)suggests,each

recordingwillcontainauniquearchaeologicalguidetotherelationships

betweenpeople,sounds,culture,andtechnology.Hence,myworkfocuseson

creatingsoundscapesthatacommunitycaninteractwith,aswellas

simultaneouslyreflectingonthevalueofcapturingthesoundscapeandthat

interactionasasnapshotorarchaeologicalguidetothatplaceinthatmomentin

time.

Numerousauthorshavearguedthatthechangingenvironmental

soundscapeoftheworldprecipitatedchangesinlistening(seeRussolo(1913),

Thompson(2002),Corbin(1998),Schafer(1977),andLaBelle(2015)for

examples).However,otherauthorshavesuggestedthattheabilityandpractice

ofrecordingsoundsisresponsibleforwhatwehear(seeforexampleDemarinis

(2011),Lucier(1979),andFurlong(1994).Inhis1977essay“TheSoundscape,”

Schaferarguesthatitisapre-occupationwiththeworldsoundscape,motivated

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heavilybyariseinnoisepollution,andaninterestinthe“relationshipbetween

humanityandthesoundsofitsenvironment”(Schafer,1977,p.3),thatgoverns

manyrelatedareasofstudyinthesciencesandhumanitiesofthetime,including

psychoacoustics,otology,auralpatternperception,andnoiseabatement

practices.Demarinis,aswell,referencesearlyphonographer’sexperiencesof

listeningbacktorecordingsonfoilandwaxcylindersastheoriginofsoundart,

soundscape,soundsculptureandsounddesign.Heexplainsthatwhen

phonographersrecordedonesound,threecouldbeheard.Thefirstwasthe

sounditself,thesecondwasinadvertentsoundsoftheenvironment,andthe

thirdwasthesoundoftherecorderormachinenoise(DeMarinis,2011,p.74).

Thelasttwosounds,environmentandmachinenoise,alsogavewaytowhatwas

laterreferredtobyPaulDeMarinisassurfacenoise,orchannelnoise,an

indicationthatrecordingwashappening.This,inturn,pavedthewayforan

understandingofanewtypeofsilence,recordedsilence,whichbecamethefocus

ofmanycomposersinthe1970’s,mostpopularly,asIdiscussedpreviouslyin

thissection,JohnCage.

2.2.3SoundArt

Overthecourseofthepastforty-fiveyears,SoundArthasemergedasa

newareaofartisticexploration.Numerousauthorshavearguedforandagainst

theexistenceofadistinctivecategoryofart-makingcalled“SoundArt”(seefor

exampleFurlong(1994),Lander(1990),Cox(2006),Neuhaus(2000),andLicht

(2007).Manyscholarsandcomposers,includingSternes(2012),Thompson

(2002),Furlong(1994),andLaBelle(2015)agreeonthemeritsandpossibilities

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oftheartform,whichoftenreliesontheprocessofusingrecordingsofeveryday

noisesorsoundtodevelopartisticwork.Inhis1994essay,“SoundinRecent

Arts,”WilliamFurlongwritesaboutthecreativebenefitstousingsoundasan

artisticmedium:“thisfailureofsoundtoconstructadistinctcategoryforitself

hasinfactprovedanadvantage,giventhatcategoriesintheendbecome

restrictiveandtheworkcircumscribedandmarginalized”(Furlong,1994,p.

128).HisstatementisconsistentwithSchaferandSterne,whohighlightthe

experimentalandexplorativenatureofworkingwithsoundaspartoftheappeal

ofthefield.AsFurlongclaims,“Theattractionfortheartistofworkingwith

recordedsoundnodoubtresidedinitscharacteristicofmaintaininganintegrity

withregardtotherelationshipbetweenthemomentofrecordingandthe

subsequenthearing”(Furlong,1994,p.128).Thistensionbetweenattemptingto

maintaintheintegrityoftheoriginalsoundandcreatingsomethingnewwithit

isattheheartoftheactivistintentionsandethicalconsiderationsbehindthis

dissertation.AsIdiscussmorefullyinmychapterontheTheyyamFestivalfor

example,thetensionbetweentherecordedsoundandwhatisheardallowsfor

theworkofshiftingawareness,asIattempttomakelistenershearandthink

differentlyaboutcasteissuesthroughthedevelopmentofsoundscapes.

Inhisessay“SoundArt?”MaxNeuhaus(2000)arguesratherstronglythat

soundart,whichbeganintheearly1970’s,wasnottrulyanewgenreorareaof

artbutratherbecameawayofclassifyingartbasedonamedium.Hesaid,“I

thinkweneedtoquestionwhetherornot‘SoundArt’constitutesanewartform”

(Neuhaus,2000,p.1).Hearguesthatthisapproachtoexploringsoundis

reductiveandunfortunatelymissesrealopportunityintheexplorationofthe

sonic.Hesays,“inart,themediumisnotoftenthemessage…muchofwhathas

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beencalled‘SoundArt’hasnotmuchtodowitheithersoundorart”(Neuhaus,

2000,p.1).TenyearsbeforeNeuhaus’scritique,DanLander(1990)suggested

thattheartofsoundcouldnotbeeasilyidentifiedbecauseofsound’shistoric

tiestomusic,statingthat“ifacriticaltheoryofsound(noise)istodevelop,the

urgeto‘elevateallsoundtothestateofmusic’,willhavetobesuppressed”

(Lander,1990,p.11).ChristopherCox(2011)echoedthissamesentimentinhis

essay“FromMusictoSound,”whereheargues,“howeverrichandimportant

werethereconceptionsofsonicbeingandtimeundertakenbyFeldman,

minimalism,experimentalmusic,improvisedmusic,andDJculture,they

remainedsomehowboundtothediscourseandpracticeofmusic”(Cox,2011,p.

8).Thetensioninherentinformalizingarelationshipbetweenmusicandsound,

ornoise,continuesinmyresearchasrecordingsofreligiousfestivalsand

traditionsbringanadditionallayerofcomplexityintotheequation.Recordings

oftraditionalrecitationsthatarenotconsideredtobemusicalwithinagiven

communitymaybeconsideredmusicalfromtheperspectiveofamusicianor

listeneroutsideofthatparticularculture.Myresearchconsidersthese

recordingsassoundrecordingsofreligiousevents,andthendevelopscomposed

soundscapeswiththeserecordingsthatattempttobothhonorthesacrednature

ofthesound,whilesimultaneouslyseparatinglisteners’previousassociations

withthesoundinorderforthemtohearthesoundsnewly.

DanLander(1990)arguesthatsoundarthasuniquepotentialbecauseof

itsreproducibility,whileotherslikeCox(2011)in“FromMusictoSound,”

Neuhaus(1992)inhispermanentinstallation“TimesSquare,”andAlvinLucier

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inhisfamous1969recordingIamsittinginaroom7,suggestthatit’ssoundart’s

focusonissuesoftimeandspacethatmakeitrelevantandimportant.Lander

describedwhathefeltwerethepotentialmeritsheimaginedsoundartcould

bring.Specifically,hereflectsonthewaysoundartcanblendandbendnotions

oftimeandspacewithregardtoexhibitingordisplayingsoundwork.Heargued

thatsoundhasuniquepotentialtothatofpaintingsorsculptures,inthatthe

workitselfcanbereproducedontapeanddistributedtomultiplelocations,

allowingtheworkitselftobeexperiencedinmultipleplacessimultaneously.

Reflectingonhissoundinstallationwork,Neuhaussaidinaninterview,“the

importantideaaboutthiskindofworkisthatit’snotmusic.Itexistsintime.I’ve

takensoundoutoftimeandmadeitintoanentity”(Neuhaus,2002).Cox(2011)

furtherclarifiesthedistinctionbetweenmusicandthesubjectofsoundartby

arguingthat“therealdistinctionisbetweentwokindsoftime:pulsedtime(the

timeofmusicandmeaning)andnon-pulsedtimeorduration(thetimeofsound

matteritself)”(Cox,2011,p.10).

WhileLander(1990),Cox(2011),Furlong(1994),andNeuhaus(1992)

helpusseehowtimeandspacearekeyelementsintheemergenceofsoundart,

BrandonLaBelle(2015)addstotheunderstandingofsoundartasadistinctive

categorythroughhisarticulationsofthehistoricmovementaway“fromthetime

ofsound,andtowardsitsspatiallocation”(LaBelle,2015,p.151).InBackground

Noise:PerspectivesonSoundArt,LaBellewritesabouthowthedevelopmentof

InstallationArtinthelate1960’sandearly1970’shelpedtofurtherorientsound

artasadistinctiveartform:“thedevelopmentsofsoundinstallationprovidea

*7InAlvinLucier’s1969recordingofIamsittinginaRoom,Lucierreadsatextaloudinaroomwhilerecordingit,thenwhileplayingtherecordingbackintheroomherecordstheplayback.Hethenrepeatedthisprocess.

52

heightenedarticulationofsoundtoperformasanartisticmedium,making

explicit‘soundart’asauniqueandidentifiablepractice”(LaBelle,2015,p.151).

Hearguesthatthespatialandenvironmentalelementsofsoundleadtothe

popularizationofsoundinstallation,whichplacedthelistenerinsideofaspace

createdfromsoundsthatwerefoundandrecordedintheeverydayworld.

LaBellegoesontoprovideaworkingdefinitionofsoundinstallation,claiming

thatit“bringstogethersoundandspaceinaprovocativeandstimulating

manner,oftenappropriatingarchitecturalelementsandconstruction,social

events,environmentalnoise,andacousticaldynamics,inandoutofthegallery,

whiledrawinguponmusicalunderstanding”(Labelle,2015,p.151).LaBellealso

suggeststhatInstallationArtinspiredtheintegrationofvisualandsonic

materials,asisexemplifiedinworksbysoundartistslikeMaxNeuhaus.

Combiningvisualandsonicmaterialsallowsforanon-immediate

associationbetweentheaudience’sauralsensibilityandtheirvisualawareness,

whichisverydifferentfromthatexperiencedwhenwatchingafilm,wherethe

visualandsonicareintertwined.Humansarebettertrainedatreceivingvisual

stimuli,andasaresultmakesenseofthevisualmoreeasilythanthesonic.For

thisreason,combiningvisualandsonicmaterialallowstheaudiencememberto

makemeaningofthesoundscapemoreeasily,becausetheycanusetheirmore

familiarvisualsensetoguidethem.AsIshowinmycasestudychaptersinthis

dissertation,creatingexhibitsthatcombinevisualandsonicmaterialsallowed

metopresentanaudiencewithcomplexsonicmaterialthatservedasa

commentaryonculturalassumptionsthatmaynothaveotherwisebeen

understood.Insomecases,thesesoundscapesincorporatedunrealisticsounds,

oreditedandmanipulatedversionsofthenaturalsoundstoanextentthatthey

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maynothavebeeneasilyidentifiedasrelatedtotheirnaturalsoundsource,if

thevisualshadnotbeeninplace.

In1969Schafercreatedtheterm“schizophonia,”whichdescribesthe

purposefuldislocationofasoundfromitsoriginornaturalenvironment,andcan

alsomeanachangeinthetimeoramplitudeofarecordedsound,forexample

theamplifiedreproductionofasoundinitsnaturalenvironment.Theterm

comesfromtheGreekprefix“schizo,”meaning,“split”or“separated,”and

“phono,”meaning,“sound.”Schaferintentionallycreatedanamethatcarriedan

anxioustone,inordertocallattentiontothefactthat,ashebelieved,theworld’s

soundscapehasbecomepolluted,andthatlearningtoun-hearsoundsiscritical

tothefutureofmusiccreation.Schizophoniawassymptomaticofthe

developmentofsoundrecordingandtransmissiontechnologies,whichmadeit

possibleforasoundtooriginateinoneplaceandbetransmittedtoanother.A

musicalperformanceorpoliticalspeechcouldtakeplacefarfromone’shome,

butcouldbelistenedtoinone’slivingroomontheradio.Infact,in1969Schafer

wroteabookentitledTheNewSoundscape:AHandbookfortheModernMusic

Teacher,wherehesuggeststhattheexistenceoftechnologyhasmadelistening

tomusicliveanunfamiliarexperienceformany.Furthermore,forSchafer,

listenersarethatmuchfurtherawayfromanoriginalsoundexperiencewhen

theylistentoarecordingofitbecauserecordingisalwaysaformoftranslation

oftheoriginal.AsSchaferhighlights,“…norecordingisanexactreproductionof

livingsound.Distortionsareintroducedinbothitsproductionanditsplayback”

(Schafer,1969,p.45).

Iemployaschizophonicapproachtosoundscapedevelopmentinmy

researchbyrecordingarchivalsounds,andthenmanipulatingthosesoundsinan

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efforttobringelementsofthesocialenvironmenttotheforefront.AsAndrewJ.

Eisenberg(2015)tellsusinKeywordsinSound,“Schaferiansoundscape-related

conceptshavealsobeenoperationalizedinsocioculturalanalysis,particularlyin

ethnomusicology(Eisenberg,2015,p.197).ThisaspectofSchafer’s

compositionalphilosophybecomesausefultoolfortheworkof

ethnomusicology,whichderivessocialmeaningandculturalunderstandingfrom

musicalandsonicelementsofaculture,becauseitallowsethnomusicologiststo

explorethesoundscapesofacultureholistically,whichcanrevealimportant

insightsthattheexplorationofindividualsoundsofaculturemaynot.Inmy

research,Idrawonthewaysinwhichethnomusicologistsexploresonic

environmentsthroughsocialandculturalanalysis.Schafer’sconceptofthe

soundscapeasatranslationorreproductionoftheoriginal,informsthewayin

whichIcallattentiontotheelementsoftranslationandinterpretationin

recordingbydevelopingcreativeworkfromthatsoundscapeandusingthat

creativeworktohelpmedocumentandunderstandtheculturesIamobserving

andparticipatingin.

Schafer’sconceptof“schizophonia”isusefulintalkingaboutsoundscape

andsoundartinstallationworkbecauseifweunderstandrecordedsoundasa

crucialcomponentofsoundscapesandakeybuildingblockindevelopingsonic

environments,ratherthansimplythereplicationofasound,thenwecan

understandutilizingfieldrecordingsofsoundscapesasaninherently

schizophonicprocessinthattherecordingsofasoundenvironmenthavebeen

splitfromthatenvironmentthroughtheactofrecording,andthenagainwhen

theyareputintoagalleryorinstallationenvironmentseparatefromthesource

ofthesound.InmyownworkonsoundscapedesignfortheTheyyamandSonic

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Storyboardprojects,usingfieldrecordingsinaschizophoniccontextiscrucialto

theartisticdevelopmentofaworkthataimstochallengethewaypeoplehear

soundsthatarefamiliartothemandwhichoriginateintheirfamiliar

environments.TheseinstallationsbuildonSchafer’snotionoftheschizophonic

inthattheresultingsoundscapesaimtoseparatesoundsfromtheirnatural

environmentsandre-contextualizetheminagalleryenvironmenttargeted

towardpeoplewhoarefromorfamiliarwithhearingtheliveambientsoundsin

theirnaturalenvironment.Thedevelopmentofsoundscapeinmyworkisakinto

EmilyThompson’sredefinitionofsoundscapeas“simultaneouslyaphysical

environmentandawayofperceivingthatenvironment”(Thompson,2002,p.1).

ThesoundscapesIcreaterelyonschizophonictechniquesasawayoffiltering

theaudience’sexperienceofacommonsound,sothattheycanhearitfresh.As

AndyEisenbergsuggests,schizophoniahaspreviouslybeenusedinthisway,

particularlybyethnomusicologists,to“provideawayofthinkingaboutthe

relationshipsbetweenemplacementandsocialorientation,particularlyin

contextsofsocialstruggleandtransformation”(Eisenberg,2015,p.198).

Becauseoftheirdisruptivenature,schizophonicsoundscapes,then,havethe

potentialtobepowerfulagentsofsocialchange,intheircapacitytohighlight

nuancedaswellasdramaticdisturbancestoanotherwisefamiliarsoundscape,

whichcanhelpbringfocusedattentionthroughsonicdisruption.AsIdiscuss

morefullyinthecasestudychapters,myexperiencesworkingwiththeTheyyam

artistsinKeezhara,aswellastheLestWeForgetProject,haveallowedmetosee

howcapturingsoundscapesandre-contextualizingthemforthecommunity

fromwheretheycame,inordertohighlightasocialissueornuancedidea,

allowsforthecommunity’sresponsetotherevisedsoundscapetobecomean

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importantartifactofthatcommunity,inthatmomentintime.AsStevenConnor

states,“Soundart…hastypicallysoughttoexpandbeyondthegallery,to

ventilatethegallerywiththesoundsofwhatliesoutsideit,ortotemporalize

place”(Connor,2003,p.50).

InthespiritofStevenConnor’sessay(2003),“EarsHaveWalls,”my

dissertationisanattempttoexplorethewaysthatrecordedsoundscanbe

manipulatedintosoundscapesandputinconversationwithcommunitiesfrom

wherethesoundsoriginate,inordertoexploreacommunity’srelationshipwith

thatsonicenvironmentandsocialandculturalissuesofthetime.Inadditionmy

workreliesoncreativeprocesstotemporalizeamomentinthatcommunity’s

historythatcancontributetoitssustainability.Myresearchlookstoward

approachesinsoundstudiesthathaveactivistpotential,likethatofschizophonic

soundscapedevelopment,tofusecreativeapproachesinsoundscape

developmentwithethnomusicologicalanddigitalethnographytechniques.The

intendedoutcomeisthedevelopmentofartisticworkrootedinscholarly

inquiry,andscholarlyworkthatreliesonartisticpractice.Theresulting

researchisasinterestedinthesocialandculturalframeworksofagiven

community,asitiswiththepowerofthecreativeprocesstoactivatechange.

Thereisaninnaterelationshipbetweentheexplorationofculturethrough

ethnographyandourabilitytounderstandculturethroughart.Myresearch

attemptstoexplorethatconnection.

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2.2.4ArtsResearch PeterWeiss(2005)firstdevelopedtheterm‘artisticresearch’inhisbook,

AestheticsofResistance.ScholarslikeFlorianDombois,UteMetaBauer,Claudia

Mareis,andMichaelSchwab(2012)agreethatartisticresearchisanattitudeand

notamethodordiscipline.Intheirrecentbook,IntellectualBirdhouse:Artistic

PracticeasResearch,theyarguethatartisticresearchcantranscenddivisions

thatareoftenerectedbetweendisciplines.“Webelievethatartisticresearch

shouldnotbeseenasadisciplineoratopic,norisitreallyamethod.Forus,itis

anattitude,aperspective,amanner“(Domboisetal.,2012,p.11).Their

argumentcomesalmost20yearsafterscholarslikeFrayling(1993)andSeago

(1995)madeimportantcontributionstothedevelopmentofthestudyofartistic

researchbyexploringmethodologicalapproachesrelevantforartistic

scholarship.

Dombois,Bauer,Maries,andSchwab(2012)representthecurrenttrend

inconversationsaboutartsbasedresearchwhereartisticpracticeisvaluedas

researchnotforitsmethodologiesoralignmentwithresearchinscientific

disciplines,butratherfortheuniquecontributionsofcreativeresearch,which

areoftenabsentwithinotherdisciplines.Dombois,etal.,maketheargumentthat

theartisticpractitionerasresearcherisabletobeeffectiveinconductinghybrid

researchthatoverlapsvaryingdisciplines,andwhichdoesnotprioritize

disciplinaryallegianceaspartofitsinquiryoranalysis.Theystate,

Afterreadingthisvolume,itseemstousthatartisticresearchisanactivity

forborder-crosserswho,whennegotiatingfrontiers,carryouttheirresearch

somewhatdifferentlyfromthosewhoexpandknowledgebyinflatingknown

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territoriesorbyregisteringanewclaiminthehopethattheywillstrikegold

whilekeepingothersout.(Domboisetal.,2012,p.11)

Thisdissertationisanattempttowriteascholarlyresearchpaperabout

artisticpracticeasresearch,whichtranscendsseveraldisciplinarydivides,and

drawsonthesedisciplines’coremethodologiesandideasasawayofgrounding

myresearch.

Someauthors,whoarguefortheimportanceandvalidityofartisticresearch

asaviableformofanalysisandinquiry,focusonthemethodologicalapproaches

bestsuitedforartspracticebasedresearch.BelowIwillfurtherdiscussthe

ideasofChristopherFrayling(1994)PeterDallow(2003),AnthonyDunne

(1999),andAlexSeago(1995).However,otherauthorshavesuggestedthat

artisticresearchisanattituderatherthanamethodordiscipline.BelowIwill

furtherdiscusstheideasofPeterWeiss(2005),andFlorianDombois,UteMeta

Bauer,ClaudiaMareis,andMichaelSchwab(2012).Iwilldiscussin-depththe

meritsandapplicabilityofthesescholars’ideastothefield,andmyresearch.

PeterDallow(2003)arguesthatartsbasedresearchmethodsneedtobe

thoughtoflikescientificmethods,ascriticaltotheexpansionofartisticthought.

ChristopherFrayling(1994),ontheotherhand,inResearchinArtandDesign,

andAlexSeago(1995),inResearchMethodsforMPhil&PhDStudentsinArtand

Design:ContrastsandConflicts,suggestthatit’snotcomparingartsbased

researchtootherformsofresearchbutratherquestioningtheverynatureofthe

conceptofresearchthatismostcriticaltosupportingstudent’sartisticpractice.

Whenresearchisthoughtofcriticallyasatoolinsupportofinquiry,thena

discussionofhowartisticpracticecanbestserveasatoolforcreativeinquiry

canbesthappen,andapproachestodoingsocanbeidentified.UnlikeFrayling,

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whoarguesthatascribingtheconceptofresearchtotheartsisfundamentallya

politicalmovebearingnobenefitsforthearts,Seagosuggeststhattheconceptof

researchintheartsisimportantandartsbasedresearchersshoulddeveloptheir

ownuniquemethodologiesformakingartratherthanlookingtowardscientific

methodologicalapproachesasaguideforhowcriticalinquiryshouldhappenin

thearts.FraylingandSeago’scontributionshavebeencrucialtochangingthe

discourseaboutartsbasedresearch,fromacomparisontoscientific,social

scientific,andhumanistresearchapproachesandmethods,toonethatattempts

togainlegitimacyfortheartstoselfdefinewhattheycreateandhow.Stillwhat

ismissingfromtheresearchonartsbasedpracticemethodsisanapproachthat

cansitwithinamoretraditionaldiscourseaswellasoutsideofit.Meaningaway

ofutilizingtraditionalmethodologicalpracticetolegitimizeartisticresearch,

whilefindingapproachestodevelopingartisticresearchmethodsthattruly

supportartisticresearch,ratherthanstiflethedevelopmentofartistic

scholarship.Whatisneededisanapproachthatcombinesthefree-thinkingnon-

researchorientationofFrayling’sapproachwiththeartscenteredmethodology

designofSeagos,essentiallyamethodthatdoesnotdefineitselfasresearchin

thetraditionalsenseandthatiscrafteduniquelytotheneedsofarts

practitionersforthepurposesofhavingamethodologythatcanlivebothwithin

andoutsideofanacademicsettingthatsupportsthedevelopmentofartistic

work,butwhichdoesnotlimitthatworktotheprocessormethodthrough

whichitismade.

InRepresentingCreativeness:Practice-BasedApproachestoResearchin

CreativeArts,PeterDallow(2003)discussestheimportanceofdefiningaplace

forpractice-basedartresearchwithinthemoretraditionalcanonofscientific,

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humanitarian,andsocialscienceresearch.Dallowarguesthatpractice-based

researchiscriticalfortheevolutionandexpansionofartisticthoughtandthe

movement,tyingresearchintheartstothemoretraditionalscientificmodelof

research,wherebytheaimofnewresearchistomakecontributionstothefield

ofscience,inhismodelitisforresearchintheartstomakecontributionstothe

fieldofart.Dallow’sthesisiswidelyechoedbyscholarslikeSeago(1995)and

Dunne(1999),whofocusonteachingmethodologicalpracticestoarts-based

practices;howevertherearescholars,suchasChristopherFrayling(1994),who

wouldarguethatthereareinherentcontradictionsintryingtoapplyamore

traditionalmethodologicalapproachlikethatusedinthesciencestothe

practice-basedarts,andthathavingamethodologicalfocusshouldnotbethe

aimforpractitionersintheArts.

InhispaperResearchinArtandDesign,Frayling(1994)arguesthatwithin

theacademytherearemanycontradictoryviewsaboutthevalueofartspractice

asresearch,citingtheexampleoffamousartisticpractitionersreceiving

honorarydoctoratesfortheircreativeworksfromuniversitiesthatdonotoffer

PhDsinthepracticalarts.FraylingpointstodistinctionsbetweentheOxford

EnglishDictionary’sdefinitionofresearchwithalittle“r,”meaning‘theactof

searchingcloselyorfully,andResearchwithabig“R,”meaning‘workdirected

towardstheinnovation,introduction,andimprovementofproductsand

processes.’Heconcludes,“thatpriortotheturnofthecenturytheword

researchcarriednospecificscientificmeaning–indeeditpredatedthedivision

ofknowledgeintoartsandsciences”(Frayling,1994,p.1).Fraylingbringsinto

questionthemotivationtocallarts-basedpractice,research;assertingthatin

thisdayandagethewordresearchoftenhasmoreofapoliticalthanpractical

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meaning.Hestates,“True,researchhasbecomeapoliticalorresourceissue,as

muchasanacademicone…Researchhasbecomeastatusissue,asmuchasa

conceptualorevenpracticalone”(Frayling,1994,p.5).Sowhydoesitseemthat

withinthepracticebasedartsthereisanimperativetoshoworprovethevalue

ofartsbasedpracticeasresearch?Lookingatmyownresearch,Iamawareof

thepullFraylinghighlights—toidentifymethodstolegitimizemyownartsbased

workasvaluableresearchthatcontributestotheexpansionofknowledgewithin

myfield.However,notallartistsfeelasimilaraffinityorpulltowardneedingto

provethevalidityoftheirartisticworkthroughtheframeofscholarlyresearch.

InResearchMethodsforMPhil&PhDStudentsinArtandDesign:Contrasts

andConflicts,authorAlexSeago(1995)relatestheexperiencesofhisartsand

designstudentswithinhismethodologiescourse.Henotesthatmanyarts

studentsinPhDprogramshavelittletonobackgroundinmethodologiesand

initiallyrejectthearea,astraditionalmethodologicalapproachesfeelnarrow

andlimiting,whichisinherentlycontradictorytotheirvaluesofcreative

practice.Seagorecognizesthattraditionalmethodologiesoftenarenotwell

suitedtoartsbasedpracticeandquestionsthebestwayforward:

Thisraisesepistemologicalquestionsaboutwhetherresearchersinartand

designshouldadoptandadaptmethodologiesdevelopedinotheracademic

disciplinesorwhethertheyshouldconcentrateupondevelopingunique

andoriginalmethodologicaltechniqueswhichrecognizethedistinctive

qualityofdiscoveryofartanddesign.(Seago,1995,p.5)

Seago’sresearchsuggeststhattraditionalmethodologyisnotthebestway

forwardforresearchrootedinartsbasedpracticeandinfact,relyingonsuch

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traditionalframeworksbecomesincrediblylimitingtothestudent’spotentialfor

creativediscoveryintheirownresearch.

However,hebelievesandhighlightsthecriticalroleofmethodological

critiqueinconductingoriginalresearchworkinthearts.“Itisparticularly

germaneforstudentstounderstandthecruciallinkbetweenmethodological

critiques,thedevelopmentofhypothesesandthecollectionofdataviathe

researcher’schosenmethodology”(Seago,1995,p.5).ThereforeSeagobelieves

heavilyintheimportanceofidentifyingordevelopingamethodologywithin

whichtorootone’sartsbasedresearch,andhedrawscorrelationsbetweenthe

scientificmethodofdevelopingahypothesisandcollectingdataviaa

methodologicalapproach.Hedoeshowever,notbelievethatrelyingona

scientificmethodoramethoddevelopedforuseinadisciplineotherthanthe

artsencouragesthebestresearchworkinartanddesign.

AsSeagoandDunne(1999)tellusintheirpaper,“NewMethodologiesin

ArtandDesignResearch:TheObjectasDiscourse,”researchersintheartsand

designareoftenperplexedwhenlearningabouttraditionalmethodological

approachesastheirownworkdoesnotneatlyfitintotheseapproaches:

Thedangerinthisisthatperplexedresearchersinartanddesignwilloptto

playitsafeand,ratherthanriskingthedevelopmentanddefenseofreally

originalhypothesisandmethodologiescharacteristicof‘fundamental’

researchwork,willchoose(andbeadmittedintoartschoolresearch

programsbecausetheyhavechosen)academicallyacceptableand

supervisableresearchtopicswithmethodologiesculledfromestablished

academicdisciplines.(SeagoandDunne,1999,p.11)

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Thisoutcomeisindirectconflictwiththenotionoforiginalartsresearchthat

lookstowardthecreativeprocessasafoundationfromwhichtodevelop

questionsandanalyticalinquiry.

Dombois,Bauer,Mareis,andSchwab’s(2012)conceptof“artistic

research”todescribeanapproachandattitudetothedevelopmentofartis

usefulbecauseitaimstodescribetheprocessofinquiryandanalysiseach

artisticpiecesundergoesintheprocessofdevelopment.Ifweunderstandartas

acrucialentrypointintoone’sintellectualanalysis,ratherthansimplyacreative

outcome,thenactivelyengagingwithartists’workbecomesawaytoenterand

understandanewattitudetowardknowledge.Inmyownworkondeveloping

soundartprojectsthatattempttocaptureacurrentmomentintime—toward

thelargergoalofsustainingacommunity’sculturalheritage—creatingthese

soundscapesbecomesbothanartifactoftheintellectualprocessoffusingsound

withhistoricalmemory,aswellasarepresentationofacreativeprocessthat

considerssoundart,ethnography,andarchivingasrelatabledisciplinesthat

haveimportantthingstosharewithoneanother.Developingsoundartforthe

sustainabilityofculturalheritage,then,becomesanimportantbridgebetween

activismthroughart,andstudyingculturesandcommunitiesthroughsound.

2.3SectionThree:EthnographicResearch

2.3.1Ethnography

Ihaveusedethnographicmethodstocollectthedatainthisresearch.Eachof

thethreecasestudiesinthisdissertationreliesonengagementwitha

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community,observationofexpressiveculturalpractices,andfieldrecordings

takeninthesecommunities.Iwilldiscusshowinsomecases,suchastheLestWe

Forgetproject,myrelationshiptothecommunitywasdevelopedoveranumber

ofyears,andintheSonicStoryboardProject,relationshipswithmembersofa

communityweredevelopedoverafewminutes.Inalltherelationships

however,conversationswiththemembersofeachcommunityheavilyinformed

thedirectionofmywrittenandartisticresearch.

Theoriginsofethnographycomefrom19thcenturyWesternAnthropology,

whereitwasseenascomplementarytoethnology,thecomparativestudyofnon-

Westerncultures.(HammersleyandAtkinson,2007).Ethnologywasconsidered

thecoreofanthropologicalworkandwasusuallyconductedbymissionariesand

travellers,notanthropologists;howeverovertimeanthropologistsbegan

conductingtheirownfieldwork,andintimethetermethnologywasless

commonlyused.Ethnographycametomeanthe“theintegrationofbothfirst-

handempiricalinvestigationandthetheoreticalandcomparativeinterpretation

ofsocialorganizationandculture(HammersleyandAtkinson,2007,p.1).Inthe

earlytwentiethcentury,anthropologicalethnographybecameoneofthemodels

ofresearchadoptedbyWesternsociology,andinthefirsthalfofthetwentieth

century,sociologistsattheUniversityofChicagopopularized‘casestudy’an

approachtostudyinghumansociallifethatwasdevelopedoutofethnography.

Inthesecondhalfofthetwentiethcenturyethnographicpracticespreadinto

otherdisciplinesandfromtheUnitedStatestootherpartsoftheworld.

(HammersleyandAtkinson,2007).

In1996,GregoryBarzandTimothyCooleywroteShadowsinTheField:New

PerspectivesforFieldworkinEthnomusicology,inwhichtheydefined

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ethnographyasthe“observationofandthedescription(orrepresentation)of

culturalpractices…Fieldworkistheobservationalandexperientialportionofthe

ethnographicprocess…Fieldworkdistinguishesethnographicallybased

disciplinesfromotherapproachesinthehumanities,andsocialsciences”(Barz

andCooley,2008,p.4).Inotherwordstheethnographicprocessentails

conductingobservationalfieldworkwithinacommunityandthendescribingthe

expressiveculturalpracticesyouobserve.

HammersleyandAtkinson(2007)movedawayfromadefinitionthatplaced

disciplinesinrelationtoethnography,andinsteaddefinedethnographylargely

byfocusingonwhatethnographersdo,recognizingthatthetermethnography

canvaryinitsmeaningandisnotusedinastandardfashion.Theyhighlightthat

whileethnographyiscomplexanditisdifficulttogiveonedefinitionthat

capturesallofitsmeaning,thisisnotunusual.HammersleyandAtkinson

outlinefivefeaturesthatethnographicworkusuallycontains.Thesefeaturesare

summarizedasfollows.

1.People’sactionsandaccountsarestudiedineverydaycontexts,rather

thanunderconditionscreatedbytheresearcher.2.Dataaregathered

fromarangeofsourcesincludingdocumentaryevidenceofvariouskinds,

butparticipantobservationand/orrelativelyinformalconversationsare

usuallythemainones.3.Datacollectionis,forthemostpart,relatively

‘unstructured’.4.Thefocusisusuallyonafewcases,generallyfairly

small-scale,perhapsasinglesettingorgroupofpeople.And5.The

analysisofdatainvolvesinterpretationofthemeanings,functions,and

consequencesofhumanactionsandinstitutionalpractices,andhowthese

areimplicatedinlocal,andperhapsalsowidercontexts.”(Hammersley&

Atkinson,2007,p.3).

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KarenO’Reilly(2012)offersadefinitionofethnographythatdiffersfrom

BarzandCooley(2008)andHammersleyandAtkinson(2007)inthatshe

focusesontheprocessofthepracticeofethnography.Inherbook,Ethnographic

Method,O’Reillyposits,“thatethnographyisapracticethatevolvesindesignas

thestudyprogresses;involvesdirectandsustainedcontactwithhumanbeings,

inthecontextoftheirdailylives,overaprolongedperiodoftime;drawsona

familyofmethods,usuallyincludingparticipantobservationandconversation;

respectsthecomplexityofthesocialworld;andthereforetellsrich,sensitiveand

crediblestories”(O’Reilly,2012,p.3).SarahPink,HeatherHorst,JohnPostill,

LarissaHjorth,TaniaLewis,andJoTacchi(2016)considerO’Reilly’sapproachto

ethnographyforitsapplicationtoadigitalethnographicworld.While

incorporatingO’Reilly’sdefinition,theypositthatethnographyis:“iterative-

inductiveresearch(thatevolvesindesignthroughthestudy),drawingona

familyofmethods…thatacknowledgestheroleoftheoryaswellasthe

researcher’sownrolethatviewshumansaspartobject/partsubject”(Pink,

2016,p.3).O’Reilly’sdefinitionallowsfortheethnographicresearchtoserveas

atoolintheidentificationanddevelopmentofamethodologicalapproachforthe

research,whichveryimportantlyallowstheprocessofresearchwithina

particularcommunitytoinformtheresearchprocess,andtoimpacttheresearch

byallowingitsfocusanddirectiontoebbandflowwiththeethnographic

findings.Thisapproachmoreaccuratelyrepresentsthetypeofethnographic

practiceIaspiretoward,andisinlinewiththeethnographiccasestudiesyou

willreadaboutinthispaper.

Ethnographygenerallytakesitstheoreticalbasefromthehomediscipline

oftheresearcher,whousestheirdisciplinarytheoriesinconversationwith

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ethnographicmaterials.Inthisdissertation,IwillspecificallyhighlightDigital

Ethnography,astrandofethnographicpractice,asthemethodologicalapproach

Iuse,particularlyforitsopennessinlinkingethnographyandtheory,andnot

assumingoneparticulardisciplinarytheoreticalframework(Pinketal.,2015).

Ratherthanrelyingstrictlyonethnomusicology,forexample,toprovidethe

theoreticalframingforanalysisofmyethnographicpractice,Iaimtohave

multipletheoreticalframeworksinconversationwiththeethnographicresearch

andoneanother.InthiscaseIspecificallylooktowardtheoryinDigitalMedia,

AppliedEthnomusicology,andArchivalStudies.

2.3.2DigitalEthnography

DigitalEthnographyisamorerecentapproachthatconsiderstherole

digitalmediaplaysinshapingethnographicresearchtechniques,while

recognizingthattechnologyanddigitalmediaareapartoftheeveryday,andby

exploringthedigitalworldthroughanapproachthatreliesonanon-digital-

centricapproachtothedigital.BythisImeananapproachthatdoesnotusethe

digitalworldtoexplainthedigitalelementsofethnographicinquirybutratherto

explorethedigitalworldbyusingmoretraditionaltheoreticalinquiry.Intheir

recentlypublishedbook,DigitalEthnography:PrinciplesandPractice,authors

Pink,Horst,Postill,Hjorth,LewisandTacchi(2016)discusswhatDigital

EthnographycontributestothefieldofEthnography.Digitalethnographers,

theyclaim,“areinterestedinhowthedigitalhasbecomepartofthematerial,

sensoryandsocialworldsweinhabit,andwhattheimplicationsarefor

ethnographicresearchpractice.”Theauthorsalsosuggest“waysof

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acknowledgingandaccountingforthedigitalaspartofourworldsthatareboth

theoreticalandpracticalandthatoffercoherentframeworksthroughwhichto

doethnographyacrossspecificsitesandquestions.(Pink,etal.,2016,p.7).Ifind

theexplanationprovidedbyPink,etal.tobepertinenttoexplainingwhyIhave

chosentouseDigitalEthnographyasthemethodforanalyzingmyresearch.My

researchisinterestedinhowthedigitalworld,specificallydigitalmediaand

artistictechniquesavailabletoday,servesasaframeworkforconducting

ethnographyacrossdifferentsites,whileaskingrelatedbutnecessarilydifferent

questionsaboutculturalandreligioustraditions.Myresearchconsidershowthe

digitalmediatoolsIusebecomeapartofthematerial,andsocialworldsIstudy,

andhowtheartisticworkdevelopedthroughthesedigitaltoolscanimpact

ethnographicresearch.

Formativeworkexploringtheimpactofthedigitalonethnographyand

attemptingtodefinethefield,primarilytookshapeinthefieldsofsociologyand

anthropology.ScholarsinDigitalSociologyexploredtransformationsindigital

mediathatresultedfromthe‘digitalage’,seeforexampleSherryTurkle(2005

and2012)whowritesabouttheimpacttechnologyhashadonhuman

relationshipsandsocializing,andLauraRobinsonandDavidHalle(2002)who

writeabouttheextenttowhichtechnologyandspecificallydigitization

transformsthewayspeopleengagewithandaccessthearts.Digital

anthropologytookshapeinasimilarfashion,withscholarsinterestedinhow

approachestousingdigitalmediaimpactethnography,includingtheuseof

mobilephones,socialmedia,andnetworkedcommunityactivism.Seefor

example,IlanaGershon(2010)whoconductsanethnographyofFacebookand

othernewtoolsherstudentswereusingtoendrelationships,andHaidyGeismer

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(2013)whoresearchesthewaydigitaltechnologies,cataloguesand

representationsarealteringourmuseums.

ChristineHine’s(2000),VirtualEthnography,isoftencreditedwith

beginningthediscourseonnewethnographicmethodsbornoutofthedigital

age,thoughtherewereanumberofauthorsthroughoutthe1990’sthattouched

onsimilarthemesincludingShelleyCorrell(1995)whowritesaboutan

electronicLesbianBardevelopedfromacomputerbulletinboardsystem,Nancy

K.Baym(1999)whowritesaboutfandomandonlinecommunities,andDavid

Hakken(1999)whopresentsanargumentforthevalidityofethnographic

studiesofcyberspace.

Hine’s(2000)bookbeganadiscourseabouttheconsequencesofthe

digitalworldonethnographyaswellasthenewareasofconsiderationand

inquirybroughtaboutbydigitalinnovations.ForthisdissertationIrelyonthe

definitionofdigitalethnographyprovidedbyPinketal.,(2016),anapproachto

doingethnographyinacontemporaryworld…[it]alsoexploresthe

consequencesofthepresenceofdigitalmediainshapingthetechniquesand

processesthroughwhichwepracticeethnography,andaccountsforhowthe

digital,methodological,practicalandtheoreticaldimensionsofethnographic

researchareincreasinglyintertwined”(Pinketal.,2016,p.1).Ifindthis

definitionparticularlygermanetomyresearchinthatitreferencestherole

digitalmediaplaysinshapingethnographyinpresentday,andacknowledges

howdoingresearchwithinacontemporaryworldcanleadtogreater

interconnectednessofthetheoretical,practical,andmethodologicalaspectsof

ethnographicresearch.Theseobservationsresonatewithinmyownresearch,as

Iexplorethewaysthatdigitalmediaartcanimpactthesustainabilityand

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preservationofculturalheritage,whichdirectlyexplorestheinterconnectedness

ofthedigitalworld,ethnographicresearchandmethodology,andtheoretical

dimensionsofculture,heritage,andpreservation.

Digitalethnographyasanareaofinquiryconsiderstherolethatdigital

environmentsplayinredefiningethnographicresearch.Thisinquiryhasleadto

manynewconsiderationswithinethnographicpractice,includingthe

developmentofnewinnovativemethods,suchasdigitalethnography,the

questioningofhowmethodologiesareredefiningethnographicresearch,

questioninghowoldconceptsareimpactedbyanewdigitalethnographic

practice,andtheproposalthatpracticeandanalysisareequallyrelevantand

practicedequallyoften.(Pinketal.,2016).

Iwillalsodefinethetermsexpressivecultureandcollaborative

ethnography,whichspeaktotheethnographicmethodsIuseinmyresearch.

Expressiveculture”isatermIapplytotheethnographicelementsofmy

researchinthatitreferstotheculturalheritageandreligioustraditionsthatI

observedwithinthethreecasestudies.HarrisBerger(2010)definesexpressive

cultureinhisbook,Stance:IdeasaboutEmotion,Style,andMeaningfortheStudy

ofExpressiveCulture.Bergerexplainsthatthetermexpressivecultureisusedby

scholarsinawiderangeofdisciplinestorefertoanytypeofsocialbehaviorwith

anaestheticdimension.Thisincludesgenrestraditionallystudiedinthe

humanitiessuchasmusic,dance,theater,andpainting,butalsoeverydayforms

ofaestheticpracticelikestorytelling,jokes,dress,graf-fiti,andritual(Berger,

2010).Thetermadeptlycapturestheculturalandsocialnatureofanevent

whilealsorecognizingtheaestheticandartisticdimensionsofthatsameevent.I

foundthetermusefulinthinkingabouthowtheeventsIobserved,suchasthe

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TheyyamFestival,weresitesinwhichculturalandreligiousmeanings

intersectedwithartisticandaestheticvalues.

Collaborationisacriticalpieceoftheethnographicprocess,particularlyin

myresearch,whereIcollaboratewiththecommunityaswellasartists.Forthe

purposeofthisstudy,IwillrelyonLukeLassiter’sdefinitionofcollaborative

ethnographyasaguidelineforthetypeofcollaborationthatIstriveforinthe

artisticcollaborationsdiscussedinthisresearch:

Whilecollaborationiscentraltothepracticeofethnography,realizinga

moredeliberateandexplicitlycollaborativeethnographyimpliesresituating

collaborativepracticeateverystageoftheethnographicprocess,from

fieldworktowritingandbackagain.Manyethnographershavedonethis

before,andtheircollaborativework–regardlessoftheirtheoretical

trajectories–provideusapointofdepartureforbeginninganin-depth

explorationofthehistoryandtheorybehindacollaborativeethnography.

(Lassiter,2005,p.15)

Collaborativeethnographythereforepushescollaboratorstoworktogether

oneveryaspectoftheethnographicresearchprocess,notonlythewritingupof

fieldnotes.InmyowncollaborationsIhaveattemptedtofollowLassiter’s

approachofcollaborativeethnography,inorderfortheprocessofcollaboration

tobeasunifiedandrichaspossible.Truecollaborativeethnographyisdifficult

toachieve,butIthinkIhavecomeclosesttothisinmycollaborationwith

DhanarajKeezhara,whereweengagedintheethnographicresearchproject

togetherfromstarttofinish.Wetraveledontrainstogether,atetogether,and

conductedfieldresearchtogether,wethenbrainstormedideas,andshared

samplesofourcreativeworkwithoneanother.

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2.3.3Ethnomusicology

AnthonySeegerdefinedethnomusicologistsintheforwardhewrotefor

LaurentAubert’s2007book,TheMusicofTheOther:NewChallengesof

EthnomusicologyinaGlobalAge,as“specialistsinthestudyandoftenthe

presentationofmusicfromdifferentpartsoftheworld–[who]wereamongthe

firsttopaycloseandseriousattentiontothemusicaltraditionsofdistantplaces”

(Aubert,2007,p.vii).LaurentAubert,inthesamebook,describes

ethnomusicologyasfollows:

ThetermEthnomusicology,asweunderstandit,impliesarelationbetween

musicandsociety...Ethnomusicologyresultsfromtheconfrontationand

overlappingoftwocognitiveapproachesthatwecanconsiderirreducible;its

theoreticalandpracticalvalidationislocatedinthewrenchbetweenthetwo,

asindicatedbythejuxtapositionoftheprefixes‘ethno-‘and‘musico-‘.”

(Aubert,2007,p.9)

ForAubert,thetensionbetweenanapproachthatseekstorelatemusicand

societyandanapproachthatseekstorelatethetheoreticalandpracticalsidesof

musicisthekeytothevalueofenthnomusicology,asitmeansthatinorderto

exploremusicandsocietywemustexploreboththetheoreticalandpractical

componentsofeach.Anotherwaytosaythisisthattheprocessof

ethnomusicologyensuresasystemofchecksandbalancesbetweentheresearch

ofamusicaltradition,andthesocialstructuresthatsupportthattradition.My

researchborrowsfromethnomusicologyinthatitexploresatypeofrelationship

betweensocietyandsonority,throughfieldbasedexplorationandtheoretical

analysisofelementsofthatfieldwork.However,myresearchdoesnotfocus

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exhaustivelyorsolelyonmusic;ratheritisinterestedinsonicelementsof

expressivecultureandsociety,andwaysofusingthosesonicelementstomake

artthatcanreflectbackrelevantsocialissuesandserveasamarkerofthatactof

expressiveculture,embeddedwithinformationaboutthesocialandhistorical

momentinwhichitwasdocumented.

Initiallyethnomusicologistsexploredtheprocessofcreatingrecordings

frommusicaltraditionstheywerestudying,byrecordingandreproducing

musicaltraditionsonwaxcylinderandthenrecords.Theserecordingswere

mostlysharedwithinthescholarlycommunity,andasaresultonlyheardbya

thousandorsopeople(Aubert,2007).Beginninginthe1970stherewere

overlapsbetweenartistsandethnomusicologists,whichinitiallytooktheformof

Westernpopularmusicians,likePaulSimon,onhisalbumGraceland,which

featuredLadysmithBlackMambazo,andonwhichheinvitedmusiciansfrom

aroundtheworldtoplay,aswellasjointhemliveonstage.AsAubertstates,

“Suddenlyethnomusicologistswerenolongercontrollingthedisseminationof

worldmusic:theywereengulfedinafloodofitproducedbyothers”(Aubert,

2007,p.viii).Mydissertationoffersadifferentapproachtoartisticcreationthat

borrowsfrommusicalandsonictraditionsofexpressiveculturefromIndiaand

theMiddleEast,wherebytheoutputorcreativeproductisintendedtobeput

backintocirculationinthecommunitiesfromwheretheinitialrecordingscame,

andwhichaimstopreserveandsustainculturaltraditionscapturedwithinthe

creativework.

In“We’reallArchivistsNow:TowardsaMoreEquitableEthnomusicology,”

CarolynLandauandJanetToppFargion(2012)suggestthatthecreationof

‘culturebrokers’—aroleoftentakenonbyethnomusicologists—hasbeenborn

74

outofthisdesiretoreunitearchivalmaterialswiththecommunitiesfromwhere

thematerialcame.Theyalsosuggestthatitisamistrustoflargegovernment

institutionsthathasledtounderdevelopedpubliccollectionsandwidegrowth

ofprivatecollections,asethnomusicologistshavealsomistrustedlarge

organizationswiththeirfieldrecordings(LandauandFargion,2012).Perhaps

thisunderstandingofmistrustofgovernmentinstitutionsmakes

ethnomusicologistsgoodculturebrokers,astheycanbetterunderstandtheway

thecommunitiesinwhichtheyconducttheirresearchmayviewthem.

Insimilarstudies,EmmaBrinkhurst(2012)andCarolynLandau(2012)

wereinterestedinunderstandinghowreconnectingmembersofLondon’s

SomaliandMoroccancommunities,respectively,witharchivalrecordingsfrom

theirnativecommunitiescouldevokememoriesandstimulatediscussionand

performancetowardreclaimingcultureandidentity.AsLandauandFargion

(2012)explain,theculturebrokermustdevelopthesametypeoftrustand

mutualrespectasethnomusicologists,astherearedifficultbarriersthatmustbe

brokendownbetweenthearchivalinstitutionsandthecommunitygroups.

Thismovementtoreuniteaudio-visualarchiveswithmembersfromthe

communitiesfromwheretheycameisinterestingandunderstandable,butalso

raisesquestionsaboutthedevelopmentofnewcollectionsandarchivesin

presentday.Myresearchlooksatanapproachtothedevelopmentofcreative

projectsrootedinethnographicresearch.Iarguethatthesecreativeprojects,

whicharedevelopedfromfieldrecordingsofexpressiveculturalevents,are

relevanttomoderndayarchives.Theprocessoftakingpresentdayfield

recordings,andfromthemdevelopingcreativeprojectsthataimtobegin

conversation,inquiry,orsparkmemoryformembersofthecommunityfrom

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wheretherecordingsweretaken,fusestheintendedoutcomesthat

ethnomusicologistslikeBrinkhurst(2012)andLandau(2012)arecurrently

researching,beingaculturebrokerforacommunity--arolethatlargemuseums

andinstitutionsoftenfailtosuccessfullyfulfill,andusefieldrecordingsasatool

tostimulatemeaningfuldiscussionsofmemoryandculturewithamodernday

approachtocollectingarchivalrecordingsandmaterials.

Myresearchdoesnotattempttodirectlyrespondtoacallfortheliving

archive,currentlyahottopicatconferencesandwithinjournalssuchasthatof

IASA,theInternationalAssociationofSoundandAudioVisualArchives,where

archivistsandethnomusicologistsexpresstheirstruggletoconnectpeoplewith

archivalmaterialsfromtheircommunities.Rathermyresearchattemptsto

developnewcollectionsofarchivalrecordingsandartifactsfromexpressive

culturaleventsinpresentday,whichisnotdissimilartotheinclinationsof

archivistsandethnomusicologists.Thisistosaythatthisresearchaimstohelp

communitiesdevelopandcreatenewmaterialforaprospectivefuturecollection

orarchivethatself-consciouslyaimstoincludethevoiceofthecommunity

withinthearchivalmaterialbeforeiteverreachesanarchiveorplacetosettle.

2.3.4AppliedEthnomusicology Appliedethnomusicology,asubfieldofethnomusicology,isadiscipline

thathascreatedaspaceinthediscourseforconversationsabouttherelationship

betweenappliedresearchandscholarshipandsocialandethicalresponsibility

withinethnographicresearch.“InOctober1998theSocietyforEthnomusicology

inaugurateditsAppliedEthnomusicologySectionwiththeaimof“joining

scholarshipwithpracticalpursuitsbyprovidingaforumfordiscussionand

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exchangeoftheory,issues,methodsandprojectsamongpractitioners.”8In2006

theInternationalCouncilforTraditionalMusicestablisheditsApplied

Ethnomusicologysectionwiththefollowingdefinition:“Applied

Ethnomusicologyistheapproachguidedbytheprinciplesofsocial

responsibility,whichextendstheusualacademicgoalofbroadeningand

deepeningknowledgeandunderstandingtowardsolvingconcreteproblemsand

towardworkingbothinsideandbeyondtypicalacademiccontexts.”9Applied

Ethnomusicologythereforehasasomewhatactivistbent,incomparisontoits

parentdiscipline,ethnomusicology.

Someauthorshavenotedtheactivistmeritsofapplied

ethnomusicologicalresearch,includingDanLundberg(2015),SvaniborPettan

andJeffToddTiton(2015),andCarolynFargion(2009).In“Archivesand

AppliedEthnomusicology,”DanLundbergexploresthehistoryofSweden’sFolk

MusicCommission.Heexplainsthatsimilarcollectingprojectswereongoingin

Europeancountriesfromthenineteenthintotheearlytwentiethcenturies,many

withtheintentionofdemonstratingeachcountriesuniquenessandcultural

specificity.Lundberggoesontosay,“animportantfunctionofarchivesisto

providetherawmaterialsforaconstant,ongoingreconstructionofhistory,and

thisreconstructionalwaysreflectsthecollectors’andusers’ideasandvalues.All

interpretationsofthepastareimpregnatedby,andfilteredthrough,the

ideologiesoftheirowntime”(Lundberg,2015,p.673).Lundberg’sargumentis

thattheintentionbehindtheformingofacollection,necessarilyinfluencesthe

waythecollectionisorganized,whichtheninfluencesthewayfuture*8Seehttp://webdb.iu.edu/sem/scripts/groups/sections/applied/applied_ethnomusicology_section.cfm(accessed16January2012)

**9Seehttp://www.ictmusic.org/group/applied-ethnomusicology(accessed16January2012)

77

generationswillinterpretthematerialswithinit.Heisalsopointingoutthata

valuebehindcontributingrawmaterialtothearchiveisforfuturegenerationsto

makerevisedmeaningofthematerials.

MyresearchtakesLundberg’sargumentonestepfurther,byproposing

thatwhiletherawmaterialremainsrelevanttothearchive,theaugmented

materialshouldalsobeincludedinthearchivalcollection,asitrepresents

importantinformationdocumentingtheparticulargeneration’sinterpretationof

therawmaterial,whichasLundbergsuggests,capturestheideologiesofthe

time.Thismovemeansthatacollectiondoesnotonlyrepresentmaterialofa

particulargenerationbutalsotheperspectivesoffuturegenerations,whichcan

provideinformationaboutchangeswithinparticularcommunitiesovertime,

throughtherawmaterial,aswellasindicationsoffactorsofthetimethatmay

contributetochanges.

Someethnomusicologistshavearguedthatpreservationistantamountto

theirdiscipline,includingBarzandCooley(2008),Aubert(2007),andSteven

Feld(1982).Howeverotherethnomusicologistshavemorerecentlysuggested

thatpreservationisbroaderinscopethansimplyrecording,documentingand

submittingmaterialtoanarchive,andshouldbeextendedtoincludethe

facilitationofthecontinuationofatradition,seeforexampleFargion(2009).

WhileFargionarguesthatthecontinuationorsustainabilityofatraditionispart

oftheroleofpreservationforethnomusicologists,otherslikeLundberg,in

“ArchivesandAppliedEthnomusicology,”goonestepfurthertosuggestthatit’s

actuallybothtofacilitatethecontinuationofatradition,andinherenttothat,the

roleofdecidingwhichtraditions’continuationisfacilitated,andwhichisnot

becausetheyhavenotbeencollected(Lundberg,2015,p.681).WhileFargion

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andLundberg’scontributionshavebeencrucialtochangingattitudesaboutthe

purposeandintentionofpreservationwithinethnomusicology,aswellas

openingupthediscoursetoincludetheimportanceofsustainingcultural

traditions,whatismissingfromtheresearchonsustainabilityoftraditionsisa

waytogoaboutmakingtraditionsmoresustainableandwhetherornotitis

realistictoconsiderthatethnomusicologistscandothisaloneforalltraditions.

Whatisneededisanapproachthatcombinesthesustainablepreservationfrom

Fargion’sresearchwiththerecognitionthatnotallcommunities’traditionsare

beingdocumentedfromLundberg’sresearch—essentially,amethodthat

considersthetypeoffieldresearchthatisviableforhelpingtosustaintraditions,

andwhichconsidershowartisticresearchoncommunitiesandtraditionscan

helpcastawidernetoverthetraditionsthatarebeingdocumented.Iattemptto

dothisinmyresearchbypartneringethnographicresearchandartisticpractice

throughdigitalmediums,tomaketheargumentthattheresultingcreativework

capturesimportantandessentialaspectsofexpressivecultureandheritagethat

canservetosustainthesetraditions.Ialsomaketheargumentforwhyitis

importantthatthesetypesofcreativeprojectsbeincludedwithinarchival

collectionsaboutthesetraditions,astheycaptureatemporalityandspatialityof

aparticularcommunity’sculturalheritageandaparticularmomentintime.

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3 Theyyam

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3.Theyyam Consciouslyornot,thequestfortheotherinitsdifferenceisalwaysalsoa

questforoneselfbywayoftheother. —LaurentAubert,2007

3.1 SectionOne:Introduction

3.1.1Introduction

Myethnographicresearchanddocumentationwasconductedduringthe

annualTheyyamfestivalinKeezhara,asmallvillageinKerala,India.Iwill

provideanoverviewofavisualartexhibition,EverydayLife:ARepertoireof

RitualandPerformance,developedbymycollaboratorDhanarajKeezharaand

myself,inresponsetothefestivalanditsrelationshiptocastemarginalization

withinKeezhara.WhilethepurposeoftheEverydayLifeexhibitionwasto

attempttomitigatecastediscrimination,thepurposeofthisdissertationisto

understandthewaysinwhichcreativeresponsetofieldrecordingsmightwork

differentlythanmoretraditionalarchiving.

3.1.2 MyArtisticCollaborator

InFebruary2013,ItraveledtoKeezhara,asmallvillageintheNorthern

MalabarregionofKerala,India,toobservetheTheyyamFestivalwithmyfriend

andcollaborator,DhanarajKeezhara,avisualartist.Theyyamisaritualistic

HindufestivalcelebratedannuallyinKeezhara;asIlearnedfromthemembersof

thecommunity,thefestivaldatesbackroughlytwothousandyears,towhen

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peoplefirstinhabitedtheNorthernMalabarcoastofKerala.Duringtheweek-

longdevotionalevent,villagememberspraytothegodstohelpthemmake

peacewiththenativeanimalsanddaemonsoftheland,sothattheymaysettle

therewithoutbeingkilled.Thefestivalisnotableforitscostumingandface

paint,andmostimportantlyforitsperformances,whichoftenreenactconflict

betweenhumansandanimalsthatdatesbacktowhenthelandwassettled.

Dhanarajwasinterestedinthetopicofcastemarginalization.Specifically

hisartexploreshowtheTheyyamartistswhocomefromthelowercasteof

Keezharasociety,andwhoareembodiedbygodsduringTheyyam,arerevered

duringthefestivalbutnotduringtheremaining51weeksoftheyear.We

decidedtocollaborateandcreateanexhibitioninresponsetotheTheyyam

festival.Icollectedsoundrecordings(aswellasphotographsandfieldnotesof

myobservationsandexperiences)ofthefestival,withtheintentionofcreatinga

soundscapethatmighthighlightthejuxtapositionofhowthelowercastewas

treatedinsidethefestivalandout,andwhichwouldaccompanyDhanaraj’s

visualartwork.Ouraimwastobringfocustothefestivalperformersinanew

way,todisruptthedestructivediscoursetowardthesemembersofthe

community,andtotransfersomeoftherespectgatheredfortheTheyyam

artists,duringtheirtemporarygodliness,totheirpermanentembodimentas

membersofthevillage.

Throughoutmyexperienceofthefestivalandthecreationoftheexhibition,

Iwasdrivenbythequestion,couldourexhibit—ourcreativeresponsetothe

festival—besuccessfulasaformofactivism?Andmorespecifically,couldthe

useoftechnologyanddigitalarchivinghelpaddresscastemarginalizationin

Keezhara,inwaystraditionalarchivingmightnot?Istheresomethingabout

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creativeresponsethatoffersanewviewtowardestablishedsocietalcustoms

thatmovesbeyondrecordingintotherealmofactivism?

DhanarajKeezharaisfromKeezhara,Kerala,wherehewasraiseduntilhe

attendedArtsCollegeinthenearbycityofKannur.Dhanarajwasbornunderthe

nameDhanarajMadhavanafterhisfather’sfamilyname,anddecidedtochange

hislegallastnametoKeezharabecauseofaverystrongconnectiontohisvillage

roots.

AfterattendingArtcollege,DhanarajmovedtoBangalore,whereheandhis

familyhavebeensettledsince.DhanarajreturnstoKeezharaannuallyforthe

Theyyamfestival,andisintimatelyfamiliarwiththedetailsofthecomplex

folkloricfestivalaswellaswiththemembersofhisvillagewhoarepartofthe

performanceandthemusicalfamiliesresponsibleforcontinuingthetraditionof

thefestival.

DhanarajandIfirstmetin2007whileIwasworkinginIndiaasarecipient

oftheWilliamJeffersonClintonFellowshipforServiceinIndia.Hewastheart

teacheratChristelHouseIndia,anon-governmentalorganization(NGO)school

ontheoutskirtsofBangalore,andtheschool’sliaisontotheAdobeYouthVoices

(AYV)project.IwaslivingandworkinginIndiaatthetimeonthelaunchof

AYV.AdobewantedtoextendtheirprogramtoIndiaandpartneredwiththe

AmericanIndiaFoundation(AIF),theNGOwhereIworked,todoso.AIFalready

hadestablishedrelationshipswithschools,andhadoutfittedseveral

governmentschoolswithtechnologicalinfrastructureandcomputerteachersto

runnewclasses.

Theprojectentailedre-contextualizingAdobe’sAYVcurriculumtofitthe

Indiancontext,andlaunchingitwithin15schoolsinBangaloreand10inDelhi.

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TheworkrequiredfrequenttravelbetweenBangaloreandDelhiinsupportof

trainings,regularschoolvisitstoconductlessons,technicalandfieldsupportin

photography,film,andmedia,andprojectassessment,whichwassentbackto

Adobeforgrantmonitoringpurposes.ThefirstyearoftheAYVIndiaproject

successfullyconcludedinlate2008,shortlyafterwhichImovedbacktothe

UnitedStates.

In2012ItraveledbacktoBangaloreandmetwithDhanarajabout

collaboratingonanartisticprojectfocusedaroundtheTheyyamfestival.Atthe

time,heandhisfamily—hiswife,Nisha,andtheirchildren,TejuandSidu—were

celebratingVishu,theMalyalam(Keralan)NewYear.Aswesatonhisliving

roomfloorwithhisfamily,eatingdelicioushomemadefoodofflargebright

greenbananaleaves,wedevelopedaplanforajointexhibitiononthetopicof

castemarginalizationandTheyyam.

MuchofDhanaraj’sowncreativeworkhadforyearsbeeninspiredbythe

festival,andmorerecentlycenteredaroundhisinterestincastemarginalization.

Ourcollaborationbeganwithdiscussionsaboutthemargins,gaps,andspaces

withincommunitystructures,whichhelpusunderstandourrelationshipstoone

another.Dhanaraj’songoingbodyofvisualartwork,whichhecalls“Truthinthe

Margins,”includespaintings,drawings,sculptures,photographs,mixedmedia

work,andwatercolors.Thisworkisinspiredbytheideaofpeoplelivinginthe

marginsoftheircommunities,andthisinitialseedbeganourconversations

aboutthepossibilityofourartisticexplorationoftherelationshipbetween

Theyyamandcastemarginalization.

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Wecontinuedourartisticcollaborationremotely,communicatingprimarily

overe-mailandoccasionallySkype.OftenNishaservedasatranslatorof

languageandideaswhennecessary.

3.1.3 Keezhara,India

TherearefourteendistrictsinthestateofKerala,whichisconsidered

partofSouthIndia,aregionmadeupoffourstates:Kerala,TamilNadu,

Karnataka,andAndhraPradesh.SouthernIndiaisunitedbylinguisticsimilarity

rootedinDravidianlanguages,whichincludesTamil,spokeninTamilNadu;

Telegu,spokeninAndhraPradesh;Kannada,spokeninKarnataka;and

Malyalam,spokeninKerala.ThevillageispredominantlyHindu,withtwo

temples,KoolamBhagavathy,thelargemaintemplegroundsinthevillage,and

themuchsmallerVijanaPoshiniGranthalayam,locatedonekilometerupthe

mainroad.

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86

Image3.2MapofKerala(Source:http://maps.newkerala.com/kerala-travel-map.php AccessedOct30,2015)

Image3.3MapofKeezhara (Sourcehttps://www.google.ae/maps/place/Keezhara+

Koolam+Bhagavathy+Temple/@11.9475738,75.3901148,12z/data=!4m2!3m1!1s0x3ba 4159e73f466fd:0xc7c9c9f3736ce0c4?hl=enAccessedOctober30,2015.)

87

3.1.4 TheTheyyamFestival

“Teyyam”isperhapsacorruptionoftheSanskriticword“Deivam,”

meaningadeity.

IntheTeyyam,[orTheyyam]ritual,specialistswearingelaboratecostumes

seektoportraythedeity,whichcanbeagodorthespiritofafamous

personagelongdeceased.Thespecialistisbelievedtohaveinvokedthe

spiritofthatdeityorancestorintohimselfthroughsomespecificritualacts

andthenvirtuallybecomestheembodimentofthedeityorspirit.Inthis

alteredstate,heisagodandisconsideredassuch,andheisbelievedto

bearimmensepowertoprophesy,blessandheal.Therearenumerous

Teyyams–ofgods,goddesses,ancestorsorfamouspersonagesbothmale

andfemale.(Gabriel,2013,p.4).

AccordingtoGabriel,theperformersarebornintoTheyyamperformance

families,andaremembersoftheNichaJatiscaste,oneofthelowercastesofthe

village,alsoreferredtoasPulayas.TheNichaJatishaveforcenturiesbeen

taskedwithcarryingtheTheyyamtraditionsforward,passingonthedances,oral

recitations,andtraditionsfromgenerationtogeneration.Theperformancesare

intergenerational,withthemoreseniormembersofthefamiliestakingonthe

morechallengingperformancesandcostumes.

Accordingtothelegendsportrayedatthefestival,Theyyamhasarich

historyoffolklorethatchroniclesthestoriesofthosefirstsettlersoftheland,

theirconflictwiththeanimalsandnature,andtheirrelationshipswithone

anotherandtheHindugodstowhomtheyprayedtomakepeacewiththeland.

Thetraditionsofthefestivalincludestorytelling,dances,music,sacrificestothe

88

deity,spiritpossession,andcostuming.Theyyamartistshavemaintainedand

passedthetraditionsofthefestivalalongtoyoungergenerationsovertime,and

aretheonlypeoplewithinacommunitywhoareallowedtoperformthe

traditionsofthefestival,astheyarebelievedtobeabletoparticipateinspirit

possession.

ThemostdefiningcharacteristicoftheTheyyamFestivalisthatitassumes

oftheperformersandthevillagersanagreementandunderstandingthatduring

thefestival,thehumanperformersareembodiedbygods.Thereforeallworship

oftheperformersisworshipofagodlyembodiment.Itislikelythatthisunique

elementofthefestivalhasbeenattheheartofTheyyamfromtheonset:“In

ancienttimesthepeopleofKeralapreferredtoworshipGodsthroughhuman

representationsratherthanasimages,oridols”(Gabriel,2013,p.17).

TherearemanytypesofTheyyam,includingTheyyamofmaleandfemale

deities,aswellasofancestors.WithinthefestivaltherearenumerousTheyyam

charactersrepresented,whichdifferbycommunityastheTheyyamartistshave

differentstoriesthatarepasseddownwithintheirfamiliesbasedonthe

experiencesoftheirancestors,theircaste,andthelandfromwherethey

descend.Itissaidthattherewereonceover400differentTheyyamcharacters,

andinpresentdayonlyhalfofthosearestillperformed.

TheyyamisoneoftheculticandritualisticartsofKerala,aplacewithalong

historyofperformingarts.TherelationshipbetweenTheyyamartistsand

dominantculturehasbeenentwinedwithissuesofcastemarginalizationandthe

complicatedexpressionofcastestatusreversal.“EveryTheyyamdrawsintoits

foldpantheisticpractices,alongwithcasteistaffirmationsthathelpedthe

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marginalizedclassesclaimaspaceforthemselves,andasserttheirsociallinks

withthelandoftheirdwelling”(Trikaripur,2014,p.17).

TheyyamisrootedinthelandofMalabar,andmanytraditionsreflectedin

thefestivalaretiedtothenatureandritualsoftheland.IntheKeezharafish

tradition,fishermenfromthevillagespendoneentiredayofthefestivalfishing

onlyoneparticulartypeofsmallsilverfishfromtheriverattheedgeofthe

village.AsIwitnessedduringthefestival,onthisdaynooneelseisallowedto

fish,andoncethefishermanhavecaughtthedesirednumberoffish,which

usuallytakesthemfromsunrisetolateafternoon,theyrushthesefishbackto

thetempleasasacrificetothegods.Thefisharethengiventothepeopleofthe

villagetoeat.TrikaripurSreekanthdescribesthisas“[a]totalperformance,itis

anincrediblecomingtogetheroffaithbasedritualisticcelebrationofnotonly

religion,buttheculticandthenaturalandisintegraltotheconsolidationofthe

differentcommunitiesandfaithsthatareknitintothesocialfabricofMalabar”

(Ibid,p.17).

SincethevillageofKeezharaisthefocusofthisresearch,Iwilllimitmy

explorationofspecificTheyyamcharacterstothoseIuncoveredthrough

researchinKeezhara.Duringtheweeklongfestival,artiststellthestoriesofthe

individualTheyyamcharactersandrecitetheoraltraditionsofthefestival.The

presentationofeachTheyyamcharacterisbrokendownintothreedifferent

public-facingperformancesortraditions:theThottam,Vellatam,andTheyyam.

Theritualprocesshasthreeclearlydemarcatedstages.Inthefirst,the

Teyyam[Theyyam]appearswithverylittlecostuming.Thisisthetorram

[Thottam](fromtheSanskritstotram,meaningpraise)stageinwhichthe

Teyyamwillsingsongspraisingthedeityorthespiritinvolvedandrecounting

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itshistoryandlegends,connectingwithit.Onlyasingledrumwillbethe

accompaniment.ThisiscalledtheIlamkolan(YoungKolma).Thekolakkaran

thenreturnstotheconcealedcostumingareaandreappearswithsomemore

costumingandperformsotherelementsoftheTeyyamritualandperformance

withmoredrummersandmusiciansaccompanyingtheritual.Thisisknownas

theVellatt[vellatam]stage.Returningtothecostumingarena,theTeyyam

comesbackwithfulladornmentsandcostumingasthefull-fledgedTeyyam.

Thesestagescanbecompared,accordingtoK.K.Marar,toinfancy,youth,and

maturityofaperson’slife(Gabriel,2013).

ItisworthnotingherethatVellatamarethechildhoodversionsofthemale

Theyyam,howevertherearealsofemaleTheyyamintheformofgoddesses.

ElamkolamisthechildhoodversionoffemaleTheyyamcharacters.InKeezhara

allTheyyamartistsaremen,evenwhenrepresentingagoddess;costumesfor

goddessesoftenincludechestplateswithbreaststhatmenwillwear.Thereis

onevillageinNorthMalabarcalledThekkumbadwherewomencanperforma

particularTheyyamcalledtheSthreeTheyyam.Atpresentthereisonewoman

fromthiscommunitywhoperforms,andtraditionallythesetrainingsarepassed

onfromgenerationtogenerationsoifshehadadaughtershewouldtrainher

daughtertoperformtheSthreeTheyyam.

TheThottammarksthebeginningofthecycleofaparticularTheyyam.In

thisperformancetheTheyyamwearsaveryminimalredcostume,withdabsof

facepaint,andrecitesthestorytothebeatingofasingledrumorsometimes

threedrumsformomentsofemphasis.ThisiswheretheTheyyamrecitesthe

narrativeofthestoryoftheTheyyamcharacter,throughritualisticchanting,

whicheldersinthecommunitysayhaveoriginatedinSanskrit.However,

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becausethestoriesarepasseddownthroughoraltraditionpracticesalone,and

inalanguagethatisnotspokeninmodern-dayKeezhara,thecurrentThottamis

anindistinguishablerhythmicnarrativethatisnotlinguisticallycomprehensible

toanyoneImet,includingtheTheyyamperformers.

Theearlyeveningofthesameday,asthesunisabouttoset,marksthe

performanceoftheVellatamorthechildversionoftheTheyyamcharacter.The

Vellatamisadornedincostumingmadeupofaheadpiece,andfaceandbody

paintspecifictotheparticularVellatam.Thisperformanceofteninvolvesdance

withrobustmusicalaccompaniment,someelementoffire,andmultipletemple

mindersandotherhelpers,astheVellatam’sembodimentismoreprofoundand

behaviormoreerraticthanitsolderTheyyamcounterpart.

Inthelateeveningofthatday,orearlymorningofthefollowingday,the

Theyyamperformanceoccurs.TheTheyyamisthematureversionofthesame

characterportrayedintheVellatam,andassuchisinamorerobustcostume,

oftenaccompaniedbyamoredynamicheadpieceandfullfaceandbodymakeup.

ThefacemakeupishighlyintricatefortheTheyyamperformances,andthe

performerwilloftenwearmetalpiecesontheirface,whichserveaskey

identifiersoftheTheyyamcharacter,andcomplementthefacepaintforthe

costume.TheTheyyamperformancesareoftenmuchmoretamethenthe

Vellatamperformances,andtheTheyyamappearstobemoreembodiedinthese

performances—thatis,theyoftenspeakinwhatsoundsliketongues,walking

slowlywithsomesuddenmovement.ThefollowingdaytheThottamofthenext

Theyyamcharacterbegins,andanewday’sTheyyamcycletakesshape.

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3.1.5 EmbodimentandCasteMarginalization

Marginalization,ordiscriminationbasedoncaste,hasitsrootsintraditions

oftheHinducastesystem;however,thisiscomplicatedwhenviewedthrough

thelensoftheTheyyamfestival.TheKeezharaTheyyamartistscomefroman

“untouchable”caste,thePulayas,whohavehistoricallybeenagricultural

indenturedservantswhoworkedinthericepaddies.(Osella&Osella,2000).

Duringthefestival,TheyyamartistsareembodiedbyHindugods,andthe

villagerspray,worship,andgivemoneyandofferingstotheTheyyam,asthey

believethemtobegods.SomeTheyyamcharactersliketheMuttapan,are

consideredcommunityprophetswithhealingpowers.Villagerslineupbythe

dozenstomakeanofferingandholdtheMuttapan’shandtoreceivewordsof

guidanceandhealingforchildrenorfamilymembers,includingfindingasuitor

fortheirchild,thehealthofapartnerorparent,andothersformoneytorepay

debts.

DuringtheTheyyamfestival,itiswidelyunderstoodthattheTheyyam

artistshaveanelevatedstatuswithinthevillage.Inadditiontopaymentand

offerings,villagerswilloftenhelpmakefoodfortheartiststhroughouttheday,

whiletheartistsarebusypreparingfortheday’sperformances.Theartists’

familiesarebusyaroundtheclockrecitingtheThottam,preparingtheir

costumes,face,andbodymake-up,andcoordinatingperformancesanddances.

Duringtheremaining51weeksoftheyear,theTheyyamartistsareunderstood

asexistingonlyintheirhumanforms;theyarePulayas,untouchables,andare

treatedassuchbytheirfellowvillagers.

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InKeezhara,marginalizationistiedtotheartists’Pulayacastestatus.The

castesystem,arankinghierarchywithinHinduism,isparticularlycomplicatedin

Kerala.

ThecasterankinghierarchyofKeralamostcloselyresemblessociological

idealtypeconceptionoftheHinducastehierarchyinthatalmostevery

castegroupissaidtooccupyauniqueandpracticallyunquestionedrank,

eitherhigherorlowerthantherankofeachlocalcastegroup.(Alexander,

1968,p.1071).

K.C.Alexandergoesontoexplainthedescendinghierarchy,startingwiththe

highest-ordercaste:Brahmin,Kshatriya,Antaralajati,Sudra,Kammala,Patita

Jati,NichaJati,andfinallytheExtraJati.ThePulayas,partoftheNichaJaticaste,

areconsideredtobepollutionwithinacommunity;infactthewordpulaya

originatesfrompela,meaningbirthanddeathpollution.(Alexander,1968).

J.J.Pallatharticulatesoneexplanationofthesecomplicateddynamics,

assertingthattheTheyyamFestivalcreatesanenvironmentthatsupportsa

castestatusreversalbetweenthePulayasandtheuppercaste,butthatthe

specificwayinwhichthatreversalplaysoutwithintheTheyyamfestivalfavors

thecastehierarchyanddoesnotalterordisruptthepowerstructure,butrather

reinforcesit:

Theritualstatusreversalpracticedinthetheyyamperformance,formsan

effectivedefensemechanismbothforthePulayasandfortheuppercaste.

ThePulayasovercometheirunconsciousfearofthelandlord[uppercaste]

byidentifyingthemselveswiththelatter,andtheuppercasteovercome

thefearofthespiritworldbyallowingthePulayastoidentifythemselves

withtheevilspirits.Inthiswaytheuppercastesbelievethatthe

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terrifyingobjectscanbedivestedoftheirpower.Formanydepth

psychologists,identificationalsomeansreplacement.Todrawoffpower

fromastrongbeingistoweakenthebeing.Suchritualsofstatus

reversalsarethoughtofasbringingbalancedmutualrelationbetweenthe

socialstructureandcommunitasonceagaintoaffirmthesocialstructure.

(Pallath,1995,p.184).

Thisdescriptiongivesaglimpseintotheongoingcomplexityofcaste

dynamicsrootedininstitutionalsystemsofhierarchythataresuspendedand

appendedduringdifferentmomentsthroughouttheyear.Theoutcomeisan

overallcollusionwithdominantmajoritymarginalizationofthelowercaste

communities,temperedwithanodtotheTheyyamfestival,whichisseenasa

weeklongsubversionofthehegemonicsystem.Inourartisticcollaboration,

DhanarajandIdevelopedworkthataimstoaddressandattimessubvertvillage

castedynamicsinKeezhara.Theexhibitionusedsonicandvisualinterpretations

oftangibilityandtouch-ability,asawayofbringingfocustothehumannessof

theTheyyamartistsduringthefestival,anaspectoftheiridentitythatisoften

overshadowedbytheextremecostumingandbodypaintfromwhichthe

Theyyamcharactersareborn.Thiscomplexsymbioticdynamiccreates

resistancetowardchangeorrecognitionofcontinuedinjusticewithininter-caste

dynamicsinKeezhara(Pallath,1995).

AsPallathasserts,thePulayasanduppercastevillagersseetheirTheyyam

rolesasimportantreferencesforoneanother’slivesoutsideofthefestival;in

fact,itseemsthatthesymbiosisachievedthroughthefestivalplaysaroleintheir

abilitytoliveharmoniously.ThePulayas’roleasembodiedgodselevatesthem

toastatusthatallowsthemtotemporarilyexperiencetheprivilegesaffordedthe

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uppercaste,whilenolongerfearingtheupper-casteindividualsthemselves.For

theupper-castecommunity,theirinvolvementinthefestival(i.e.,givingmoney,

requestingadviceandprayerfromthePulayas)helpstomitigatetheirfearsof

thespiritworld.AsPallathtellsus,whiletheserolereversalsbringharmony,

theyalsoservetoreinforcethesocialstructureofthecommunity.

Ifwedonotassumethatthisrolereversalleadstoaharmoniousoutcome

necessarily,andinsteadrecognizethepositionalrelationshipbetweentheupper

castesandthePulayas,asPallathsuggests,wecanfurtherexplorethe

complexitiesofthesecastedynamicsandconsidertheroleTheyyamcanplayin

combattingthem.Forexample,itisstillthecasethatanybalanceandharmony

achievedthroughTheyyamdoesnotsustainitselfthroughouttheyear.Pallath

(1995)suggeststhattherelationshipbetweentheuppercastesandthePulayas

duringTheyyamsupportsunderstandingofoneanother’ssocialpositionsandis

tiedtoasiphoningofpowerorweakeningoftheother.Throughtheir

identificationwiththeuppercastesduringTheyyam,thePulayasweakenthe

powertheuppercasteshaveoverthem.Theuppercastesallowtheirfearstobe

overcomethroughtheiridentificationwiththespiritworld,representedbythe

Pulayas,andinsodoingovercomesomeoftheirfears.Thechallengeofcourse

iswhetheritisevenpossibleforintersubjectivitywhenthePulayasareseenby

theuppercastesinsuchextremes:theyareeithergodsordevils,andthisbinary,

asPallathtellsus,isnavigatedbymagicalthinkingmorethanrationalthought.

3.2SectionTwo:MyPersonalJourney

3.2.1TheStoryofMyJourney

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OnFebruary14,2013,ItraveledwithDhanaraj;hiswife,Nisha,andtheir

children,Siddharta(Sidu),andTejaswini(Teju),tohisnativevillageofKeezhara,

wherewespentoneweekparticipatingintheTheyyamfestival,community

gatherings,familyreunions,dinners,anddocumentingandrecordingthe

experience.IflewfromAbuDhabitoCalicut,Kerala,arrivingat3:30inthe

morning.Itookanambassadortaxi10fromtheairporttotheCalicutrailstation,

whereIwaitedfortheTheyashanthpur-KannurExpresstoarrive,roughlyan

hourandahalflater.

IhadarrangedtomeetDhanarajandhisfamilyonthetrain,whichtheyhad

boardedinBangalorethenightbefore.Iknewfrompreviousexperiencethat

negotiatingthetrainsinIndiacanbedifficult,dependingontheconditions.

Trainsarethemostcommonandpopularformoflong-haultransportationin

India,andareoftendelayed.Attimestheywillonlystopatastationforaminute

ortwobeforetakingofftothenextstation.IknewIwouldlikelyhaveonlya

minuteortwotogetmyself,mybackpackofclothing,theorangecasewithmy

equipment,andtheshoulderbagwithcablingontothetraincar,andIwas

hopingtofindtherightcar,sleepercar8,ratherthanhavingtowalkthroughand

betweentraincars.IalsoknewthatifDhanarajcouldnotfindme,hewould

worrythatIhadmissedthetrainor,worse,theflight.

ThetrainarrivedandDhanarajjumpedoffandwasequallyhurriedin

searchingforme.LuckilyIhadpositionedmyselfrelativelyneartowhere

10TheHindustanAmbassadorisacarthatwasmadebytheHindustanMotorsCompanyinIndia,andmodeledaftertheMorrisOxfordseriesIIImodelbytheBritishMorrisMotorslimited.(FromtheWikipediapageontheHindustanAmbassador)TheAmbassadorwascommonlydrivenbytheBritishinIndia,andbecamerecognizedasaprestigiouscarrepresentinggovernment,ambassadors,anddignitaries.TodaytheAmbassadorisstillusedasadignitarycar,andduetothenumbersofthecarsthatwereproducedbetween1958and2014,particularlyinthesouthofIndia,itisalsousedasataxiandcompanycarinsomeplaces.

97

sleepercar8stoppedandwasabletoheaddirectlytowardhimwithmythings.

Relievedandtired,havingtraveledallnight,IwasgladtoseeDhanarajand

Nisha,whohadreservedabedformewiththeirbooking.Wechattedforabit

andthenallwenttosleep,astherewerestilltwohoursleftuntilthetrainwasto

reachKannur.Siddhartawokemefifteenminutesbeforeourstop,andIcould

hearthefamiliarmonotonousbutrhythmiccallsofcoffeeandchaiwallasasthey

walkedtheaislesofthetraincarscarryinglargesteelcontainersofsweetwarm

beveragesontheirshoulders.Wehadcoffee,collectedourbelongings,and

negotiatedgettingoffthetrain;luckily,asKannurwasthelaststop,therewas

ampletimetogeteveryoneandeverythingoffbeforethetrainbegantomove.

Thefiveofuspiledourthingsintoanambassadortaxi,andthedrivertookusthe

13kilometerstoDhanaraj’sfamilyhomeinKeezhara.

Dhanaraj,Nisha,Sidu,Teju,andmyselfallstayedatDhanaraj’sfamilyhome,

wherehismotherstilllives.Thehouseisanold-styleKeralahomemadeofmud

wallsandconcretefloors.Withinthehousethereisamaincommonroom,two

bedrooms,asmallstorageroomlocatedoffthesideporch,whichDhanarajuses

asanofficespace,asmallatticoffastepstairwellnexttothediningroomtable,

wheresomerelativessleptwhentheystayedover,andonebathroomoffthe

secondbedroom.Thekitchenisjustinsideofthebackpatioacrossfromthe

well.Iwasgiventhebedroomthathadthebathroomattachedtoitasaplaceto

sleep.DhanarajandNishasleptinthesecondbedroom,andDhanaraj’smother,

Sidu,andTejuallsleptonfloormatslaidoutinthelivingroom.Thoughthis

sleepingarrangementmademefeeluncomfortable,asIndianhospitality

sometimescan,largelybecauseDhanaraj’s60-plus-year-oldmotherwas

sleepingonthefloorinsteadofinthebedIwasin,Ihadlearnedfrommytimein

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Indiathathospitalitytowardguestswasextremelyimportantandthatmy

assumptionsofwhatwascomfortableorappropriatedidnotmatchwhat

Dhanaraj’sfamilythoughtthemtobe.Needlesstosay,evenwhenseveral

relativesstayedthenight,InevermovedoutoftheroomIwasplacedin,norwas

Iaskedtoshare,despitehavingvolunteeredtosleepinthelivingroomwiththe

children.

Image3.4Dhanaraj’sChildhoodhomeinKeezhara

Image3.5TheroomwhereIstayedImage3.6Thelivingroom Image3.7Nishainthe

kitchen

AfterourarrivalthatfirstmorninginKeezhara,werested,ate,andsettled

in,asthefirstnightofTheyyamperformanceswastotakeplacelaterthat

99

evening.Dhanaraj’smother,slenderwithbrightsilverhairandakindbutquiet

demeanor,madeusalllunchaswerecuperatedandbathed.DhanarajandNisha

tookmeonawalkthroughthevillage.Wecutthroughthebackwoodsofthe

houseandwereshortlyonthemainroadthatsnakedthroughthevillage,

directlyacrossfromtheGoddessBhagavadKalitemple.

Adjacenttothetempleisafieldthatisusedforcelebrationsandfestivities.

Aswewalkeddowntheroad,passingthemainbusstand,whichisdirectlyin

frontofthetemple,westoppedtosayhellotoeveryone.DhanarajandNisha

seemedtoknoweveryoneinthevillage.Wecontinueddowntheroadfora

quartermileandstoppedatthevillagelibrary.Thebuildingwassmalland

modest,buttheinsidewaspaintedwithwildandbrightcolorsanddesigns,

manyresemblingTheyyamcharacters,andonewallwascoveredinamuralof

childrensittingtogetherandreadingbooks.Dhanarajhadguidedthechildrenin

paintingthemuralsonthelibrarywalls.Thespaceisnowusedforteachingand

workshopsthroughouttheyear.

Wecontinuedanotherhalfmiledowntheroad,stoppingatleasttentimes

onthewaytospeakwithandbeintroducedtovillagersandDhanaraj’s

childhoodfriends.ManyofDhanaraj’sfriendshad,likehim,relocatedtocities

foremploymentopportunities.Whenasked,theyallsaidhowhappytheywere

toreturnannuallyforTheyyam,toseefriends,andhavetimetogether.They

wereallcuriousaboutwhyIwasinKeezhara,andalsointerestedthatIlivedand

workedintheUnitedArabEmirates,asmostpeopleImetinKeralahadafamily

memberorfriendwhowasworkingintheUAE.Theconversationsoftenskewed

towardworkingoutsideofIndia,asthatwaswhatwehadincommon,andhow

theinfluxofforeignmoneyintoKeralawasraisingthecostofliving.

100

Dhanarajtoldmethatitwouldbeimportantformetogivemoneytothe

headofthetempleformyparticipationinTheyyam.Iwasinterestedinwhat

thisexchangeofmoneywasfor,asDhanarajandI,thoughcollaborators

artistically,hadneverdiscussedmattersofmoney.Iaskedhimhowmuch

moneyIshouldgivethetemple,andherespondedbysaying,“Asyoulike.”He

saidthatitwasokay,meaningaboveboardandverymuchtherightthingforme

todo,andthathewouldtakemetothetemple.IagainaskedhowmuchmoneyI

shouldbringtothetemple,andthistimeNisha,Dhanaraj’swife,steppedinand

said500rupeeswouldbetherightamount.Thishesitationtodiscussmoney

withfriendsissomethingIhaveexperiencedwithallofmyIndianfriends,and

seemstoberooted,fromwhatIcantell,inasenseofhospitalitywhereonetakes

careofthefinancialcostswhenhostingaguest,pairedwithwhatseemslikea

socialstigmaaboutdiscussingmoney(Thisofcourseisnotthecasewhen

hagglingforgroceriesatthemarket.).

Theconversationbroughttotheforefrontmyfinancialprivilege,andthe

resultingdynamicsonourcollaboration.WhatbusinessdidIhavewaltzinginto

Keezharaandparticipatingintheirfestival?AndwhatbusinessdidIhave

enteringintoanartisticcollaborationwithDhanarajinthefirstplace?For

starters,ourentirecollaborationhadrevolvedaroundmyvisitstoIndia,as

accesstovisasandthecostoftravelweremorewithinmygraspthanDhanaraj’s.

Togiveasenseofthisfinancialdisparity,oneairlineticketfromAbuDhabito

Calicut,Kerala,isroughly75%ofDhanaraj’smonthlysalary,androughly5%of

mine.Thismeansthatthepaceofourcollaborationandexhibitions,aswellas

theprocessofcollaboratingatall,arecontingentonmyabilityandwillingnessto

traveltoIndia.Ihavebeenawareofthisdynamicfromthebeginningofour

101

collaboration,whichmademefeelagreatsenseofresponsibilityinnotletting

oure-mailexchangesorconversationslapse,andcertainlytoalwayskeepthe

dialogueveryopenandfocusedonideasandcollaborativeinterests,sothatboth

DhanarajandIwouldbeguidingtheultimateoutcomeofourprojects.Onthe

flipside,IwasalsoawarefromconversationswithDhanarajthathis

collaborationwithme,whilerootedinartisticinterestandmotivatedbya

creativeprowesstoexplorenewmodesofexpression,wasalsoadvantageousin

gaininghisworkaccessandpublicitybecauseIwasaforeigner.

WediddiscussthepossibilityofproposinganexhibitionofourworkinAbu

Dhabi,givenIworkthereandthecityhasaveryhighpopulationofexpatriate

workersfromKerala.InthisconfigurationDhanarajwouldcometoAbuDhabi

asanartist-in-residence.Thishasnotyetmaterializedforavarietyofreasons,

includingDhanaraj’spreferenceforworkingwithincommunitiesinIndia,and

therealitythattheartsceneintheU.A.E,isstillunderdevelopmentwiththeAbu

DhabiLouvrecurrentlyunderconstruction,andtheAbuDhabiGuggenheim,and

ZayedNationalMuseumpendingconstruction.Additionally,giventhehigh

numbersofmigrantlaborersfromKeralaintheUAE,thesubjectmatterofthe

exhibitioncouldbeconsideredveryrelevantparticularlyfortheexpatriates

fromSouthIndia,butitsfocusonaHindutraditionmaymakeitalessviable

pitchforagallery,sinceHinduism,whilerecognizedonvisaapplicationstoAbu

Dhabi,likeJudaism,isnotentirelysupportedbythegovernment,likeJudaism.

ManyofthepeopleImetinKeezharaspokelimitedEnglish,andIdonot

speakMalyalam;howeverIcanspeakandunderstandbasicHindi,soIwasable

tocommunicatewithsomeofthepeopleImet,especiallythosewhohadtraveled

toorhadlivedinthenorthofIndia,whereHindiisthedominantlanguage.Hindi

102

isalsotaughtinthepublicschoolsinallofSouthIndia,asitisoneofIndia’s

nationallanguages,alongwithEnglish.Dhanaraj’swife,Nisha,andtheirteenage

sonSidubothspeakEnglishverywellandservedasinformaltranslators.

OneoftheTheyyamartists,thesonofoneofthemoreseniorperformersin

Keezhara,whowasprobablyclosetofortyyearsoldhimself,toldmeabouthis

experiencemovingtoDelhifortenyearstowork.WhenIaskedhimwhyhe

movedback,hesaidthatitwasdifficulttobeawayandthattherewerefewer

youngpeoplewhoweretrainingasTheyyamartistsbecausetheyounger

generationsweremovingawaytobigcities.Hesaidheneededtocomebackto

takeonhisresponsibilitiesinTheyyam.

ExcerptfromFieldNotes:

WethenmetwiththemenwhoareapartoftheTheyyamartistfamilies. AstheyallspeakMalyalamandIdonotittooksometimetocommunicate. LuckilyoneofthesonsofoneoftheeldersoftheTheyyamfamily,spoke HindiashehadworkedinDelhifortenyears,andreturnedonlyrecentlyto fulfillhisresponsibilitieswithintheTheyyam.Iwasabletospeakwithhim inHindiabouthisexperiences,thoughhewasofcoursemostinterestedin knowingaboutme,whereIwasfrom,mymaritalstatus,etc.Itwas interestinghowevertolearnthatmanyofthekeyfamilymembersand participantsoftheTheyyamfestivalinKeezharaincludingTheyyam familiesandmusicianfamilies,oftenleavethetowntopursueothercareers. ManyofthemendupreturningtoparticipateandprepareforTheyyam.

(February15,2013)

ItisimportanttonotethatnotonlywasItheonlynon-IndianinKeezhara,

butalsotheonlypersonnotfromKerala.DespitethegrowthintourisminNorth

Malabar,veryfewforeignerstravelthroughKeezhara.Imetanumberofother

villagers,manyofthemintheirearlyfortieslikeDhanaraj,whoalsotraveled

homeeachyearforTheyyam.SomecamefromCochin,thecapitalofKerala,but

manycamefromfurtherreachingpartsofIndia,includingMumbai,Chennai,

103

Kolkata,andDelhi,andonepersonImetflewinfromQatar,wherehelivesand

works.Thoughnotallreturnannually,manyseethefestivalasanopportunityto

reunitewithfamily,friends,andclassmatesfromchildhood.Fromtheonsetit

feltthatTheyyaminKeezharaisasmuchaboutcommunityasitisacultural

festival.

3.2.2 Keezhara’sGeography ThemainroadofKeezharasnakesfromtheKoolamBhagavathyTemple,

alongthebusroutediagonallytothenortheast,withtheriversomewhat

mimickingitsmovementtothenorth.Idrewasketchofthetown,presentedin

Image3.8.

Image3.8DrawnmapofthevillageofKeezhara

3.2.3 StructureoftheFestivalandImportantEvents

104

ThebulkofmytimeinKeezharawasspenteatingwithDhanaraj’sfamily

andguests,attendingmealsattheTemple,attendingallTheyyamactivities,

sleeping,andthenwakingatoddhoursinordertoensurethatwecaughtallof

theperformances,whichwerescatteredinconsistentlythroughouteachday.To

thisdayIamnotcertainhowDhanarajknewwhattimeeachTheyyamwas

occurringandwhere,otherthanthroughwordofmouth,orbypassingthe

templegroundsandaskingaperformerwhenthingswouldcommence.The

schedulewekeptduringthefestivalisdocumentedinmyfieldnotes(Appendix

A),buthereisaroughsummaryoftheflowoftheTheyyamfestivalactivities:

9:30amwewouldwakeupandhavesomecoffeeandfood.Thenwewouldnap,

andaround12:00or12:30pmwewouldheadtothetemplefortheThottam,the

readingofthestoryofTheyyamforthatday.Afterwardwewouldcomehome

andrest,whichwouldentaileating,greetingvisitors,friends,oldclassmates,

neighbors,andfamilywhowoulddropbythroughouttheday,takingtripsinto

towntoseeoldfriendsofDhanaraj’sortoseehisoldschool,etc.

DhanarajandIwouldspendsomeofourdowntimediscussingthe

recordingsandphotographswehadtakenthroughoutthepreviousday;the

childrenwouldplay;Nisha,Dhanaraj’smother,andsomeofhisauntswould

cook;andwewouldlistentomusic.Dhanarajwouldofteneditphotographs

duringthedayandpostthemonsocialmediasites,namelyFacebook.Iwas

alwaysdiligentabouttryingtochargemyfieldequipmentandsparebatteries,as

poweroutageswerefrequentandunpredictable.At5:00pmwewouldgoback

tothetemplegroundstotalkwiththeperformersanddocumentthepreparation

fortheeveningVellatam,childhoodversionofTheyyam,theperformances,the

costuming,facepainting,etc.Around6:30pmtheVellatamperformancewould

105

begin,andvillagerswouldgatheratthetempleground.Around8:00pmwe

wouldfinallymakeourwaybacktoDhanaraj’smother’shousetorestandhave

dinner.Thenaroundmidnightwewouldreturntothebackofthetempleor

acrossthestreetfortheTheyyampreparationandperformance,whichwould

generallyendaround2:30am.Thenwewouldgohomeandsleep.

ExcerptsfromFieldNotes:

Iwenttosleepat2:30amafterthepreviousevening’sfestivities.Iwokeup at9:30amaftermostofthehousehadalreadybeenawakeforatleast2 hours.Thesmallamountpeoplesleephereamazesme.ButIguessit’slike beinginacabininthewoodsonvacationandallofyourrelativeswhoyou arehappytosee,showingupatoddtimestodropinandhangout. MeanwhileIhavedevelopedacold,sincethefirstday,andmynosehasbeen runninglikemad,nottomentionaslightlydryanditchythroat.The goodnewsisthatit’smanageable,despiteblowingmynoseintoanything nearby,andtodayNishaandDhanarajwillgotothenexttownoverto fetchsomesuppliesincludingVitaminCtabletsforme.

NowbacktoTheyyam.Todaytheschedulewillchangeabitfromprevious

days.Around12-noontherewillbetheThottam,whichhashappenedevery daysincewearrived.TheThottamisbasicallyaRitualsong,wherethe performersplayadrumbeatinaninterestingandvariedway,andthenat fullspeedreciteanoraltraditionoftheTheyyamstory.Thereareelders fromtheperformancefamilywhowillstandbytoensurethattheoral traditionstoryisproperlyrecited,andtheywilljump-inandaddlinesif necessary.Theelderswillalsostepinforthecharacters,iftheyneeda break,ortotakerest.Sometimesthejuniorfamilymemberhasnot memorizedalloftheThottamstory,andsoaseniormemberwilltake overforpartofthestorythatthejuniormember,oftentheirsonor nephew,hasnotyetlearned.

WeattendedtheThottamat12:30pm.Tookimagesofcoconutsmashing

afterThottamandtookrecordingsofchatting.Dhanarajhaspicsofme withschoolkidsandhisbestfriends.Wehadpoa(food)atthetempleafter thottam.Thottamisbasicallythestoryofwhatisgoingtohappenthatday. Itisalloralandthereisnowrittendocumentationthatpeoplehereknow about.ThestoryisinSanskritandveryfewpeoplecanunderstanditunless theyhavereallystudiedwiththeTheyyamfamilies.Dhanarajmayknow thestoriesfromyearsoflistening.

(February17,2013)

106

AllThottamsarereadingonestory,whichisthestoryofthefourthday’s eveningperformancewithKesthrapalamandThayaparadevatha.Theyare reallytellingthestoryofThayaparadevathawhoistheMotherGoddess, andtheKeezharatempleishertemple.TheThottamisthestoryofwhoshe is,wheresheisfrom,howshecametothisplace,etc.TheThottamalso givesdifferentnamesfortheMotherGoddess.Theyyamisalsoperformed exclusivelybythebackwardscaste.ThestorysaysthatDaiva,thegod,was inhumanform-abackwardscasteperson[Pulaya]whowaskilledbya forwardcasteperson.WhenDaivabecameagodshe/hetookrevengeon theforwardcaste.ForthisreasonTheyyamispreformedalwaysbythe Backwardscaste[thePulayas].”

Theyyamisfundamentallyitseemsaboutcommunity.Theyyamin

KeezharaisaritualtraditionthatmaintainsHindudevotionalpracticesto theland,tofire,towater,andoveralltotheearth.ThestoryoftheTiger Theyyam,asNishatellsit,isthatlongbackwhenpeoplefoundKeezhara, theywantedtosettlehere,tobuildhuts,andtofarm,etc.Nowtheplaceisa townof1500families,surroundedbytallhillsandbyariverononeside. Whenthepeoplecame,theybegantobuildandsettleandtheydisrupted theanimalsandnaturalecosystemofthearea.Thetigersbecameangry andtherewasaclash,wherebythepeoplefoughtthetigersanditwas awful.Fromthatpointforwardlegendhasitthatthepeopleconducted ritualprayerandcelebrationbywayoftheTheyyamfestival.Theyyamin Keezharaisthepeopleaskingthetigersforpermissiontoco-existontheir land.

(February19,2013)

Thefestivalbeganwithalongparadedownthesamemainroadwehad

walkedearlierintheday.Therewerevillagersliningtheroadallthewayfrom

themaintemplegroundstoasmalltemplethreequartersofamiledownthe

road.Beforetheparadebegan,Dhanaraj,Sidu,andIwenttothesmalltemple,

whichwasmuchsmallerandfurtherintothetown.Therevillagers,Theyyam

artists,andschoolchildrenweregathered,assemblingelaborateofferingsforthe

Gods.Thesmallertemplegroundwascomprisedofthetemple,asmallman-

madewateringholewithstepsleadingdowntothewaterthatlookedsomewhat

likeanancientJewishmikvah,andgreeneryandtrees.Themenpreparingthe

offeringswalkedupanddownthestepstowardthewateringhole,forareasonI

107

couldnotmakesenseof.Itwasdifficulttotelliftheywerewashingthemselves

ortheofferingsorpossiblyboth.Theadultmenwerewearinglungis,alsocalled

vestis,thetraditionalmen’sclothinginKerala.Thesecanbewhitewithastripeof

color,oroftenheavilypatteredandcolorfulpiecesoffabricthatthemenwill

wraparoundtheirwaistasclothing.Thelungiisfloorlengthafterbeing

wrappedaroundthewaist,butitiscommonformentograbthetwo

bottommostendsofthelungithatalmosttouchthegroundandpullthemup

towardtheirwasteagain,tyingaknotwiththeendsofthefabric.Thiscreatesa

shorterlungithatfallsabovetheknee.Thisshorterversioniscommonin

Keezharaasitiscoolerandeasiertomovein.Themenwhowerepreparingthe

offeringsatthesmalltemplewereallwearingwhitelungiswithagoldstripe.

Thesearetraditionalattirewornforreligiouspurposes,andseenoften

throughouttheTheyyamfestival,wornbythetempleminders,themusicians,

andseveralothermembersofthecommunitylikethosepreparingtheofferings.

NishatoldmethatinKeezhara,aswellasherownvillagelocatedtwenty

kilometersaway,thepeoplewhocareforthecoconuttreesthatareusedfor

offeringstothegodsaregovernedbyverystrictdietaryandbehavioral

practices,notjustduringTheyyam,butthroughouttheyear.Shesaidthatitisa

veryseriousmatterandthemenwhoareresponsiblefortheofferingsare

consideredtobeverypurebythecommunity.

ExcerptfromFieldNotes:

Notjustanyonecanclimborcultivatethecoconuttree,andthecoconuts areonlyusedfordevotionandasanofferingtothegods.Theperson whocaresforandpaystributetothetreewilleatonlypurefoods,andwill thenfastafterwhichtheywillclimbthecoconuttreeandblessthefruits. Thiswillhappenregularlyfortemplerelatedfunctions,worship,festivals, etc.SomeonefromthecoconutfamilywillparticipateinTheyyamandhis friendsandfamilywillcometoTheyyamtosupporthim.Similarlythe

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fishermenwillcomeandbesupportedbytheirfriendsandfamily.(Tribe andclan)

(February2013)

Theofferingsthatthemenatthesmalltemplewereputtingtogether

consistedoftendercoconutsandavarietyoffruitsthatwerestrungontolong

bamboorods,whichwerethencarriedbythechildrenofthevillagedownthe

roadfromthesmalltempletowardthemaintemplegrounds.Theseofferings

weresoabundantandplentifulthattheywerealmoststackedontopofone

anotheronthegroundadjacenttothesanctumoftheBhagavadtemple,infront

ofthetwowoodenchairswheretheTheyyamwouldultimatelysitafterdancing

theirwayfromthesmalltemple.Thesechairsaresaidtobespecialandonlyfor

gods.

Inaddition,therewereseveralplacesinthefieldalongtheroadfromthe

smalltempletotheBhagavadtemplewherelargebundlesofdriedweedswere

tiedwithtwineanderected,standingsomewherebetween8and10feettallin

themiddleofthefield.Thesebundleswerelaterlitonfire,astheTheyyam

dancedtheirwaytothemaintemplegrounds,theimagebelowportraysthe

burningbundles.

Image3.9Aburningbundleoffthesideofthemmainroad

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TwoTheyyamdancedthroughthecrowdanddownthestreetafterthe

childrenpassedwithofferings,theiranklejewelryclankingandshaking

aggressively,makingdistinctivebuterraticpercussivesounds.Theyyam

drummerswalkeddownthestreet,flankingtheTheyyam,drummingloudlyto

announcetheTheyyam’spresencetothecrowd.ThetwoTheyyamweredancing

aggressively,almostjumpingattimes,andspinningaroundastheydanced,

movingfromonesideofthestreettotheotherastheyslowlymadetheirway

downtheroad.Theirmovementwaserratic,almostasthoughtheywere

intoxicated;thissignifiestheTheyyam’sprocessoftransformationintoaGod.

ItiscommonaspartofpreparationandperformancefortheTheyyamto

drinktoddy,analcoholicbeveragemadeoffermentedsapfromacoconutpalm.

Thereisaspecialtoddy-drinkingvesselusedinTheyyam;itismadeofsteeland

issmalllikealittleteapot.Ononesidethereisacurvedspout;thisistheside

thatonlygodsmaydrinkfrom.Thenthereisanopeningatthetopofthevessel

wherethetoddyispouredin;thisisthepartwhereotherpeopleaffiliatedwith

theTheyyamperformancedrinkfrom—oftenthispartisdonebehindthescenes.

AtoneTheyyamperformanceinavillageinKannur,Iwasgiventhetoddyvessel

asaforeignvisitor,andtoldtodrinkonlyfromthetop,asthespoutwasforgods

only.TheTheyyammadetheirwaytothemaintemple,andrightoutsideonthe

templegroundstheysatontwowoodenseats,specialforTheyyamGods,which

theyhadnowbecome.Piledhighbetweentheseatsandthecrowdwerethe

offeringsbroughtbythechildren.

ExcerptfromFieldNotes:

Around6:30/7pmcrowdsbegantogatherontheroadbetweenthemain templeandthesmallertempledowntheroad.YoungChildrenlinedupand carriedfruitsthroughtheprocession,adrumminggroupledthewayand

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manypeopleholdingumbrellaswerecreatingapassagewayforthe performerswithintheparade.Thetwomaincharactersranupanddown thepassagewaydancingandperformingallthewaydowntheroad.

Meanwhilelargestacksandpilesofhaywerebeingburnedtothegroundall

aroundthecrowds.Someofthesehugebundlesofhayandstraw,etc.were stooduperectinthemiddleofanemptyfield,andthenlit,creatingan illuminatingglowthatburnedforagoodhalfhour,andspreadembers throughoutthefestivities.

Theprocessionmovedintothefieldadjacentthemaintemple,wherethe

twomaincharacterswerecompletelysurroundedbypilesandpilesof tendercoconuts,bananasontheirstalks,babyjackfruit,andotherseasonal fruits.ThetwoTheyyamsatinspecialwoodenTheyyamseatsaspeoplefed themtendercoconutwater,etc.

TheattentionofthefestivitiesthenshiftstotheShivajiMalam,whichtakes

placeinthebackoftheopenfieldadjacentthetemple,wheredrummers andotherinstrumentalistsperformawesomerhythmpiecesalongwith coordinateddancing,thereareprobably20-25drummers,andtheyare surroundedbyacircleoffestivalattendees.

Thenightconcludesinthisfashionandultimatelycomestoanendwitha

thirty-minutelong,andveryloud,fireworkscelebration,whichwassetoff fromtherivernearby.Thefireworkshadaninterestinglyrhythmic continuouspresentaboutthem.Therewasthena2amTheyyambutIwent tosleepanddidnotattendthese,asIwastooexhausted.

(February15,2013

Aroundnoonthefollowingdaywemadeourwaytothemaintemple,which

wedideverysubsequentdayofthefestivaltowitnesstheThottam,or

storytellingportionofthefestival.

“Thetermthottamisderivedfromthewordsothram[aSanskritword

meaningahymnaddressedtoDivinity,intheformofconversation,

prayer,ordescription].Duringthethottam,thehistoryoftheyyamisalso

narrated,literally“thottam”means“tocreate,”or“appear.”Theyyam

artistsprayinfrontofthekaav,orsanctum,andaredressedwithared

clothcoveringtheirhead.SomebelievethatThottamisbasicallya

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realizationthroughwhichTheyyamartistsbecomeconvertedintoGods”

(Santosh,2013,p.33).

DuringThottamtheTheyyamartistslineupfacingthesanctumofthe

TempleandrecitethestoryoftheTheyyaminSanskrit,alanguagethatfewif

anyoftheperformersorvillagersunderstand.PerformerslearntheThottam

storiesthroughoraltradition,nottext,whichhasbeenpasseddownthrough

countlessgenerations.Therecitationisdonesoquicklythateveniftherewasa

teacherofSanskritlistening,itisunlikelythatthepersonwouldbeabletocatch

mostofthewords.

AsDhanaraj,Nisha,Sidu,andIapproachedthetemplewehadtofirst

removeoursandalsandleavethemoutsidethefour-foot-highconcretewall

whichseparatedthatwhichisconsideredoutsideofthetempleareafromthat

whichisconsideredtheoutdoorareaofthetemple.(Image3.10).Removing

sandalsisgeneralpracticebeforeenteringanyHindutemple.Theoutdoorarea

wassmall,thesameplacewhereIpaidthegentleman500rupeestheprevious

day.Ithadafloorofsand-coloreddirtandathatchedpermanentcoveringto

keeptheareacoolfromthemiddaysunanddryfromrain.Therewasabench

againstthewallofthesanctum,anddirectlyinthemiddleofthewallwasan

openwindowcutoutintheconcrete,whichwasnevertobeblocked,asthe

goddessissaidtobeinside,anditistheplacewherepeoplestandandprayto

thegoddess.Inthemiddleofthisoutdoorspace,suspendedfromtheceiling,

directlyacrossfromthecutoutwindowofthesanctum,wasabrassoillamp

referredtoasadiyaorPujalamp.Thediyahung3feetabovethegroundona

longchain,andwasfilledwithcoconutoilandalongcottonthreadthatwas

twistedandimmersedintheoilthenlit.Thiswasalsoaccompaniedbyanother

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diyathatsatonthefloorandstoodtwotothreefeethigh,againdirectlyfacing

thewindowtothesanctum.Images3.10and3.11provideavisualunderstanding

ofthelayoutofthemaintemplegrounds,alongwithadepictionofthebefore

mentioneddiyasandTheyyamperformersduringtheThottam.

Image3.10TheTempleandassociatedgroundsImage3.11Thottamperformance

TheThottamperformancelookedvisuallysimilareachday,with

performersandmusiciansstandingoutsideofthetemplegroundsfacinginward

towardthesanctum(Image3.11).Themainperformerwearsaredcostumethat

consistsofalungi-likebottompieceandaredheadcoveringthatisaffixedtothe

performer’sheadwithflowingfabricthatdrapesdownhisback,andheis

holdingadrum.Thedrum,orchenda,asitiscalledinMalyalam,wasmediumin

sizeandslungoverhisrightshoulder;itiscylindricalandhastwodrumming

surfaces—onewhichheplayswithawoodenmalletwithhisrighthand,andthe

otherwhichhebeatswithhislefthand.HeisthemainperformerofthisThottam

andthepeoplesurroundinghimplayrolesinsupportinghistransformationand

recitation.

TohisleftthereisanotherTheyyamperformerwhowearsawhitelungi

witharedpieceoffabricdownthefrontandnoshirtandhaswhitebodypaint

onthischestandarms.Healsoholdsasmallerdrumofthesamedesigninthe

sameorientationbutplaysitonlywithhishands.Behindthetwoofthemare

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theeldestperformersofTheyyaminthevillagewhostandbypreparedtostepin

andrecitetheThottamifthemainperformerintheredheaddressforgetsa

pieceofthestory.

Totheperformers’rightarethethreereligiousminders,whotendtothe

Theyyamgods,aswellasthetemporaryspiritualspacesandmaterials

throughoutthefestival.Theyarealladornedinwhitelungiwithgoldtrimand

haveminimalwhitebodypaintinasimilardesigntothatofthemainperformer.

Totheperformers’leftisanotherdrummerwithanevenlargerdrum.In

additiontothepeopleIhavedescribed,thereareseveralTheyyammusicians

whostandroughlytwentyfeetbehindtheperformers,astheThottamnearsits

conclusion.Theconfigurationofmusicianschangesslightlydaytoday,buton

thisfirstdaytherewerefivemusiciansplayinglargecylindricaldrumslikethose

playedbytheperformer,butwithonedrumheadfacingupwardandone

hangingtowardtheground.Theseareplayedwithtwosticks,knownaskoal,

thataresimilarinlengthtotraditionalwesterndrumkitsticks,butwiderand

withaslightcurvetowardthetop.Ratherthenhittingthedrumhead-onwith

thepointofthestick,thedrummershitthelengthofthecurvedportionofthe

stickagainstthedrumhead.Twomusicianswereplayingadoublereedflute-like

instrumentcalledacheenikkuzhal.Thewordkuzhalmeanspipeflutein

Malyalam,andthecheenikkuzhalisthespecificflutethatismadeforandused

duringTheyyam.Theinstrumenthasawoodenbodywithholesattheendof

whichthereisabronzehorn.Theperformersplaytheinstrumentbyblowing

directlyintothedoublereedandclosingsmallholeswithbothhands,withthe

hornfacingawayfromthemandtowardtheground.Onsomedaysafinger

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cymbalplayerjoinedtheensemble.Thesemusicianshelptosignalthe

conclusionoftheThottamrecitationdaily(seeImage3.12).

Image3.12MusiciansandeldersfromtheperformanceartistfamiliesduringThottamTheTheyyamperformerspeaksthestoryinafast-pacedrhythmiccadence

whilemaintainingatrance-likedemeanorandtone.Heaccompaniesthe

recitationbyhittinghisdruminawaythatemphasizesandguidestherhythm.

Eachday’sThottamlastsroughly30minutes.

ThesonicenvironmentsurroundingtheThottamwascomposedofthe

soundsofeverydaylifegoingonasusual.ThisiscommonforHinducelebrations

inIndiantemples,astheyareoftenonthemainroadandopenair,allowing

soundsfromtheoutsidein.ThemainbusstopinKeezharaisdirectlynexttothe

temple,25feetfromwheretheThottamtakesplace,andlikemostIndianbusses,

theseareloud,theyhonk,andthenscreechwhentheymakeastop.Thereis

thenthehustleandbustleofpeoplegettingonandoffthebus,aswellas

motorcycleandautomobilehonking,whichinIndiagenerallyisawaytoalert

someonetoyourpresenceasadriver,andassuchhappenswithgreatfrequency.

Additionallytherewerethesoundsofvendorssettingupstallsonthegrounds

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behindthetempleinpreparationfortherestoftheday’sactivities,aswellas

manypeoplewhoarewalking,gathering,andtalkingaroundthetemple.The

largeBuddhatreessurroundingthetempleswayedasthewindblowsandallof

thesesoundscreatethesoundscapeofThottam.(Refertosoundclip

Thottam.wav)

Infrontofthemainperformertherewasamicrophonetospeakinto.The

microphoneatThottamisaninterestingmodern-dayadditiontothe

performancethatisnoticeablyabsentfromVellatamandTheyyamperformances

throughoutthefestival.Themicrophoneisattachedtotwospeakersfacing

outward—nottowardthetemplebutrathertowardthevillage,sothatthe

villagerscanheartheThottamrecited.TheThottamperformanceswerenot

wellattended;inadditiontoDhanaraj,Nisha,andmyselftherewereusuallyonly

ahandfulofvillageonlookers,mostsittingonabenchwiththeirbackstothe

sanctum,facingtheperformers.IwassurprisedthatonlookersoftheThottam,

thoughoftencaptivated,werecasualintheirmovementsandpersonalchatterin

awaythatIdidnotexperienceduringtheTheyyamandVellatamperformances.

Images3.13and3.14capturemusiciansandperformanceartistsinthemidstof

performance.

Image3.13:Thottamritual(left)Image3.14CheenikkuzhalplayeranddrummersduringaneveningTheyyamperformance

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TheyoungergenerationsofTheyyamperformancefamilieslearnthe

dancesandoraltraditionspiecebypiece,andinthecaseoftheThottam,they

maynothavefullylearnedanindividualThottambeforetheyareaskedto

performtherecitationinfrontofthetemple.WhentheThottamreaderforgetsa

line,theelderbehindhimbeginsrecitingfromwherethestorywasstopped,but

doesnotstepuptothemicrophone(Image3.13).Theeldersstandbehindor

nexttothereader,andbesidethemareseveraldrummerswhohelptokeepthe

beatofThottam,whichisrattledoffinafashionIcanbestlikentofastspoken

poetrythatIhaveheard.

ThoughtheThottamperformanceisunderattended,thevillagerswhodo

gatherforThottamlistenandwatchwithgreatfocus,almostameditative

responsetothesomewhattrance-likespeedyrhythmicrecitation.Inoticedmy

responsetotheThottamasoneofarhythmicfocus,whereIbecamelostinthe

drummingandthebeat,thoughIfoundmyattentionwander,astheThottamis

lengthyandthereisnophysicalmovementbeyondthebeatingofthedrums.

ThisisinstarkcontrasttotheVellatamandTheyyamperformances,wherethere

isalotofmovementandoftenfire,sometimesinmotionandsometimesstill.

BecauseofthestillnessofThottam,thiswasalsothetimeineachdaywhereIfelt

mypresenceasanoutsidermostapparent.Thoughtherewerefewonlookers,

theThottamdoeshappenattheHinduTemple,andthosewhocomearefromthe

village;allknowoneanotherandallknowtheperformers.Forthose30minutes

eachmorningIclearlystuckout,despitemywell-suitedandbrightlycolored

salwarkameezoutfit,whichmatchedtheclothingofsomeofthewomeninthe

community.ItwasclearthatIwasfromelsewhere,andthelackofnoise,crowds,

movement,andfiremadethatmostapparent.

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3.2.4 PressCoverage

Withinthefirstfewdaysofmyvisit,afriendofDhanaraj’swhoworkedfor

alocalMalyalampaperaskedmetowriteanarticleaboutmyvisittoKeezhara,

inlargepart,asheexplainedit,tohelpinformthetownofwhoIwas,whereI

camefrom,andwhyIhadarrivedwithavarietyoftechnicalequipment.

Dhanarajagreedthiswouldmakesenseandhelptoexplainmypresencetothe

community,whowouldrespecthisguest,butforwhomWesternvisitorswere

notcommon.Additionally,theTheyyamartistsdidnotallowjustanyoneto

documenttheirwork,andthoughDhanarajhadbeenphotographing,filming,

drawing,andpaintingthemforyears,myvisitwasthefirsttimeheaskedthem

toallowanotherpersontoparticipateindocumentingtheirwork.

Image3.15AnArticlefromaMalyalampaperonmythirddayinKeezharaduring

aVellatamperformance.Iamontherightwithheadphones,holdingamicrophone, andDhanaraj’ssonSiduisstandingnexttomeassistingwiththerecording.

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3.2.5 RelevantImagesandSounds

FirstIwillexploretheorganologicalsoundsfromthefestival;thisfocuses

onwaysthecommunityusesthingsthatmakesound,andhowtheperformersof

thefestivalutilizeobjectswithaparticularknownfunctionforacompletely

differentpurpose.ThepeopleofKeezharaareusingthingsaroundthem,suchas

plantsandfruit,tocreatethingsthatmakesoundfortheirfestival,whichIthen

documentedthroughfieldrecordings.

AsIpreviouslymentioned,fishareakeypartoftheTheyyamfestivalin

Keezhara,andthefishermeninthetownplayakeyroleinthisannualfestivalby

spendingonedayfromsunuptonearsundownfishingforaparticulartypeof

smallsilverfishintheriver,thattheycanthenpresenttothegod.Thesounds

thataccompanythefishfestivitiesbeginasthefishermenwalkfromtheriver

downthemainroadtowardthetemple.Therewerepeoplelinedupawaiting

thefishermenalldowntheroad,andtheirentrancewascelebratedwith

scamperingandexcitementamongthevillageyoungsters,aswellasloudfast

drummingthatguidedthefishermen,astheycarriedtheirneatlyorganized

strandsofsilverfishhanginglikewindchimesfrombamboopoles,towardthe

templegrounds.Thedrummers,fluteplayer,andhandcymbalistwailedavery

fastrhythmthathoveredaround158beatsperminute,hittingouteighth,

sixteenth,andthirty-secondnotesforafewminutesasthefishermenwalkedto

thetempleanddisplayedthestringsofsilverfishonbambooasanofferingfor

thegods.

ExcerptfromFieldNotes:

TodaythereisanotherTheyyamaboutfish.ApparentlyTheyyamistheone time,whenpeoplefromalldifferentcasteswillcometogetheratthemain

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temple.Theyyambringsallofthesepeopletogether,inawaynothingelse intheirdailyliveswill.Thefishermencomefromaparticularcasteand theywillparticipateinaTheyyamtoday.Alldaythesefishermenhavebeen attheriver,tryingtofishforthisonetypeofsilverfishthatswimsnearthe surface.Nooneelsewillfishintherivertoday.Fromearlyinthemorning thefishermenwillbefishingandprayingintheriver,inordertocatch enoughfishtogivetothegodsattheeveningTheyyam.

(February17,2013)Fire,fireworks,andburningbundlesofpalmfrondsplayalargeroleinthe

festival(Image3.16).Theopeningceremonyofthefestivalinvolvesaritualistic

burningofseveral10-to12-foot-highbundlesofwhatlookedlikedriedpalm

frondsatdifferentpointsalongthepathbetweenthetwotemplesinKeezhara.

Thesoundandsmelloftheburningfrondspavesthewayforthedanceofthe

twoTheyyamfromthesmalltempletothelargertemple.Attheendofthe

evening,aftertheTheyyamhaveconcludedtheirperformances,thereisa

twenty-minutefireworkscelebrationovertherivernearby.Thefireworkshave

aninterestingrhythmtothem,whichseemtomimicsomeoftheTheyyamstyle

drummingfromearlierintheevening,anditcertainlyevokesacontinuous

present.Thefireworksattheirpeak,whichrunforaminuteandahalfalmost

nonstop,havearhythmofabout120beatsperminute.Thesyncopationofthe

fireworkblasts,oneafteranotherafteranotherrapidlyexplodinginthesky,

mimicthatofthedrummer’sstickshittingthedrums,andtheperformers’

percussiveanklejewelrywhentheirfeethitthehardpackeddirtofthetemple

grounds,rapidlymovingupanddownastheymovewithsuddenerraticmotion

signalingtheirembodimentbyagod.Thisanklejewelry,calledchilambu,isa

hardhollowsilverankletfilledwithsmallpiecesofsolidmetalmaterialthat

createpercussivesoundswhentheperformermoves;itiswornaroundtheankle

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andthereisaprotrudingsilvernubthatisplacedabovethetoes,apieceoftwine

isthreadedintoaneyeholeonthesilvernubandthenaroundthelargetoeof

theperformer’sfoot.Performerstraditionallywearonechilambuoneachankle.

Onadifferentdayofthefestival,villagemenruntothetopoftwoofthe

townsfourhillswithburningbunchesoffronds,racingtobethefirsttoreturn

backtothetemple.Weseefireusedthroughoutthefestivalinmanyways,both

asastand-aloneaction,aswellasfirethatismanipulatedbyhumans,asisthe

casewiththehillrunningritualdescribedabove.ManyoftheTheyyamrituals

andperformancesareaccompaniedbythesoundsofcracklingfire,burningpalm

fronds,andfirethatisbeingwieldedtodrawfocustoorawayfromsomething.

Image3.16Fireworksilluminatedtheskytosignifythefirstnightofthefestival.

Hardbrowncoconutsareusedwithgreatfrequencyinthefestival.In

additiontobeingleftatthetempleasanofferingforthegoddess,eachdayafter

thereadingoftheThottam(thestoryofThayaparadevatha,theMother

Goddess),thetempleminderssmashahardcoconutagainstastoneinthe

temple,allowingthejuicetoexplodeeverywhere(Image3.17).Theshellsare

thencollected.ThissoundofthesmashingcoconutconcludestheThottam

readingoneachdayofthefestival.Thesehardcoconutsareusedfrequentlyby

theTheyyamcharactersaswell,duringtheirperformances,andareoften

smashedagainsttheirspecialwoodenstoolsinthemidstofaperformance.The

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soundcreatedbythissmashismaskedbythelouddrummingthatcreatesthe

suspenseofthepre-smashtosmashportionoftheTheyyam’sperformance.The

visualofthecoconutis,however,mesmerizing.Duringthedaylighthours,inthe

exampleofthecoconutsmashedattheconclusionofThottam,thecoconutsplits

intomanypiecesandthecoconutmilkflieseverywhere.Duringtheevening

Theyyamperformances,thecoconut,milk,andpiecesofthehardshellofthe

coconutfly,buttheTheyyamisunflinchingwhenthrowingthecoconut,andonly

thevillageonlookersregistertheimpactofthesmashingcoconut.11

Anotheruseofthecoconutshellthatisimportantbutdoesnotcontribute

tothefestivalsonically,isasavesselforthemixingandholdingofnaturalface

andbodypaintsthatareusedtopainttheTheyyamcharacters(Image3.18).

Theyyamfacepaintisafascinatingareaofstudyuntoitself;thereisonepaperI

amawareofstrictlyfocusedonthetopicoffaceandbodypaint,entitled,“Face

MakeUpofTheyyam,”writtenbySantoshK.V.anartistfromKeezhara(Santosh,

2013).ImetSantoshinKeezharainFebruary2013throughDhanaraj.Santosh’s

artisticworkisexcellentinitsownrightandhasbeenexhibitedaroundIndia.In

hismaster’sthesis,Santoshspeaksofthestarkdifferencesbetweentheface

paintingtechniquesofeachindividualTheyyamindifferentcommunities.He

tellshisreadersofthebasicrulesoffacepaintinginTheyyam:

Forfacepainting[the]faceshouldbecleanandhygienic.Thereshouldnot

beanykindofoilovertheface.Thoughaccordingtotheartisttheymay

makeimaginaryartisticskillsintheworknothingisallowedtoaddtothe

existingone.(Santosh,2013,p.95).11TendergreencoconutsarenotascommonlyfoundinKeezhara.Infactthevillagersspendweeksgatheringthesetendercoconutsthatserveavarietyofcriticalrolesinthefestival.TheTheyyamcharactersdrinkthetendercoconutwaterandacceptthemasofferingsandchildrenparticipateincarryingthesecoconutsaroundthevillageaspartofthefestival.

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Hegoesontoexplainseveralofthedesignswithinthefacepainting:

Eightangles,circle,halfcircle,crescent,triangle,squaresandstraightlines

arevividlyfocusedonthefaceoftheTheyyam.Sotheartistshouldhave

suchagoodconcentrationandcarewhilehedoesthesamewhilehepaints.

Ifthereisanymistakethencompletedrawingshouldbechanged.(Santosh,

2013,p.95).

SrihariNairalsospeaksabouttheintricaciesoftheTheyyamfacepainting,

inthefollowingexcerptfromTheTheyyamCharisma:

TheFacialPaintingisauniquepatternforeachTheyyamandthisspeaks

volumesabouttheeffortsmadetogiveameticuloustouchanddistinctive

appearancetoeachTheyyam.ThemaindifferenceofeachTheyyamoccurs

onthebaseofsquareandcirclelines,Crescentshape,andreddish

moustache.Theseareakindofwheetsontheforeheadforthefamous

Theyyams,like‘Vishnumoorthi’,BaliandMoonnyeeshwaran.Thereisa

crescentshapeovertheforeheadwhichisportrayedonthe‘Manayola’,is

thespecialfeatureof‘Poomaran”,Pulikandan‘MadayilChamundi’

Vetakorumakan.’(Nair,2000,p.1).

Image3.17TempleMinderssmashingacoconutafterdailyThottam(left)Image3.18 Theyyamartistpaintsthefaceofanotherartistinpreparationforperformance(center) Image3.19AlargepileofcoconutssitsinfrontoftwoTheyyamasanoffering

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ThereareseveraltraditionalsonictoolsattheepicenteroftheTheyyam

festival.Theseincludethreedifferentsizesofasimilarlybuiltdrum,smallhand

symbols,onekindoffluteplayedonlyatTheyyam,andawidevarietyofcostume

materialsthatserveasrhythmictoolswhentheTheyyamdance.Thisincludesa

commonlyusedsetofsilveranklejewelrythatgoesaroundtheperformer’s

ankleandattachtothebigtoe,aswellasseveralotherpieceswornhigherupon

theanklethatincludessilverandcowryshell(SeeImages3.20and3.21)

Image3.20BasketindressingroomwithTheyyamcostumeitems(left),Image3.21Theyyamperformergettingintocostumeandputtingonankleandfootjewelry(right)

3.3 SectionThree:TheExhibition

3.3.1 EverydayLife:ARepertoireofRitualandPerformance

InDecember2014wemountedtheexhibition,entitledEverydayLife:A

RepertoireofRitualandPerformance,inKannur,Kerala,attheIndianMedical

AssociationHall,commonlyreferredtoasIMAHall.Manyofthecommunity

membersfromKeezharamadetheirwaytotheexhibitionthroughouttheweek,

includingseveraloftheTheyyamartists.

Thefocusofmycontributiontotheexhibitionwastocreateasoundscape

thatdeepenedtheworkthatDhanarajhadcreated.Hisfocusonthe

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marginalizationofthelowercastemembersofhiscommunity,theroleTheyyam

holdswithinKeezhara,andtheroleTheyyamfamiliesplayinthisfestival,were

themotivationsbehindmuchofhiswork.Theyyamisabright,colorfulfestival

thatisoftenhighlightedonthefrontoftravelguidestoSouthernIndia,and

Dhanaraj’sfocuswastobringattentiontotherealpeoplebehindthemasques,

wholivetheirlivesinservicetothisreligiousfestival.Myfocusandintention

wastocreateasoundscapethathelpedtodrawattentiontothethemesof

Dhanaraj’sworkbycommunicatingourideasandconcernsaboutcaste

marginalizationthroughsound.

Ourhopewasthattheexhibitionwouldchallengeaudiencestolookbeyond

theirownassumptionsofthefestivalandevenoftheexhibitionandartwork

itself,toseethedeeperconnectionofselfwithother.Thisthemepermeates

Dhanaraj’spaintings,drawings,andphotographs,andthroughourcollaboration

wedevelopedanapproachtocommunicatethesesameideasaurallyinmy

soundscape.

Thefollowingwasthedescriptionoftheexhibitionthatweprovidedto

mediaoutfitsandplacedonthewalloftheexhibitionhall.

ThisExhibitisavisualandsonicexplorationofthepeoplewhoperform

Theyyam.Theartistsareinterestedinexploringthemargins,thegaps,the

spaces,andtheplaceswherethepeopleexist.Theywanttoconsiderthe

relationshipbetweenhumansandGodsasitislaidoutforusinthe

Theyyamfestival.Thereisnoconversationoftheintermediary,theplace

andspacebetweenthehuman,theTheyyamperformerandthe‘character’

theyareembodying,ortheGods:Thisexhibitionwillexplorethatspace.

Godsareunreachableornottouchablebyhumanbeingsinthesensethat

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theyaregodly,andunavailabletothecommonperson.Thisexhibitbrings

focustothethingsthataretouchableandthataretouching,thesearethe

humanmoments.

Thereisanintendedplayonwordsherebyfocusingonthetouchable,those

thingstouchedbyhumans,whilerecognizingthatthethemedrivingthisart

workisanexplorationofmarginalization,specificallyaimedtobringattentionto

theuntouchablesofthecommunity.

Theaimwasfortheaudiencewastofeelsomethingintheirchest,totake

noticeofparticularsoundsofTheyyamthroughmyaccentuatingoraugmenting

aspectsoftherecordedsound.Thesesoundsoftouching,orinteractivity

betweenhumansandtheworldaroundusmaybecomesearingorshockingto

thelistener.Thesesoundsofhumanstouchingthingsbringahyperfocustothe

tactileandhumanelementsoftheTheyyamfestival,whileintentionally

sidesteppingtheintrigueoftheperformativecharacterizationsandcostumes.

ThesesamethemesareexploredinDhanaraj’spaintingsanddrawings,

wherehefocusesontheperformersthemselves,andthethingstheyaredoing

whentheyarenotembodiedbygods.Inonesuchexample,hepaintsaTheyyam

performerwhoisinlayclothesandisdressingtheotherperformerinhis

costume;inanother,amultimediaphotographandlinedrawingpiece,hedepicts

aTheyyamcharacterinbrightTechnicoloradornedinanelaboratecostume,and

thenalinedrawingofaperformer,paintingontheTheyyam’smakeup.This

latterpieceisquitestrikingasDhanarajcontrastsbrightcolorswithablack-and-

whitelinedrawinginordertobringattentiontothepersonwhoisactually

puttingontheTheyyam’smakeup(seeImages3.22and3.23).

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Image3.22PaintingbyDhanarajKeezharaImage3.23MixedMediapiecebyDhanrajKeezhara

3.3.2 CollectingMaterialsandFieldRecordings

Wespenttimewiththeperformers,talkingtothem,photographing,and

recordingtheirpreparationtimeinthestructure.Dhanarajwouldgivemevery

subtlecuesfromthebeginningregardinghowInavigatedmyrelationshiptothe

spaceinsidethestructure.Heinitiallyguidedmethroughwheretostand,and

whatanglestoshootorrecordfrom,thatwouldensureIwasnotintheway.

Thiscommunicationwasdifficult,astherulesseemedtoshiftastimewenton,

possiblybecausetheperformersbecamewearierthroughouttheweek,requiring

greaterfocus.

DhanarajandIspenttimewiththeperformerswhiletheypreparedfora

performance.Thereweretwo-walledtemporarystructuressetupacrossfrom

themaintemplegrounds,wheretheperformerskepttheircostumes,applied

theirmakeup,atefood,andevenslept.Thisstructurehadnofloorandno

ceiling;itwasmadefromseveralwoodenbeamsthatweredugintotheground,

smallerbranchesthatwereattachedhorizontallytothesebeamsfromthe

grounduptothetop,whichwasroughlysevenandahalffeettall.Palmfronds

werethenusedtocoverthestructure,sothatthetwowallsdidcreateavisual

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barrier.Thewallsofthetwo-sidedstructurewereadornedwithmany

performanceitemsfromcostumestoclothing,tofreshpalmfrondsfor

ceremoniesallthrownoverthewallsortuckedintothewallbetweenthe

woodenbranches.Thefloorwasuncovereddirtwheretheperformerswouldsit

andlieformakeup,puttingonpercussiveandtraditionaljewelry,andforeating.

Theyhadseveralpalmfrondmattsthattheywouldusetositoninthestructure.

Thefunctionanduseofthisareacanbelikenedtoacrossbetweena

dressingroominaperformancevenue,whereperformerssitinfrontofmirrors

withbrightlightspreparingtheirmakeupbeforetheygoonstageorfilm,anda

muchmorepublicspacelikeabaseballfielddugout,whereprofessionalbaseball

playerssitbeforetheygouptoplay.Theperformerscouldalwaysbeseen,as

thestructurehasonlytwosides,buttherewasaclearsensethatitwasa

protectedspace.Theboundaryofthetwo-wallstructureseemedknowntoallin

thecommunity,asnoonewouldgettoocloseorgoinside.OneTheyyam

performanceincludedafastcostumechangeinthegreenroomlikestructure

whilehundredsofonlookerswerewatching;yetnoonesteppedinsidethe

boundaryofthestructure.

Concretestepsactasstadiumseatingaroundaportionoftheoutdoorarea

ofthetemple.Therearethreetalldeepstepswhereperformersandvillage

peoplealikewouldsit,thesestepscurvedaroundtheoutdoorareainau-shape,

passingbythetwo-walledstructure.Iwouldoftensetupmyequipmenton

thosestepsandhadmanyconversationswithperformersandvillagersthere.

ThroughoutthefestivalIrecordedsoundsofthepreparations,

performances,music,environment,andfestivaloverall.Mygoalwastorecord

soundsthatwouldallowmetodevelopasoundscapeexploringthechallengesof

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castemarginalization,suchassoundsoftheperformerstouchingandinteracting

withelementsoftheircostumesandperformancesbeforetheirtransitionto

embodyingagod.

Idecidedtofocusasmuchaspossibleoncapturingsoundsfromthefestival

inisolationandoutofcontext.OneexampleofthisistheapproachItookto

capturingsoundsfortheairmovementofourexhibition,“EverydayLife.”Iwas

veryinterestedinthesoundsthattheperformersmadebywayoftheircostumes

andjewelry,andtriedtocapturethosesoundsisolatedfromtheperformance

soundsbyrecordingthemwhiletheperformerswereputtingontheircostumes

orpreparingbeforetheperformances,whichincludeddrumming,flutes,alotof

movement,andaudienceambiance.

ItraveledtoIndiawithallofthetechnologicaltoolsIusedinmy

fieldworkandexhibition,includinghigh-qualityaudiorecordingequipment,two

specializedmicrophones,andabackuprecorder.Foraudiorecording

equipmentIcarriedaSoundDevices788T8-channelAudiorecorderwith3

extrarechargeablebatteries,andaZoomH4NthataccommodatesstereoXLR

inputsasabackuprecordingsetup.IcarriedaCoreSoundTetramic,afour

capsuleambisonicmicrophone,withbatterypacksandcabling,andanAudio

TechnicaAT8022,whichisanX/Ystereofieldmicrophone.Icarried

windscreensandextracablinginsupportoftheprimaryandbackupsetups,as

wellasaboompole,andaPearsonhandheldgrip,whichIcoulduse

interchangeablywiththemicrophones.Icarriedtwopairsoffieldheadphones

withheadphoneextenders,aswellasamessengerbagthatalltheequipment,

excepttheboom,couldbecarriedinwheninthefield.Allofmyequipmentwas

battery-poweredfieldequipmentthatrequireddailybatterycharging,andall

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datawasrecordedtoacombinationofCompactFlash(CF)andStandard

Definition(SD)memorycards,aswellasinternalharddrives.

Ialsotraveledwithahigh-qualitystillimagecamera,andaniPhone4Sas

backupforimageandvideocapture.ThecamerawasaLeicaM9witha50mm

2.2lens,alongwithabatterychargerandavarietyofbackupSDcards.Icarried

acabletodownloadimagesoffoftheSDcards,alongwithacaseforthecamera

andatripodthatcouldeasilyfitinmysuitcase,andthatconvertedintoa

monopodifneeded.TheiPhone4Sisalwaysmybackupcamera,withgood

batterylife,andeaseofportability,itcanalsoeasilybechargedoffofmy

computer.

3.3.3 TheCreativeProcess:DesigningtheSoundscape

ThePanchabhuta,aHindusystemoffiveelementsthatisfoundinthe

Vedas,wastheinspirationbehindthecompositionalsoundscape.The

Panchabhuta,iscomprisedofPrithvi(Earth),Jal(Water),Agni(Fire),Vayu(Air),

andAkasha(Ether).IlearnedfromDhanarajandtheTheyyamperformersin

KeezharathattheseelementsareunderstoodtoplayalargeroleintheTheyyam

stories,aswellastheritualsofthevillage.Ichosetobreakthecompositioninto

fourdistinctmovementswitharecurringinterstitialmovementbetweeneachof

thefour.Thefourmovementsaremappedtotheelementsofwater,air,fire,and

earth,whiletheinterstitialismappedtotheelementofether.Thecomposition

isdesignedtorunforroughlyonehourandtenminutesandthenloop.Eachof

themovementsemploysavarietyoffieldrecordingsandcompositionalpractices

andtechniques.Intheexampleofthemovementrepresentingair,thelisteneris

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initiallyguidedintothemovement;theyhearaverysubtleandsporadic

“jingling,»orwhatwouldbefamiliartoTheyyamgoersasthesoundofbody

jewelry,specificallytheankletswornbytheperformers.Thissoundoccursin

isolationinthesoundscape,whichisrarelythecaseinTheyyam,asmost

performanceshaveastrongmusicaldrummingelement.However,these

recordingsoftheanklebraceletweretakenduringtheperformers’dressing

periodandarethereforedivorcedfromthefamiliarsoundsofdrummingthat

onebecomesaccustomedtohearingwhenevertheseankletsjingleduringa

dance.Themovementprogresseswiththejinglingsoundbecomingmore

constantbutwithvariablepitchandrhythm.Iwasabletoaccomplishthisby

takingavarietyofsamplesfromtherecordingsandplacingthemintimerelative

tooneanothertoestablishvaryingrhythm.Themovementprogresseswiththe

developmentofthesoundoftheperformer’sfoothittingthedirt,andwitha

focusonthatgestureandassociatedsound.

Thesoundscapeitselfisdesignedspecificallytoworkinafour-channel

sound-squareconfiguration.Amajorityofthefieldrecordingsweretakenwitha

Coretetramic,whichisanambisonicmicrophone.Recordingwithanambisonic

microphoneandcomposingwithsoftwarethatsupportssoundspacialization—

inthiscaseinafour-channelenvironmentanddynamicparameter

adjustments—allowedmetodevelopasoundscapethatrespondedspecifically

toDhanaraj’svisualartworkanditsorientationinthespace,aswellasthe

overallexhibitionhall.

Thisapproachaimstosurroundtheaudienceinasoundfield,andcreates

sonicclusterswithintheexhibitionspace.Thesoundscapewasdesignedsothat

audiencememberswouldperceiveelementsoftheexhibitionmovingaroundthe

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spacethroughthesoundsquare.Incertainmoments,itwouldseemthatthe

soundswerecomingfromonlyonequadrantorcorneroftheexhibition,whilein

othermoments,thesoundscapeseemedtoguideaudiencemembersthroughthe

space.Thisworkengagesautomationandsoniceffects,alongwithaudioediting

techniquesandmanipulation.ThepieceitselfwascomposedinProTools11,

andthespacializationoftheambisonicrecordingswascreatedinReaper,using

thecoretetramicvisualvirtualmicvst.Thesedigitalaudioworkstationtools

allowedmetouseahybridofambisonicandstereorecordings,andtothen

composeusingthoserecordings.

Myprocessfordevelopingthecompositionentailedsittinginmystudio

withthesoundsquareconfigurationsetup,andthewallsplasteredwith

printoutsofDhanaraj’spaintings,drawings,andphotographythatwouldbe

includedintheexhibition.Thoughatthetimewedidnotyetknowtheexact

orderandplacementofhiswork,Iwasabletousethevisualstimulusasa

startingpointfordevelopingthecompositionandspacialization.Allofthe

soundscapedevelopmentwascreatedinrealtimeinthesoundsquare

environment.

Duringtheexhibitionthelaptopandsoundcardwerebehindtheexhibition

wallsandallthatwasvisiblewithintheexhibitwerethespeakersandsome

cables.Thatbeingsaid,throughouttheexhibitionIbroughtpeoplebackbehind

thescenestoshowthemtheaudioconfigurationandthewaythatthesound

works.Inparticular,therewereanumberofcollege-agedstudentswhowere

veryinterestedinthebehind-the-sceneselementsofthesoundscape.

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Image3.24TheExhibitionatIMAHallinKannurImage3.25Visitorstotheexhibition

3.3.4 ListeningtotheComposition

Image3.26ComputerandsoundcardrunningProToolsforexhibition(left)Image3.27Visitorlisteningcloselytospeaker

Iwillbeginthedescriptionofthiscompositionalworkwithanexploration

ofthewayithasbeeninfluencedbyPierreSchaeffer’sconcretestyleof

composition(Shaefferetal.,2012).Boththeapproachtorecordingsoundsinthe

fieldandtheapproachtocomposingwiththosesoundsaretechnologically

mediated.Irelyondigitalrecordingequipment,analoguemicrophones,and

digitalformatconversionsoftwaretorecordandhearbackwhatIhave

recorded.Ithenemploysoftwaretechnologytoolstoinformandsculptthe

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compositionitself,nottomentionthesoundcardandspeakersthatIrelyonto

configurethesound-squareenvironmentinwhichImix,compose,and

ultimatelyexhibit.Atitscore,concretemusicpresentsitselfasa“newwayof

making”andisconcernedwitha“newtypeofobject”(Shaefferetal,2012).The

veryapproachtodevelopingcompositionfromrecordedmusicisinherently

abstract.

Forthisexhibition,mycreativeandcompositionalprocessaimstotakethe

listeneronajourneythroughPierreSchaeffer’sFourModesofListening,or

QuatreÉcoutes.Thesemodescreateaframeworkforunderstandingsounds’

characteristicsasconcrete/abstract,orsubjective/objective,andthenbreaks

soundintofourmodes;indicativelistening(écouter),selectivelistening

(dntendre),identitylistening(comprendre),andtobeabletolisten(ouïr).In

particularthecompositionattemptstomovethelistenerfromsubjective

concretelistening(ouïr)toobjectiveconcretelistening(écouter),andthento

abstractlistening.Forthesakeofthisdissertation,Iamspecificallyapplying

Schaeffer’smodesoflisteningtovisualperformance;inthiscaseIamdivorcing

soundsofthefestivalfromthefestivalperformancesbyrecordingthesounds

usedinthefestivaloutofcontextintentionallytohighlightthesoundsasthey

aretiedtotheperformersashumans,ratherthaninthecontextofthe

performanceswhenthoseperformersareembodiedbygods.Divorcingsonic

materialfromvisualperformanceisoneapproachthatDhanarajandIbelieved

couldhelpaudiencemembersconnectwiththehumannessandtouch-abilityof

thepeoplewhoaretheTheyyamartists.

Inmycomposition,Iwasinterestedinhighlightingsonicmomentsthat

wouldengagelistenersincausallistening.Forexample,Imighttakeasoundlike

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drumming,whichavillagerwouldbefamiliarwithhearingasapartofmany

Theyyamrituals,butratherthanincorporatingtherecordedsoundofadrum

fromaperformance,Iwouldincludeapiecefromawarm-uporpre-performance

momentwherethedrummerwasstrikingthedrumbutnottoafamiliarrhythm.

ThoughIcan’tbecertainthatIcaninterruptthepre-existingbrainpatternsa

villagerfromKeezharamighthaveinassociationwithdrummingandTheyyam,

asdrummingisahugepartofthefestival,Ihavestillattemptedtofocusthe

listeners’attentiononasingledrumbeatwiththehopesthattheywill

experienceashiftfromsubjectiveconcretelisteningtoobjectiveconcrete

listeningthatmayencouragelistenerstoconsiderhoworwhythatsinglehitof

thedrumoccurredand,moretothepoint,topiquetheircuriositywithregardto

whoishittingthedrum.

IattemptedtointentionallydivorcethesoundsoftheTheyyamfestival

fromtheperformances,rituals,dances,andstorytellingthatthepeopleof

Keezharaareintimatelyfamiliarwithandwouldquicklyrecognizeevenina

sonic-onlyenvironment.Theintentionwastotrytorefocustheaudience’s

attentiononthesoundstheywerehearing,forwhenwearefamiliarwiththe

soundsthatwehear,weoftendonotlistenasclosely,asourbrainsfillinthe

gapsofinformation,andourbrainendsupguidingandinsomecasesdeciding

whatwehear.

Thehopeorintendedimpactofthesonicapproachofthisexhibitionwasto

sonicallyguidelistenersawayfromhearingthesoundsofTheyyamintheways

theyaremostfamiliarwith,andinsteadtohearsoundsthatarefamiliar,as

thoughtheyarenew.Atthesametime,theaudiencewassurroundedby

Dhanaraj’svisualrepresentationsofthehumannessandthepeoplebehindthe

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costumesandfacepaintinTheyyam.Theaimwasforthiscombinationto

reorienttheaudiencetoanewstartingplacefromwheretheycouldconsider

andchallengetheiringrainedassumptionsofwhothehumanperformersare,

nottheembodiedgodsbutthepeoplewhoweretheirneighbors.

Throughvisitorfeedbackattheexhibition,Ifoundthatmyintentionof

invokingtheirobjectiveconcretelisteningofthesoundscapewasinfact

effective,andalso,itwaswhattheydislikedthemostinthesoundscape.

Listenersexpressedadesireforasoundscapethatallowedthemtomoreeasily

andclearlyidentifythesoundsthattheywerehearing,andtoassociatethe

soundswithperformancesofthefestival,asthiswasmorefamiliartothemand

representativeoftheirexperienceswithTheyyam.InparticularIwasaskedby

severalpeopletoincludemoreofthetraditionaldrummingsounds,asthose

werethenicest.

OneTheyyamperformerfromKeezharaapproachedmeattheexhibition

andexpressedhisfrustrationatthewayIchosetopresenttherecordingsofthe

festival.HepointedatoneofDhanaraj’spaintings,whereamusicianwas

strikingadrum,andtoldmethatIshouldhaveabuttonnexttothepaintingthat

avisitortotheexhibitioncouldpushtohearthesoundthedrummakes.Hewas

unhappywiththecurated,sculpted,andattimescacophonous,yetfamiliar,

soundscapethatheheardintheexhibitionhall,andfeltstronglythatthebest

useoftherecordingswouldbeaone-to-onecorrelation,onanexplanatorylevel,

sothatavisitorcouldhearasoundandseetheimageofthesourceofthatsound

atthesametime.HeexpressedquitestronglythatthewayIhadcreatedthe

soundwithintheexhibitdidnothelptoillustratewhichobjectsmakeswhich

sounds.

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TomethisinquiryfromtheTheyyamperformerwassurprising,because

heobviouslyknewthesoundthatthedrummade,asheperformsinthefestival

yearafteryear.Buthispointwasinterestingandmademethinkaboutwhata

visitorfromKeezharaexpectswhentheyentertheTheyyamfestivaloraspace

liketheexhibition,ortheFolkloreacademythathighlightsaspectsofTheyyam.

ThenitmademethinkaboutwhatIexpectwhenIenteranexhibition.WhatI

cametowasthattheperformerwasnotviewingtheexhibitionasartwork,even

thoughDhanarajisaverywell-knownandregardedartistfromKeezhara;rather,

hewasviewingitasanextensionofTheyyam,assomethingthatshould

accuratelyandonlyaccuratelyrepresentthefestival.

3.3.5 TheExhibitionOpeningCeremony

TheKeralaFolkloreAkademisponsoredtheexhibitionandsupportedour

work,notonlyfinancially,bypayingfortherentalcostsofthehall,butalsoby

usingtheirnetworkstoattractsupportfromthecommunity.Mr.B.Muhammed

Ahammed,thechairmanoftheKeralaFolkloreAkademi,satbesidemeand

DhanarajatthepressconferenceinKannur,whereourdiscussionaboutthe

exhibitionwastelevised,andwherejournalistsfromMalyalamandEnglish

newspapersalikeaskedusquestionsabouttheexhibitionforarticlestheywere

goingtowritepromotingtheexhibition.Mr.Ahammed,alongwiththe

Akademi’ssecretary,Mr.M.PradeepKumar,werebothpresentattheopening

ceremonyfortheexhibitionwhichwasheavilytelevised,andwhichinvolveda

ceremonybyTheyyamartistsfromKeezhara.The“galleryopening”wasinthis

instancemoreofacontextsetting,mediaintensive,two-hourintroductiontothe

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exhibitionfortheVIPguestsandmediawhowerepresent,theFolkloreAkademi

representatives,Dhanarajandmyself,aswellasfriends,family,andonlookers.

TwoTheyyamartistsfromKeezharabuiltasquarestructurefromcoconut

palmsthatsymbolizedthebeginningofTheyyam;theytraditionallybuildthis

samestructureduringthestartoftheTheyyamfestival,showninImage3.28.

Thesquarestructurewasroughlytwofeethighandmadefromweavingtogether

cutpiecesofthecoconutpalms,whichresultedinasquarethathadmany

smallersquareswithinit.

Image3.28ThecoconutpalmstructurebuiltbyTheyyam performersfortheopeningceremonyoftheexhibition

Theythenbuiltandattachedtothecorner,orintersectingpoints,ofeachsmall

square,longstiffpiecesofpalmfrond,wrappedinclothandsoakedincoconut

oil.Thisstructuresatinthecenteroftheexhibitionhallforoneday,untilthe

openingceremony.

Mr.Ahammedstartedtheceremonybywelcomingalltheguestsand

introducingtheexhibition,themissionoftheFolkloreAkademi,andtheartists.

Mr.PradeepKumarthengavealongerintroduction,whichincludedashort

speechfrombothDhanarajandmyselfaboutthemotivationfortheexhibition.I

spokeinEnglishandDhanarajinMalyalam,whilevariousnewschannels

coveredtheopening.Mr.KumarthencalledguestsandVIPsoneatatimeto

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lightoneofthe20cloth-wrappedfrondsonfire,untilallwerelitandthe

exhibitionhallwasfilledwithsmoke(Image3.29).

Image3.29TheTheyyamceremonyattheexhibitionopeningatIMAHallinKannur

Duringthecourseoftheexhibition,Mr.M.PradeepKumaraskedmeifI

wouldbewillingtoprovidetheAkademiwithsomeoftherecordingsIhadtaken

attheKeezharaTheyyam,insupportofthedevelopmentofasoundscapefor

theirAkademifacilityandmuseum.ThiswasawonderfulhonorandItoldhimI

wouldbehappytogivethoserecordingstohimfortheAkademi’suse.Ihave

sincethenbeenworkingwiththeAkademionsharingtherecordingswiththem

andamhostingonmypersonalwebsitealibraryofthecomposedsoundscape

forusebytheKeralaFolkloreAkademiaswellasanyotherinterestedparties.

3.3.6 ResponsestotheExhibit

Wewerefortunatetohaveawidevarietyofconversationswithvisitorsto

theexhibitionaswellaswithmembersofthecommunity.Thiswassupportedin

largepartbythecultureofgalleryexhibitionsinSouthIndiawhereartistsare

presentthroughouttheentiretyofanexhibition,whichisoftenaweekorlessin

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length.Thoughexhaustingafterseverallongdays,beingpresentmeantthatwe

wereabletospeaktoallvisitorsofthespace,andheartheirthoughtsand

feedback.Duringthistime,Icollectedinterviews,hadinformaldiscussions,and

wrotedownanecdotalvignettesofpeople’scomments,experiences,and

contributionstothespace.

Thefollowinghighlightsseveralvignettesofvisitorfeedbacktotheexhibit.

Oneoldergentlemanandhiswifeapproachedmeafterwalkingaroundthe

exhibittosharewithmeaDVDtheyhadbroughtoftheirseven-year-old

grandson,whohadperformedhisfirstTheyyamthatseason.Theyexpressed

immensejoyandprideintheirdescriptionofhisperformanceandtheir

excitementformetoseetheirgrandson’sperformanceandpossiblyincorporate

itintoafutureexhibition.Twocollege-ageboyswalkedintothegalleryoneday,

anatypicaldemographicofvisitortothegallery,withaninterestinthesound

design,themultiplespeakerconfigurationsandthetechnologybehindthe

exhibit.Theystruckupaconversationwithme,sayingtheywerestudying

sounddesignandwereveryinterestedinthetechnologiesIwasusing,andthe

approachtotheexhibition.Wespentanhourbehindthewallsoftheexhibit

withthecomputerandsoundcarddiscussingProTools,soundspatialization,

ambisonicrecordings,andthetransformationofdifferentparametersofthe

audiothatinfluencedthesoundscapedesign.

SeveralTheyyamartistsfromKeezhara,whomIhadmetduringthefestival,

approachedmeduringtheexhibittoexpressfrustrationaboutthesounds.

TherewasalsothegentlemanIpreviouslymentioned,whowalkedmeovertoa

speakerinthefarcorneroftheroom,andassoundscameoutofithepointedto

apaintingjustnexttothespeakerandsaid,“Theyarenotthesame.”Myinitial

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reactiontohissuggestiontohaveabuttonnexttothephotographsthat,when

pushed,playedsoundsthatdirectlycorrespondedtotheimage,wasslightly

defensive,asIfelthedidn’tunderstandtheintentionbehindmywork,but

quicklyImovedfrommymindsetastheartistbacktothatofethnographerand

realizedthathissuggestionshelpedtoilluminatehowthecommunityof

Keezharaunderstoodthesoundscape,aswellashispersonalexpectationsof

whatarepresentationofTheyyamshouldbe,andwhatitshouldaccomplish.

InjuxtapositiontothesoundscapeIcreatedfortheEverydayLifeexhibit,a

futureworkcouldincorporateasectionorroomthatattemptstodoexactly

whatthisgentlemansuggests,whichisprovideaonetoonecorrelationbetween

soundandimage,allowingpeopletodecideandcontrolwhentheyhearwhat.It

wouldbeinterestingtobuildasoundboxthatallowedvisitorstopushbuttons

andplaybacksoundsatwill,andwhichcapturedthedataofhowmanytimes

eachbuttonwaspushedandinwhatorder.Suchanadditiontotheexhibitcould

provideimportantinsightintohowpeoplechoosetoengagewiththesoundsof

thefestival,whichtheyaremostdrawnto,whichtheychoosetolistentoin

repetition,andwhicharelesspopular.Theoutcomeofthisadditionwouldcome

fromprovidingthevisitorswithcontrastingexperiences,whichcouldleadto

deeperengagementwithboththesoundscapeandthepushbuttonbox,asthey

servetorepresentdifferentaccesspointsforthevisitors.Ontheonehand

visitorswouldexperiencetheimmediategratificationthatcomesfrom

connectingvisualandsonicmaterialthroughthepushofabutton,andonthe

otherhandtheywouldhavetheexperienceofbeingimmersedinasoundscape

inwhichtheyhadnocontroloverthecontent,whichwouldreintroducethe

elementofsurpriseandpossiblyre-engagethevisitorintryingtoconnectthe

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sonicelementsofthesoundscapewiththevisualimagesintheexhibit.

Ultimately,thegoalwouldbetoengagethevisitorsmoredeeplyinthe

soundscapesothattheymightdrawtheirownconclusionsfromwhattheyhear,

anditispossiblethatprovidinganopportunityforinstantlygratifying

interactionmayopenpeopleuptothemorechallengingactoflisteningtothe

pre-constructedsoundcompositionandplacingthesoundsthemselves.

3.4 SectionFour:ChallengesandLimitations

3.4.1 MyRoleasanObserverandCreativeResponder

Myroleasethnographerofthefestivalandartistofanexhibitiondeveloped

asacreativeresponsetothatfestival,makesmeaparticipantobserver.While

observingthefestival,Iattemptedtomaintainanoutsider’sperspective;inmy

creativework,however,IattemptedtoconnectwiththesamecommunitythatI

triedtodistancemyselffromasaresearcher.Thisdualpositioningposesafew

challengestoconductingtheresearch,includingnegotiatingmyrelationship

withDhanaraj,thewayIamperceivedbythecommunity,andtheimpactthese

thingshaveontheeffectivenessofmyresearchandcreativework.

MyworkwithDhanarajaimedtoblendourvisualandsonicaesthetics

acrossathematicstructure,whileourpositionswithinthecommunityduring

Theyyamwerecompletelydifferent.DhanarajisanativeofKeezhara,whileIam

acompleteoutsider.Heisseenasanartistbyhisowncommunity,andtherefore

somewhatalternativewhileIamseenasawesternwomanwhoishisartist-

friend.Thedynamicsofgender,nationality,skincolor,andsocioeconomicclass

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allcontributetothewaysinwhichweareseenbythepeopleofKeezhara,and

thelensthroughwhichourartisticworkisconsidered.

WhileIamobviouslyanoutsidertothecommunityofKeezhara,my

artworkattemptstoconnectwiththepeopleofthecommunity,asdoI.My

physicalappearance,styleofdress,andlimitedlinguisticskillsinMalyalamare

easilyidentifiable.BeingknownthroughmyconnectiontoDhanaraj,ashisartist

andteacherfriend,meantthatmypresencedidnotseemtobeviewedas

threatening,norwasmyartisticcreationconsideredinherentlyproblematicas

theworkofaforeigner.Onthecontrary,theexhibitionwasreceivedwellbythe

community.Notalllikedtheexhibition,andnotallofthecontentwaswell

received,orunderstood,buttheworkonasawholewassupported.

Myworkwasverymuchreceivedassomethingpeopledidnotexpectto

connectwith.HavinglivedinIndiabefore,Ihadfirst-handexperiencewithsome

commonstereotypesaboutAmericans.Myexperiencewasthatmanyoftheir

perceptionsofUSculturecamefromtelevisionshowslikeFriendsorHollywood

movies.I’mnotsureif,whenpeoplewalkedintotheexhibition,theytookthe

soundscapeseriously.I’mnotsureiftheysawitasinformedandpositionedas

art.Iamnotsureifthecommunityunderstoodtheprintedmissionstatementof

theexhibitionbecausevisualrepresentationsofTheyyamarecommoninKerala

andoftensimplybeautifulrepresentationsoftheFolkloricCulture,butnot

associatedwithanytypeofactivistmission.

Dhanaraj’sartisticworkchallengespeople’sperceptionsandassumptions

inKeezhara,asheisaveryexperimentalartistbythevillage’sstandards.

Dhanarajhaspaintedpublicspacesinthevillage,andbeeninvitedtocontribute

totheartsprogramatthelocalschool.HisloveforKeezhara,aswellasthefact

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thathismotherstillresidesthere,promptshisfamily’sfrequentvisitstothe

village.Hispersonalinteractionswithmembersofthecommunityhavean

impactonpeople’sperceptionsofhisartwork.

Myabilitytochallengepeople’sperceptionsofmewasabitmoredifficult.

MaintaininganongoingrelationshiptoKeezharaandsocializingwithDhanaraj’s

communityoffriendsandfamilyservedasatouchpoint,connectingmetothe

community.Havingworkedasateacherinothercitiesandruralcommunitiesin

Indiaincluding,Bangalore,Delhi,andinruralRajasthan,Ihadgainedacertain

leveloffamiliaritywithsomeofthetraditionsandaspectsoflivelihoodinthe

village,whichmadeiteasierforthevillagerstogettoknowme.Forexample,

peopleoftencommentedonmyeatinghabitsandthefactthatIatetheirfood,or

atewithmyhands.SimilarlythesupportofFolkloreAkademi,alocally

respectedandunderstoodorganizationthatsponsoredourexhibition,brought

contextandvaliditytotheartisticworkandtomypresenceinthecommunity,as

wellasanexpectationofthewaytheexhibitwouldappropriatelyrepresentthe

Theyyamcommunity.

TheMalyalamnewspapersandlocaltelevisioncoveragechangedpeople’s

perceptionofmyworkinthecommunity,makingpeoplemoreinterestedinthe

work,andmoreacceptingofmeasaforeignerintheircommunity,andasan

artistmakingartabouttheircommunity.Theconnectionandsupportreceived

fromDhanaraj,TheFolkoreAkademi,andtheMinistryofCultureandHeritage,

allowedtheprojecttobewovenintothecommunity’ssocialfabric,

understanding,andconsciousness—makingtheprojectmoreaccessibletothe

membersofthecommunity.Thesupportandcoveragefromlocalnewsoutfits

andrespectedorganizationsofcultureandheritage,gaveDhanarajandmea

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typeofauthorityinrepresentingTheyyaminKeezhara.Italsogaveourprojecta

stampofapprovalfromtheoutside,allowingittobeseenbyTheyyam

performersandnearbycommunitiesasaprojectthatwaswithintheboundsof

localtraditionandacceptance,whilebearingthenameofaforeigner.Even

thoughIamconcernedaboutthewaymypositionalityasaforeignertothe

communityofKeezharaposesalimitationonmyabilitytohaveanimpact

throughtheexhibition,mypresenceandongoingcommitmenttothecommunity

openedpeopleuptotheexhibition.

Thenotionofsoundscapewasalsocompletelynewtothemembersofthe

communitywithwhomIspoke.Thenewspaperandtelevisionjournalists

consistentlyrepresentedtheexhibitionasintroducinganewconceptintothe

Kannurartscene,thefusionofvisualimagesandsound.Theresponsetothe

mediacoveragewaspositive;however,thenoveltyoftheapproachmeantthat

mostofthevisitorstotheexhibitiondidnothaveareferencepointforanart

exhibitthatincludedsound,whenthesounddidnotaccompanyamovie.

Thechallengeofmypositionasbothobserverofthecommunityandasan

artistwhoengagedwiththecommunity,hasmadeadifferencetotheoverall

goaloftheexhibitinthatitallowedpeopletoengagewiththeexhibitdifferently

becausetherewasafamiliaritywiththeartists.Thecommunitymembersof

KeezharacametotheexhibittosupportDhanaraj,andbecausetheywere

intriguedbyourartisticcollaboration,whichwasvisuallypresentintheir

communityduringthefestival,andbecausetherewerevisualandsonic

representationsoftheTheyyamartistsandcommunitymembersofKeezharain

theexhibition.Thegoaloftheexhibitwastoagitatepeople’sthinkingabout

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castemarginalizationinrelationtoTheyyam,andtogetpeoplefromKeezharato

attendtheexhibitionandexplorealongsidetheircommunitymembers.

MyroleasanobserverandoutsidertoTheyyamallowedmetoseeand

hearthingsthatmembersofthecommunitycouldnot.Everythingaboutthe

festivalwasnewandunknowntome,asthoughIwasachildfirstexperiencing

thingsinlife.Nothavinganybasisforcomparisonmademelesslikelytobe

desensitizedtodetailsthatcommunitymembersmightdisregardasessentialto

theexperience.InessenceIbroughtadifferenttypeofawarenesstomy

observationandexperienceinKeezhara.

Myvisualandsonicassumptionsofthefestivalwerecompletelydifferent

fromthatofsomeonewhohadexperiencedthefestivalthroughouttheirlife.For

example,whentheTheyyamperformanceishappening,theaudience’sattention

isdrawntotheperformer;however,myattentionwasoftenfocusedtowardthe

audience’sexperienceoftheperformer.Forme,thecommunitymembers’

responsestotheperformancewereasinterestingastheperformanceitself.This

maybedueinparttothefactthatIdonothaveareligiousassociationwiththe

festivalinthewaythemembersofthecommunitydo.Whereasacommunity

membermightbedrawnintotheprocessofthegodlyembodimentunfolding

throughtheperformance,Idonothavetheculturalframeofreferencetotruly

understandthereligiousandspiritualaspectsofthefestival,andasaresultmy

focusisnotorientedinthesameway.

ThelastTheyyamperformanceofthefestivalisahugespectaclethat

attractshundredsofonlookersfromneighboringvillages.Thelocaltelevision

networkcoveredtheevening’sperformance,andtheopengroundadjacentto

thetemplebecameheavilypopulatedlikeafairground.Onthisdaybetweenthe

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ThottamandVellatamperformances,toyvendorsrolledtheircartsontothe

grounds,andpeanutroastingstationswereerected.Ispentagoodportionof

thatearlyafternoonspeakingtothepeanutvendor,recordingthesoundsofhis

metalspatulahittingagainstandsweepingtheroundedmetaldishasheroasted

thepeanuts,whichbecamethisclackingsoundofmetalonmetalmutedbythe

peanuts.IbecamefascinatedbythecontributionofthesesoundstotheTheyyam

soundscape,adetailthatmostonlookerswouldnotconsider.

Themusicalelementsofthefestivalareanotherexampleofasonicdetail

thatIbecameveryinterestedin,butwhichmaynotinterestsomeonefamiliar

withthefestival.Myeyesweregluedtothemusiciansinthebackgroundduring

theTheyyamperformances.Theywereassembledinahalfmoonsurrounding

theTheyyamperformer,andtheaudiencewasassembledinacirclesurrounding

themusiciansandtheTheyyamcharacter.Mygazewouldoftenbouncefrom

performertotempleminder,thentowardtheaudienceandonwardtowardthe

musicians.Ifoundmyselfinterestedineveryaspectoftheevent.Iwas

fascinatedbythetempleminder’srolewithintheperformances,whattheywere

taskedwithdoing,andhowtheywereassociatedwiththeperformancefamilies.

DuringsomeperformancesamemberoftheTheyyamartistfamilywouldwalk

fromthesidelinesintothemiddleoftheperformancetohelptheTheyyam

performer,tightentheirheaddress,orfixapieceoftheircostume.

Mypositionasanoutsiderandobservermeant,aswell,thattherewere

thingsIdidnothearinpartbecauseIdonotspeakMalyalam.Iamawarethatas

anoutsiderIwasmappingmyownexperienceontothecommunityofKeezhara,

especiallywithregardtotheexhibition.Imappedontothemmyexperiences

andexpectationsabouthowtoengageaudiences,whatIthoughtwouldbe

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problematicorinterestingtothem,andwhatIthoughttheymightlikeordislike.

TheseperceptionswerepartiallyrootedinmyexperiencesinKeezharaand

Indiamorebroadly,butalsotiedtomyopinionsandpreconceivedapproachto

exhibitingwork.

Withintheexhibit,DhanarajandIaddressedcastemarginalization,a

topicthatisoftenconsideredtaboointheIndiancontext.Comingfromthe

outside,Iassumeditwaslikelythatwewouldmounttheexhibitionbutpossibly

missouraudience,becausewewereintroducingideasthatmightnotbe

appropriateforthecommunity,andwhichthecommunitydidnothaveagood

wayofaccessinggiventhesocialstigmatiedtothesubjectmatter.

ThesameweekthattheexhibitionwasmountedinKannur,therewasa

MuttapanTheyyambeingheldnearbyaspartofablessingforthesiteofanew

templethatacommunitywantedtobuild.Krishnan,oneofDhanaraj’sfriends

whomIhadmetduringtheexhibition,tookmetotheTheyyam.Theleaderof

thecommunityrecognizedme,ashewasaphotographerforanewspaperthat

coveredtheexhibition,whichhehadvisitedseveraltimesthatweek.Asaresult

Iwaswelcomedandgreetedverypositivelybythecommunity.Thisexperience

helpedmebetterunderstandhowsomeoneisunderstoodasaninsideroran

outsiderwithinacommunity.ThoughIwasacompleteoutsidertothis

community,Iwastreatedasanoutsiderwhocamewithreferences,which

uniquelypositionedmetoexplorethingswithinthatcommunity.

InmyroleascreativeresponderandartistIwasabletogainaccesstothe

TheyyamartistsinadifferentwaythanIcouldduringthefestivalwhenthey

werecompletelyconsumedwithpreparationsandperformances.Theexhibition

hall,unlikethefestival,providedaspacewhereTheyyamartistsandcommunity

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membersjointlyparticipatedincastingtheirgazeelsewhere.Theconversations

Iwasabletohavewithvisitorstotheexhibitionwereverydifferentfromthose

thathappenedduringthefestival.Thismaybetiedtomyhavingmetmanyof

thecommunitymembersforthefirsttimeduringthefestival,andpossiblythat

theexhibitionprovidedanopportunityforpeopletoengagemeinsomethingI

hadcreatedormade.Duringthefestival,theentrypointforconversationwas

oftenmyengagingmembersofthecommunityaboutthefestival.Sometimes

peoplewouldengagemeaboutmyequipment,orwhyIwasinKeezhara,but

infrequentlyaboutmuchelse.Attheexhibition,however,peopleconsistently

approachedmetotalkaboutarticlesinthepaper,theexhibition,AbuDhabi,and

onewomanwhowasanartteacherinKeezharaapproachedmetodiscussart.

Thevisitorstotheexhibitionfeltafreedomtocriticize,whichIreally

appreciated.PeopleaskedaboutwhyIchosetoexpresstherecordedsoundsin

aparticularwayandsomevisitorstotheexhibitwantedtosharetheirthoughts

andfeelingsaboutmyartisticchoices.Thisconsistentengagementwasvery

differentfrommymoremeasuredinteractionswiththecommunityduringthe

festival.Theexhibitionfeltlikeacreatedspacethatleveledtheplayingfield.

DuringthefestivalIwasinKeezharaasaresearcher,observingthefestival,

Theyyamartistsandcommunitymembers,whileattheexhibitionthetables

wereturnedandIwasnowputtingmyworkandselfondisplay,providingan

opportunityforthemembersofKeezharatoobserveandcritiquemeandmy

work.

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3.4.2 Limitations

MyabilitytospendtimeinKeezhara,aswellassponsorshipfromthe

KeralaFolkloreAkademi,wasdirectlyrelatedtohavingthetrustofthepeople

whotrustedDhanaraj.Ascollaborators,wewereonthesamepageaboutthe

motivationfortheexhibition,abouttheresearchandtimespentinKeezhara,and

abouttheprocessofdevelopingthework.Ateachstepofthewaywecheckedin

withoneanother,andwhenappropriate,delegatedaspectsoftheprocessto

eachother.Forexample,Dhanarajhandledtherentaloftheexhibitionhalland

thecommunicationswiththeFolkloreAkademipriortomyarrivalinKeralafor

theexhibition;whileIhandledwritingtheEnglishflyersandcommunicationsfor

theexhibition,hehandledwritingtheMalyalamcounterparts.However,we

botharrivedinKannurandhitthegroundrunningtotakecareofalllastminute

mattersinpreparationfortheexhibition,includinghavinginvitationsand

brochuresprintedforVIPinvitesandguests.Wealsobothworkedtirelessly

settinguptheexhibitionhallandtakingdowntheexhibition.

Thechallengeofthespacewasamajorlimitationoftheexhibition,

specificallyinourabilitytoclearlycommunicateideastotheaudience.Overall

theworkwasexhibitedwell,andartisticallywefeltthatweweresuccessfulin

communicatingwhatweintendedto;howeverthespacedidprovetobea

limitation.Thesoundscapewasmixedandspacializedinastudioenvironment,

thentransportedtoIndiawhereitneededtobesetupandconfiguredinthe

exhibitionhallinoneday.Thefirstsetofchallengeswerelogisticaland

pertainingtopowerandmountingofthespeakersinthespace;thistookseveral

hoursandrequiredafewtripstohardwarestorestoobtainthecorrectscrews,

tools,twine,etc.Ultimatelythespeakersweremountedsafelyandinanideal

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configurationforthecompositionandthespace.Thefirstrun-throughofthe

compositionrevealedthattheoveralllevelsofthepiecewerecompletelyofffor

thetypeofhallanditsopennesstoacitystreet,whichallowedfornoisebleed

fromnearbyestablishments,motorvehiclesandpeoplewalkingpast.Atthe

sametimeasIwasworkingoutthesechallenges,Dhanarajwasworkinghard

withafewfriendstohangtheentireshowofmorethanonehundredpieces,

whichofcoursecontributedtoadditionalnoiseinthespace,andchangedthe

acousticsofthespace,ashiscanvasesaddedimmenseisolationtotheotherwise

concreteandtiledroom.Theselimitationsaffectedthequalityoftheexhibited

work,theclarityofthesoundscape,andattimes,especiallywithinthefirstday

oftheexhibition,itmeantthatthelevelsoftheexhibitionwerebeingmixedon

theflytoaccommodatehowsonicallythespaceaccommodatedvaryingnumbers

ofvisitors,aswellastheoutsidesoundsofthecommunitysurroundingthehall.

3.5 SectionFive:Conclusion

3.5.1 Time,Place,andInfiniteConvergences

Whilethepurposeoftheexhibitionwastoattempttomitigatecaste

discrimination,thepurposeofthisdissertationistofocusonwaysinwhich

creativeresponsemightworkdifferentlythanmoretraditionalarchiving.The

questionofwhetherornotartisticportrayalsofTheyyamartistshelpedto

mitigatecastemarginalizationcannotbeansweredcompletelywitheitherayes

orno.Feedbackontheexhibitshowedthatthevisitorswereengagedwiththe

work—insomecasesthemediumoftheexhibitionwassurprisingorunsettling,

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particularlyourinclinationtodisconnectthesonicandvisualmaterialastonot

createaone-to-onerelationship,andinothercasesaudiencememberswere

happytoseerepresentationsthatcreativelyaugmentedrealisticportrayalsof

Theyyam,asitrepresentedsomethingnew.OurpresenceinKeezharaduring

thefestival,andtheexhibitionitselfclearlystirredthingsup,butitisimpossible

tounderstandhowfar-reachingsucheffectswere.

Activismisaboutmakingchangeintheworld,andthatchangerelieson

beingopenwithinoneself,andopeningourselvesuptoothersaroundus.In

ordertoexpectotherstoopenthemselvesuptonewthings,wemustfirstbe

willingtobechangedbytheworkintheworld.MatthewGoulishexpressesthis

samesentimentbycommunicatingtheideathatwedonotneedtofindaway

intoawork,sincetheworkisalreadyinsideus.(Goulish,2000).Hetellsusthat

aworkworkswherewhenitbecomeshuman,andthatthisbecomingoccurs

whenwerealizeit:

Aworkisanobjectoverflowingitsframe.Workisaneventinwhichthe

humanparticipates;thehumanisanorganismthatworks.Aworkworks

whenitbecomesaneventofwork.Aworkworkswhenitbecomeshuman.

Thisbecomingoccurswhenwerealizeit.Specifically,itoccurswhenwe

realizeitwhereitoccurs.Itoccursinside.Wedonotneedtofindaway

intoawork,sincetheworkisalreadyinside.Insteadwerealizeaworkand

itsharmonywithourpointofview.Thenitandwebegintowork,andthe

playofworkbegins.(p.100).

ByapplyingGhoulish’stakeonthenotionofwork,ourcreativeresponseto

theTheyyamFestival“works”inwaysthatexceedtheboundariesofthe

exhibition.Asaparticipant-observer,I’mnotonlywatchingtoseeifDhanaraj's

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arthelpsmitigatecastemarginalization,I’mcollaboratingwithhimasanartist

todotheworkI’mwonderingabout.Partofthatcollaborationisbeingan

outsidertothecommunityofKeezharaandlearningtoexperienceKeezhara

whereitis,aswellasthecommunitylearningtoexperiencemeatthepoint

whereIentertheirvillage.

Ghoulishstates,that“aworkisanobjectoverflowingitsframe.”(Goulish,

2000,p.100).MuchoftheimpactoftheworkDhanarajandIcreatedoccurs

outsidethewallsoftheexhibitionhall,inmanyotherfacetsoflifefromthesocial

andpoliticalrealmstothepersonalsit-downsandmeet-and-greets.Thethings

that“overflowtheframe”takemanyforms,includingridingthetraintoKannur

withDhanarajandhisfamilyandsleepinginhismother’shouse.Itisaboutthe

numerousnewspaperarticlesthatwerewrittenbyjournalistsabouttheartistic

collaboration.Theoverflowingoftheframeincludesholdingtheexhibitioninthe

IndianMedicalAssociationHallwiththeFolkloreAkademi’sbackingand

branding,ratherthanafancyair-conditioned,airtightgalleryspace.Thework

collaborationwithDhanarajisimportantnotonlyforthevalueoftheartitself,

butforallofthepoliticalandsocialforcesatplaythatextendoutsidethevisual

andsonicboundariesofthatwork,suchasthebringingtogetheroftheTheyyam

artistsandthelaycommunitymemberstoviewanartisticrepresentationof

Theyyam.

Initiallythisresearchandtheresultingexhibitionwererootedin

Dhanaraj’spoliticalinterestsandconcernsaboutthestateofcasteissuesinhis

nativevillage.Thecollaboration,resultingresearch,andartisticworkwerebuilt

onthiskeyquestion.Myartisticworkofsoundscapedesignandsonic

compositionisrootedinthissamequestionandverymuchinsupportof

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Dhanaraj’skeypoliticalinterests,howevermyartisticapproachseemstohave

problematizedTheyyamforthepeopleofKeezharainawaythatDhanaraj’s

workdoesnot.Myworkdisruptedorchallengedthecommunitymembers’

expectationsofhowTheyyamisrepresentedintwokeyways.Thefirstistiedto

mystatusasaforeignercomingintothecommunityofKeezhara,wheremy

presence,whichistiedtomyidentityasaWesternwomaninpost-colonialIndia,

servesasadisruptiontothecommunity,somethingthatisnoticedandwhich

drawspeople’sattentionandintrigue,asitdeviatesfromtheirexpectation.

ThesecondwayinwhichmyartisticapproachproblematizesTheyyamis

rootedinthesonicnatureofmywork.AsIhavementionedpreviously,though

thefestivalreliesonmanysonicelements—frommusictochanttooral

tradition—therepresentationsofthefestival,whetherinmuseums,on

television,orinnewspapers,areofstaticimagesorvideo.Myapproachof

separatinganddisconnectingthevisualandsonicelementsofthefestival,then

furthertransformingthesonicelementsintoasoundscapeofcomposed

material,disruptedtheexpectationpeoplehadofasonicrepresentationof

Theyyam.

JonathanSterneasserts,“itistheear,nottheeye,thatoffersapathinto

relationsofpower”(Sterne,2012).WhenweapplySterne’ssentimenttothe

soundscapeofEverydayLife,thefindingsofthisethnographybecomeclearer.

Theyyamasafestivaliscolorful,loud,andverymuchaspectaclewithineach

villageitisperformed.PhotographsofTheyyamarecommon,familiar,and

easilyfoundthroughouttheMalabarregion,aswellasmoregloballythrougha

Googleimagesearch,andonFacebook,wherethereareseveralgroupsdedicated

toTheyyam.TourcompaniesusephotographsofTheyyamcharactersontheir

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promotionalbrochuresandwebsites,andeventheKeralaFolkloreAkademihas

publishedabookbySreekanthA.Trikaripur,entitledMooringMirror.AMooring

MirrorBetweenManandGod,thatcontainshundredsofcolorphotographsof

Theyyamcharacters.ThecommunityofKeezharahasbeenfloodedwithvisual

representationsofTheyyam;Dhanaraj’svisualwork,thoughoftenfocusedon

thepeopleratherthanthecharactersofTheyyam,iseasilycontextualizedand

understoodasadirectvisualrepresentationofthefestival.

Sterne’scommentaryisakintoJacquesAttali’sessay,Bruits:essaisur

l’économiepolitiquedelamusique,publishedinFrenchin1977,andtranslated

intoEnglishin1985byBrianMassumias“Noise:ThePoliticalEconomyof

Music”.InhisessayAttaliarguesthat“morethancolorsandforms,itissounds

andtheirarrangementsthatfashionsocieties.”(Attali,1985,p.6).Perhapsthe

soundscapecompositionpresentedintheEverydayLifeexhibitoverflowsthe

frameoftheworkitselfinpartbecauseitpresentsthecommunityofKeezhara

withanauralcommentary,whichisunfamiliarandoutofcontextinits

applicationtoTheyyam.

AnearlierreferenceinthischapterspokeofaTheyyamperformerwho

expressedagitationandfrustrationthatthesoundshewashearinginthe

exhibitionwerenotcompletelyaccurate,andthattheartworkshouldservemore

ofastructuralistapproachforidentificationandplaybackofspecificsoundsas

theypairwithimagesofthesoundsource.Theperformer’sinclinationtoward

wantingasonicrepresentationthatservestobedescriptiveofanimagemakes

sense.Thesoundscapeimmersedlistenersinasonicrepresentationofthe

festivalthatdidnotmatchthereal,whichcauseddiscomfortandledto

consideringthequestion,Whatisitthatwearelisteningto?Thisdisruptionof

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thesonicorderofTheyyambywayofacompositionthatinterruptsanddisrupts

thatwhichiscommonlyunderstood,hasthepotentialtodisruptorchangethe

cultureofthevillage.Attaliproposesthatatpresentthereisanewmusical

practiceemergingthatheraldsthearrivalofnewsocialrelations,andwhich

destroysordersandcreatesnewones.IbelievetheEverydayLifeexhibition

contributedtothiskindofradicalrestructuring.

Todayinembryonicform,beyondrepetition,liesfreedom:morethananew

music,afourthkindofmusicalpractice.Itheraldsthearrivalofnewsocial

relations.Musicisbecomingcomposition.Representationagainstfear,

repetitionagainstharmony,compositionagainstnormality.Itisthis

interplayofconceptsthatmusicinvitesustoenter,initscapacityasthe

heraldoforganizationsandtheiroverallpoliticalstrategies—noisethat

destroysorderstostructureaneworder.Ahighlyilluminatingfoundation

forsocialanalysisandaresurgenceofinquiryaboutman.(Attali,1985,p.

20).

Oncealisteneractivelylistens,theywillconsiderandpossiblyquestion

thatwhichtheyarehearing,justassomeonewholookswillconsiderwhatthey

areseeing.Thismightcauseagitation,andariftagainstthatwhichis

understoodtobenormal.Lookedatthisway,theexhibitionwassuccessfulin

thatDhanarajandIwereinthecommunityandweagitatedthepeople.Wewere

inthepaperandonthenews.Theworkweaimedtodowasneverartforart’s

sake,butratherartistsattemptingtocreateanimpactwiththeirartina

community.

Thehumanelementmadeourartisticworkwhatitwas.Partofthiswork

extendedintotheaudience,causingtheaudiencetoconsiderwhattheywere

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seeingandhearing,andinsomecasestoaskquestionsofthework.Thisresearch

projectunveiledinquiry,agitation,andconsiderationinus,aswellasthe

audience.SimilartoJ.J.Pallath’scritiqueofthepowerreversalbetweenthe

PulayasandtheuppercasteduringtheTheyyamfestival,theexhibitionprovided

thecommunitymembersanopportunitytoassumearolemoresimilarto

observer,wheretheycouldcritiquemeastheoutsiderandcommentonmy

workwithjustcause.Thisputthecommunitymembersinapositionofpower,

whichprovidedatypeofexchange,ortousePallath’swords,arolereversal,in

thedynamicsbetweentheresearcher/observer,andthecommunity,allowing

themtocritiquetheirowncommunityandtheTheyyamfestivalwhilemasked

behindthecritiqueofanoutsiderandanartist.

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4. LestWeForget

158

4. LestWeForget

4.1 SectionOne:AnIntroduction

4.1.1 Introduction

TheLestWeForgetprojectbeganasacollectionofvernacularphotographs

fromEmiratifamilyphotoalbums.Thecollectionisuniqueinitsfusingof

artisticpracticealongsidetraditionalarchivaltechniques.Thephotographs,

objects,andoralhistoriescontributedbycommunitymembersarethebasisfor

thedevelopmentofcreativemixed-mediaresponsesthatbecomethecontentat

theheartoftheLestWeForgetbookandexhibitionsinspiredbytheproject.

Thesecreativeresponsesweredevelopedlargelybycollege-agefemale

Emiratistudentsinresponsetophotographsoftheirparentsandgrandparents.

Thestudentsconductinterviewswiththeirfamilymembersaboutthe

photographsandobjects,andinadditiontowritingdownthestoriesrevealed

throughtheinterviews,createartisticresponsesasreflectionsonthestories

theyhear.Theinterviewsconductedbythestudentscaptureinterestingand

importantstories,trends,memories,andhistoryoftheUAE,whicharethe

inspirationforthedevelopmentofcreativeresponsesintheformofdigital

narratives,audiorecordings,films,andgamesthatareshowcasedalongsidethe

familyphotographsintheLestWeForgetExhibitionintheWarehouse421

GallerySpaceinAbuDhabi.

Todate,LestWeForgethasdevelopedandopenedfiveexhibitions,

publishedtwobooks,begunanationalarchive,andhelddozensofworkshops

andtalksorganizedaroundthethemesofnationalidentity,culture,architecture,

159

andheritageintheUnitedArabEmirates.InMarch2013,LestWeForget:

EmiratiVernacularPhotographywasexhibitedatZayedUniversity’sArtGallery,

andafterwardmovedtotheQasrAlHosnMuseumasapermanentexhibition.

QasrAlHosn,whichtranslatestoPalaceFort,istheoldeststandingbuildingin

AbuDhabi,datingbackto1761,andwasformanyyearsthepermanent

residenceoftherulingSheikhoftheEmirateofAbuDhabi.

Myinvolvementintheprojectspannedfrom2011-2016,andduringthat

timeIcontributedasanartist,aneducator,andacollaboratortoLestWeForget,

throughapartnershipwithCreativeDirector,MicheleBambling,herteam,and

theotherartisticcollaboratorswhoworkedwiththeproject.Mycontributions

totheprojectwereahybridofteachingworkshops,mentoring,providing

technicalguidanceforthecollectiondevelopment,digitalpreservationand

metadatadocumentation,thedevelopmentofthecontentanddesignforaweb-

basedcollection,aswellastechnicalsupportandmediadevelopmentforthe

exhibitions.

4.2 SectionTwo:Context

4.2.1 AbuDhabiandtheUAE

AccordingtotheWorldBank,thepopulationoftheUnitedArabEmirates

(UAE)asof2014was9.086million.In1971whenthesevenTrucialStates—

AbuDhabi,Dubai,Sharjah,Ajman,UmAlQuwain,Fujairah,andRasAlKhaima—

unifiedunderthefirstpresidentoftheUAE,SheikhZayedbinSultanAlNahyan,

thetotalpopulationwas272,211.AccordingtotheUAE’sFederal

CompetitivenessandStatisticsAuthorityCensusdatafrom2005(FCSA,2005),

160

thetotalpopulationoftheUAEin2005was4,106,427,whiletheEmirati

populationoftheUAEwas825,495—makingtheEmiratipopulationroughly

20%ofthenationalpopulation.IntheEmirateofAbuDhabi,thetotal

populationin2005was1,399,484,whilethenationalpopulationwas350,277

makingtheEmiratipopulationroughly25%,withanon-Emiratiexpatriate

contingentmakinguproughly75%ofthepopulation.

TheUAEhasundergonerapidmodernizationoverthelast40years;prior

tothat,thecountrywaslargelycomposedofsemi-nomadicBedouin

communities.IntheBedouintradition,tribessettleinonegeographicareaand

thenmovetogetherasacommunitybasedonfactorsincludingtheclimate,

accesstowater,andtimeofyear.ThemoderncitiesoftheUAE,namelyAbu

DhabiandDubai,werelargelyuninhabitedduringthewarmermonthsofthe

year,whenthetemperaturecanreachupwardsof50degreesCelsius,astribes

wouldsettleinthecountry’soasesandmountainousregions.

TheUAE’smainsourceofwealthisitsoilreserves,whichhavesupported

thecountry’srapiddevelopmentandmodernization.TheUAE’sapproachto

developmenthasbeentoleveragetheexpertiseofindividualsandcompanies

fromaroundtheglobe.Thisincludesthedevelopmentofvastinfrastructure

systemsthroughoutthecountry,includingpowerandwater;plannedurban

developmentprojects,likelanddredgingtoincreasethesizeofthecities;new

architecturalfeats;aviationdevelopment;andthetargetedgrowthand

developmentofindustries,includinghotelsandhospitality,education,hospitals

andmedicalsystems,andmostrecentlyeducationalandculturalinstitutions.

Overthepastsevenyears,thegovernmentofAbuDhabihasinvested

significantresourcesintotheplanninganddevelopmentofSaadiyatIsland,

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whichisintendedtobethehubofeducationandcultureinAbuDhabi.These

projectsinclude:NewYorkUniversityAbuDhabi,whereIhaveworkedforthe

pastsevenyears;ManaratAlSaadiyat,thecity’sartisticgalleryspaceandcurrent

homeoftheUAEPavilion;TheLouvreAbuDhabi,whichisprojectedtobe

completedby2017;theGuggenheimAbuDhabi,whichhadnotbrokengroundas

ofApril2016;andtheZayedNationalMuseuminpartnershipwiththeBritish

Museum.

4.2.2 MicheleBamblingandtheZayedUniversityStudents

IfirstmetMicheleBamblingin2010throughamutualfriendinAbu

Dhabi,thecapitalcityoftheUnitedArabEmirates(UAE).Ourcollaboration

beganwithMichele’sLivingNationalTreasuresProject,whichsheworkedon

beforecompletingherPhDinJapanesearthistory.Theprojectconsistedof

interviewingJapan’soldesttraditionalmakersofnationaltreasures.Shehad

morethanonehundredaudiocassettesofrecordedinterviews,andthousandsof

negativesofphotographsthatneededtobedigitized,transcribed,edited,and

tagged.Imanagedthedigitizationandarchivingoftheaudiomaterialandthe

negatives,whichincludededitingandtaggingthematerialwithavarietyof

metadataparameters,suchasthenameofthepersonbeinginterviewed,their

profession,andthegeographyinwhichtheinterviewtookplace.Webeganthe

processofreconstructingdigitalnarrativesofthenationaltreasuresthroughthe

developmentofvignettevideopiecesthatareintendedtobeapartofabigger

projectonJapaneseNationalTreasuresandCulturalHeritage.

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ShortlyafterworkingontheLivingNationalTreasuresproject,Michele

reachedouttoaskifIwouldbeinterestedinparticipatinginanewprojectthat

shewasworkingonwithherstudentsatZayedUniversityonEmiraticultural

heritage.Iwasveryinterestedintheprojectfromthebeginning,andwaslucky

tobeabletoseetheprojectgrowfromitsinceptionin2011.WhileIwasnot

involvedinthefirstyearoftheproject,Ididhearaboutitthroughinterviews

andconversationswithMichele,andIsawthefirstexhibitiontiedtoLestWe

Forget,ashowcaseofstudentworkfromMichele’sclasses,heldatZayed

University’s(ZU)CACEArtGallery.Iwasstruckbythebreadthoftheexhibition

andthewayitseamlesslywovetogetherhard-to-accessandpreciousEmirati

historicalmaterialswithaninformalstudent-drivenapproachtoartistic

curation.Theexhibitionfeltbothpolished(anaestheticsocommoninthe

presentationofartisticworkofanycaliberintheEmiratesthatitisexpected)

andcreativelyhaphazardinanauthenticwaythatindicatedawork-in-progress.

TheprojectbeganasahomeworkassignmentinMicheleBambling’s

curationclassatZayedUniversity’sWomen’sCollegeinAbuDhabi.Michele

askedherstudentstobringinphotographsfromtheirfamilyalbums.Having

livedintheUAEforfiveyearsatthetime,shewasfamiliarwithcultural

sensitivitiesandprivacywithintheEmiraticommunity,andanticipatedthatthe

girlsmightnoteasilyacquirefamilyphotographs.Herstudentsfirstresponded

totheprojectwithhesitation,offeringexplanationsforwhybringinginthe

familyphotographsmightbechallenging,suchasitbeingdifficulttospeakwith

theirfathersabouttherequest,notknowingwherethephotographswere,or

thattheirfamilieswouldnotallowit.Eventuallythegirlsfoundwaystospeakto

theirfamiliesandgetthephotographs,andtheycametoclasswithphotographs

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oftheirfathers,grandfathers,uncles,orbrothers,andthisiswherethe

conversationbegan.

Yetthestudentsweredissatisfiedwithaphotographicrepresentationof

theircommunitywhereimagesofgirlsandwomenweremissing.Theytold

storiesofencounteringgreatpushbackwhentheyaskedtheirmothersand

grandmothersiftheycouldsharetheirphotographsinclass.Onestudenttolda

storyabouthowhergrandmotherrippedupabunchofphotographssothatthey

couldnotbesharedinapublicarena.Someofthegirlswereabletoacquire

photographsofwomenintheirfamilies;thoughmanyofthesephotographswere

notofthewomen’sfaces,butratheroftheirhands,ortakenfrombehind,asthis

wasoftendoneoutofrespectforwomen’smodesty.

WhenMicheletalksaboutherexperiencecollectingphotographsofgirls

andwomenintheUAE,sherecountsconversationsshehadwiththemothers

andgrandmotherswhowantedtogivephotographs,andwhofeltitwas

importantthattheycontributephotographsofthemselvestothecollection.

“Someweregiventomebythegrandmothersthemselves.Theywantedtoshare

thembecausetheywantedtoberememberedandtheywantedtheirdaughters

andgranddaughterstoseethattheydresseddifferentlybackthen.”Michele

wentontosharehowmanyofthestudentswholookedatthepicturesofwomen

weresurprisedtoseetheabaya[traditionalblackrobewornbywomeninthe

Emirates]wasonlylooselycoveringtheirclothesorthattheshayla[traditional

blackscarfusedtocoverawoman’shair]wasn’tsotightlywrapped;therewas

casualness,buttherewerealotofpicturesthatshowjustthehandsofthe

womencooking,orpartofthebody,withoutphotographingtheirfaces.

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Tobroadenthestudent’sperspectivesaboutthevalueofvernacular

photography,andaboutwhatcouldbedonewiththephotographstheycollected,

studentswereexposedtoothervernacularphotographyprojectsandarchivesin

class.OneoftheseprojectswasakaKurdistan,aprojectbyPhotographerSusan

Meiselas,whoseaimwastoprovidetheKurdishpeoplewithaborderlessspace

tobuildcollectivememorythroughphotographyandstorytelling.Michele

invitedSusanMeiselastoherclasstolectureandfacilitateworkshopsonthe

processofbuildingaphotographiccollectionofpersonalandfamilystories.

Meiselasparticipatedheavilyintheinitialcreativeworkshopsthatinformedthe

exhibitionatZayedUniversity,andwasinstrumentalintheorganization,

presentation,andlayoutofthebook,LestWeForget:EmiratiFamilyPhotographs

1950-1999.

Micheledevelopedacurriculumthataskedstudentstousestudioart

techniques,includingstitching,drawing,andcoloring,aswellasdigitalmedia

tools,suchasAdobePhotoshopandIndesign,tohighlightelementsof

photographsthatwereofinterest.Thestudentsalsoexplorednotionsofself-

representation,creatingimagesofthemselvestheywouldfeelcomfortable

showcasingtotheUniversitycommunity.Throughoutthecourseofthe

semesterthestudentscontinuedtheirworkontransformationsandcreative

interpretationsofphotographsofthemselvesandthoseoffamilymembersthat

theyweregivenpermissiontosharewiththeclass.

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Image4.1TheimagesaboveareexamplesofartisticresponsesthestudentscreatedtophotographstakenofthemselvesduringthedevelopmentoftheZayedUniversityexhibit.TheseimageswereincludedintheexhibitionatZU,aswellastheexhibitatWarehouse421.

4.2.3 HowIBecameInvolvedwithLestWeForget

In2012,aftertheZayedUniversityexhibition,MicheleaskedifIwouldbe

interestedandwillingtoworkwithheronfurtherdevelopingtheproject.Atthat

timeshewasorganizingaseriesofcreativeworkshopsthatwouldprovideher

teamandgroupsofrotatinginternswithacreativeandtechnicalskillsettobe

usedinthedevelopmentoffilmsandoralhistoriesinresponsetothe

photographiccollectionthatwasunderdevelopment.Iwaseagertogetinvolved

andwasinterestedinthequestionsMichele’sprojectaskedabouthowwemight

thinkofdevelopinganationalarchivethatiscross-generational,andwhichfrom

theonsetvaluesengagementwithcreativepractice.Myskillsandinterestsin

oralhistoryandrecordeddocumentation,alongwithapreoccupationwiththe

inclusionofcreativepracticeinmyteaching,mademeexcitedtoworkonthe

project.

Iwasinitiallyinvitedtoparticipateintheprojectasasoundartistand

askedtodevelopasix-weekworkshopfortheinternsonsoundrecordingand

narrativedevelopment.Thesix-weekworkshopmettwiceperweekforthefull

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day.Thefirstmeetingwasroundtablelesson,discussion,andhandsonlearning,

whilethesecondmeetingoftheweekwasagroupcritiqueofthecontentthe

girlsdeveloped.Theworkshopwasspecificallygearedtowardteachinginterns

howtorecordfamilystories,conversations,andinterviews,andhowtothenedit

theserecordings,andweavetogethernarrativesfromthemforthecollectionand

exhibitions.Thecreativesoundresponsestothemaintableofphotographs

withintheWarehouse421Exhibitionwereallconceivedof,recorded,andedited

withinmyworkshop.LestWeForgettookonbatchesofinternswhostudiedart

anddesignatZayedUniversity’sWomen’scollege.Thegirls(therespectfulterm

usedtorefertounmarriedfemaleundergraduatestudentsintheUAE),would

spendsixweeksinterningwithLWF,learningnewskills,helpingtobuildthe

collection,andinsomecasesstayingonasinternsoremployeesoftheproject

aftertheinternshipended.

4.2.4 LWFBeforeIBecameInvolved

LestWeForgethasgrownintoamajorgrassrootsartsandheritage

initiativeintheUAEthataimstoarchive,preserveandsharevernacular

photographsandoralhistoriesoftheUAEthroughitswebpresence,

publications,workshops,andexhibitions.LestWeForgetistacklingthe

challengeofbuildinganarchiveofanationthathasundergonerapid

developmentandchangesince1971,butwhichhasonlyrecentlybeganto

documentthatprocessthroughthecollectionofmaterialsandinterviewswith

thecommunity.Atpresentthecollectioniscomprisedofvernacular

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photographsandobjectsthatarecontributedbyEmirati’sfromtheirhomes,

alongwithcreativeresponsestothesephotographsandobjects.

However,theprojectdidnotstartoutthisway.InMarch2013,Michele

BamblingandherZayedUniversitystudentscuratedanexhibitionatthe

University’sCACEGalleryentitledLestWeForget:EmiratiFamilyPhotography

1950-1999.TheexhibitionwasinauguratedbyHisHighnessSheikhNahyanbin

MubarakAlNahyan,theUAEministerofCultureandthePresidentofZayed

University.Theexhibitionwastheculminationoftwoyearsofworkbystudents

inseveralofMichele’sclasses.Thegallerywasbrokenintoanumberofspaces,

eachofwhichcontainedacuratedinstallationorganizedaroundatheme,all

inspiredbyphotographsandobjectsstudent’shadsharedfromtheirfamily

homesandalbums.Thereweretwolongtablesinthecenterofthegallerythat

heldthebookinprogress,LestWeForget,alongwithmanyexcerpts,

photographs,andcreativeworksthatservedasexamplesofthatwhichwouldbe

containedwithinthe300-plus-pagebook.Oldtypewriterswereondisplaywith

bothEnglishandArabicletteredkeys.Thetypewriterswereusedbystudents

andvisitorstotypeupstoriesabouttheirfamilyphotographs,somewereof

photographsalreadyincludedinthebook,whileotherswerenewcontributions.

Visitorswerewelcometousethetypewriters,andformanyofthegallery’s

youngervisitorsitmayhavebeentheirfirstsuchopportunity,asantiquated

mechanicalandelectronicdevicesaredifficulttofindinAbuDhabi;theseitems

areoftendiscardedfrompeople’shomeswhennewertechnologiesbecame

available.

Thestudentartistscirculatedthroughoutthegalleryduringtheopening

reception,servingasguidesforthegeneralpublicastheyroamedtheexhibition.

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Thegirlsspokeaboutthegenesisofthework,theideasthatultimatelyledtothe

exhibit,theindividualinstallations,aswellastheculturalandhistorical

backgroundoftheexhibit.Oneinstallationhadaloopedvideoclipprojected

ontopiecesofbrightlymulticoloredfabrichangingfromtheceiling.Inthevideo,

whichbasedonitsqualityappearedtobefromthe1980s,youngEmiratigirls

dressedinfancyclothingandwalkedaroundacrowdofpeopletossingtheirhair

backandforth.OneofthestudentartistsfromMichele’sclassexplainedthatthe

videowasofatraditionalEmiratidancethatwasperformedbygirlsatspecial

eventslikeweddings.

Asecondinstallationwassetuplikealivingroomormajlis(seatingarea)in

someone’shome.Theaudiencecouldlookatthelivingroombutnotsitinit.

Theobjectsinthespaceweremostlyfamiliar,includingtelevisions,oldcouches,

andcoffeepots.Astudentexplainedthattheinstallationattemptedtoreproduce

atraditionalEmiratihomefromthe1980s,andthatinthepresentdayitis

extremelydifficulttofindmanyoftheseobjectsinanEmiratihome,astheyhave

beendiscarded.Themotherofthestudentwhodonatedtheobjectswasvery

takenwitholderfurnishingsandkeepsacollectioninherhome.The

installationswerevaried,includingEmiratiwomenandgirlsclothingdating

backtothe1970s,aswellasaninstallationthatincludedrecordedaudio

narrativesandbriefcasesofobjects,severalthatfeaturedvideopieces,anda

numberthatshowcasedoriginalphotographsthematically,asintheexampleof

theinstallationofphotographsofSheikhZayedbinSultanAlNahyan,the

founderandfirstpresidentoftheUAE.Studentshadcollectedfamily

photographswithSheikhZayed,andplacedthemonatablethathadlightbulbs

protrudingfromit.Thestudent’sthendreweyesonthelightbulbs,whichleft

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interestingreflectionsandshadowsontheimagesonthetable,asacommentary

onSheikhZayed’swatchfuleyeoverthepeopleofthenation.

Theexhibitiongainedpublicityandexposureinthecommunity.The

projectreceivedbackingfromTheSheikhaSalamabintHamdanAlNahyan

Foundation,whothenaskedMicheletosignonasthecreativedirectorofthe

project,whichshedid,leavingheracademicpositionatZayedUniversity.Lest

WeForget:EmiratiFamilyPhotography1950-1999,movedfromZayed

University’sCACEgallerytotheQasrAlHosnMuseum.

Inadditiontohousingtheexhibition,theQasrAlHosnMuseumservedas

LWF’smainvenueforworkshopsandevents.Micheleandherteam

programmedaseriesofworkshopswithmembersofthecommunity,aswellas

studentsandteachersfromtheUAE.Theyinvitedguestlecturers,filmmakers,

artists,students,communitymembers,andacademicstospeakabouttopics

intimatelytiedtotheproject.Thegoaloftheseeventswastobringpeople

togethertohaveconversationsaboutculture,history,andmemoryintheUAE.

Workshopsbecameaplacewherenewideasweredeveloped,andwherepeople

whofeltpassionatelyabouttheprojectwouldbringtheirphotographsand

objectstocontributetothecollection.

LestWeForgethasbeenaskedtorepresenttheUAEinseveralprojectsand

nationalcelebrations.In2014LestWeForget:StructuresofMemoryintheUAE,

representedtheUAEattheNationalPavilionattheVeniceBiennale,andin

February2015theexhibitwasre-erectedasthecentralgalleryoftheQasrAl

HosnFestivalinAbuDhabi.Theexhibitexaminedthearchitecturalhistoryof

AbuDhabiinthe1970sand’80s.InNovember2015,LestWeForget:Emirati

FamilyPhotographs1950-1999openedasthecentralexhibitionatWarehouse

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421,anewgalleryhousedundertheculturalheritageinitiativeoftheSheikha

SalamaBintHamdanAlNahyanFoundation,locatedinAbuDhabi’sMinaZayed

PortDistrict.

4.2.5 TheWarehouse421Exhibition

TheLestWeForgetProjectoverseasthecurationofexhibitionsforthe

maingalleryspaceatWarehouse421.Eachinstallationinthecurrentexhibition

wasbuiltaroundathemefromthebookLestWeForget:EmiratiFamily

Photographs1950-1999,andincorporatesintotheexhibitsphysicalpagesfrom

thebook.(Seeimage4.2)Thebookintendstocapturethestateofthevernacular

photographycollectiontodate,aswellasthestoriesaboutthephotographsfrom

thefamilieswhocontributedthem,andcreativeresponsestothephotographsby

Emiraticollegestudents.Thebookreleasecoincidedwiththegalleryopening.

Image4.2TheintroductionwalltotheWarehouse421exhibitionofLestWeForget,wherepagesofthebookareshowcased.Thepagesrepresentedinthisphotographspantheorganizationalthemesofthebook,whichwereusedasthebasisfortheorganizationoftheinstallationswithinthegallery.

171

Oneexampleofatheme-basedexhibitattheWarehouse421galleryisthe

telephoneroom,whichisorganizedaroundthebookthemeof“Aloo,”a

colloquialwayofsaying“hello,”orthingsthatpertaintothetelephone.The

followingisanexampleofapageofthebookthatwasincludedinthetelephone

roominstallation,whichshowsacoupletelephoninghomeduringtheirHaj

PilgrimageinSaudiArabia.Thisphotographistakenfrompage254oftheLest

WeForgetbook,andisoverlaidwithatransparencyofthestudent’shand

writtenstoryfromherinterviewwithhermotheraboutthephotograph(Image

4.3).

Image4.3Imageandhandwrittenoverlayfrompage254oftheLestWeForgetBook.

Visitorscanenterthetelephoneinstallation,asmallsparselyfurnished

spacewithtwochairsandtworotarytelephones.Ononetelephone,avisitorcan

dialanumberbetween0and9tolisteninonpre-recordedtelephone

conversationsmeanttomimicachild’sexperiencepickingupatelephonein

theirhome—beforecellphones—andlisteninginontheirparents’

conversations.Thesecondtelephoneprovidesvisitorswithanopportunityto

recordtheirowntelephoneconversationfromtheirownmemories.Thepage

fromthebookcontainingthisphotographisaffixedtothewallofthetelephone

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roominstallation,alongsideseveralotherpagesfromthe“Aloo”section.The

pagesonthewallserveasalink,tyingtogetherthestudent’ssonicandwritten

responsestothetelephonephotographs,withsomeofthephotographsthat

servedastheirinspiration.Thisroom,alongwithseveralothersinthe

exhibition,solicitsparticipationfromvisitorsofthegalleryintheformoftheir

owncreativeresponsetothearchivalphotographsandstoriesinthebookand

thecreativeresponsesofthephoneconversationstheylistenedtoonthephone.

TheLestWeForgetexhibitionatWarehouse421alsoincludedacar

installation,whereoneoftheintern’sinterviewswithherfatherabouthis

Thunderbird,aswellasambientrecordingsofthecarhornandignitionstartup,

werefeaturedalongsidephotographsandstoriesofpeopleintheUAEwiththeir

firstcars(Image4.4).

Thefollowingphotographwasincludedinthecarinstallationatthe

exhibition.

Image4.4Thecaptionthataccompaniesthisphotographfrompage298oftheLestWeForgetBookreadsasfollows:Thisphotoofmymotherwastakenwhenshewasabout3yearsold.SheisposingwithhertwocousinsinfrontofaVolkswagonbeetlethatmylategrandfatherowned.Theyallhadsimilarmatchingoutfits,whichweretrendybackthen,especiallyinEid.Mymother’scousinisholdinghernewdollstillpackaged.ItseemslikethedollwasanEidgift,sometimesinEidtheywouldgivethekidsgiftsaswellasmoney.

173

ImmensesupportoftheexhibitionfromthegovernmentoftheUAEhas

createdhighvisibilityforLestWeForgetwithinthecommunity,whichhas

translatedintogreaterinterestinandcontributiontothearchive.Atpresent,

LestWeForgetisinconversationsaboutrepresentingtheUAE’scultural

heritagefortheDubai2020Expo.Likemanyarchivalartsprojects,LestWe

Forgetfavorsworkshops,interviews,andin-personengagementoverstrictly

relyingonawebpresence,insupportofcollectiondevelopment.AsHalFoster

tellsus,“inmostarchivalarttheactualmeansappliedtothese‘relational’ends

arefarmoretactileandface-to-facethananyWebinterface”(Foster,2004,p.4).

Itisexactlythisapproachoffluidityandinterpersonalengagementthathas

gainedtheLestWeForgetprojectparticipationandinterestfromtheEmirati

community,aculturewhereprivacyisprized.

4.3 SectionThree:OriginalContributions

4.3.1. TheWorkshops

MyinvolvementbeganwhenMicheleaskedmetodevelopasix-week

workshopforarecentlyrecruitedgroupofinternsfromZayedUniversity,some

ofwhomwereherformerstudents.Theworkshopfocusedonthedevelopment

ofcreativeresponsestovernacularphotographsthroughthemediumof

recordedsound.Thegirlsspentthesixweeksdevelopingdigitalnarrativesin

responsetophotographsoftheirparentsandgrandparents.Theseresponses

wereinformedbydiscussionsamongthegirlsintheworkshopsontopicssuch

ashistoricalandculturaldifferencesingender,clothing,travel,cars,and

antiquatedtechnologies.Theworkshopsprimarygoalwasfortheinternsto

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develop82sonicnarratives,inArabicandEnglish,whichwouldbeshowcasedin

conjunctionwith82vernacularphotographsintheexhibitionatWarehouse421

(Image4.5).

Image4.5Thisimageisofthe82photographsonthephototableintheexhibition.Eachphotographhasanaudioiconprintedatthetopofthepagewithanumberthat

visitorscanuseinthewebapptohearstoriesofthephotograph.Theworkshoprantwiceperweekfornearlythewholeday,contingent

ontheintern’spersonalavailability.Someonewouldbeoutsick,orhavea

familyobligation,atleastonceperweek.Theworkshopwasdesignedto

introducethegirlstotheideasofnarrativeandtoprovidethemwiththe

necessarytechnicalskillstodevelopsonicresponses.Idevelopedacurriculum

inadvanceoftheworkshops(seeAppendixB)thataimedforonemeetingper

week,butitbecameclearoncewebeganmeetingthataweeklymeetingplusa

weeklycritiquewouldbestsupportoneoftheintendedoutcomesofthe

workshop;fortheinternstodevelopsoniccreativeresponsesforeachofthe82

photographsinthefirstexhibitoftheWarehouse421exhibition.

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Idesignedtheworkshopstointroducethegirlstoavarietyofconcepts

includingtherelationshipbetweenforminvisualandsonicmaterials,tosound

mapping,thenotionofrecordedsoundaccompanyingvisualmaterial,and

helpingguideaviewerthroughacuratedsonicexperience.Duringthefirst

workshopwelistenedtoexamplesofdifferentkindsofonlinecollectionswith

recordedsound,learnedhowtodiscerngoodqualityrecordedaudiofrombad,

alongwithsomeofthelanguagetodifferentiatequalitiesofrecordedaudio,for

examplethesoundbeingtoohot,recordedattoohighalevelortooclosetothe

soundsource.Thegirlslearnedaboutmonitoringaudio,interviewquestions,

howtochooseagoodenvironmenttorecordaninterview,ambientnoise,

handlingnoise,popfilters,andavarietyofotherpracticalrecordingtipsand

tricks.

Theinitialclassesoftheworkshopfocusedonlookingatotherprojects

thatconnectstorytellingandinterviewwithphotographs,liketheNewYork

TimesOnein8Millionproject,wherephotographsandrecordedinterviewsare

editedtogethertotellastoryofresidentsofNewYorkCity,inanattemptto

highlightorgetattheessenceofNewYorkCityasaplace.Thestudentswere

givenavarietyofexercisestohelpfurthertheirunderstandingandskillset,

basedontheexamplesdiscussedintheworkshops.Inparticulartheywere

askedtocreateaplanfortheirownsoundmapsincludingwhatsonic

environmenttheywantedtocommunicate,andhowtheywouldcapturethe

sonicmaterialandthenshareitbackforaviewer.Inadditiontheclasseslooked

atdevelopinginterviewquestions,understandinghowtodrawnarrative

connectionsbetweenimagesandsound,andhowtotellastory.Initiallythe

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Girlswouldworktogetheringroupstoconductmockinterviews,andtobecome

familiarwiththeprocess,theequipment,andhearingtheirownvoicesrecorded.

ThegirlswerealsoprovidedanintroductoryoverviewtotheZoomH5

recorders,includinghands-onpracticewithdigitalrecordingandeditingon

AudacityandLogicPro.Wecoveredskillsandtechniquesastheneedforthem

aroseinourcritique.Forexample,whilerecordingacreativeresponsefora

photographofchildreninschoolcelebratingNationalDay,oneoftheinterns

wantedtolayeraninterviewofastudentsmemoryofherchildhoodschooldays

spentlikethestudentsinthephotograph,withtheUAENationalAntheminthe

background.Thisdiscussionledtoaworkshoponlayeringaudio,panning,

mixing,andbasicautomation.Severalofthestudentswerealsointerestedin

workingonfilm-basedcreativeresponsesforotheraspectsoftheexhibition,so

wealsocoveredbasicsofsoundinfilm,includingimporting,syncing,marker

creation,andeditinginFinalCutProandProTools.

Thesecondmeetingeachweekwasthecritiqueday,wherethegirls

wouldsharetheirworksinprogress.Thisiswherethegroupdeveloped

aestheticanddesignchoicesfortheexpressionofcreativenarrative.Earlyonin

theprocess,thegirlsraisedquestionsaboutstyle,language,andlengthforthe

digitalnarratives.Collectivelywedecidedthateachdigitalnarrativewouldbein

bothArabicandEnglish,inthefirstperson,androughly30secondsinlength.

4.3.2 CritiqueSessions

Thecritiquesessionsservedasanopportunityforthegirlstosharetheir

workandgivetheirfeedbacktotheirpeers.Italsoservedasthekeymoment

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duringtheworkshopswhereIprovidedinputtohelpshapetheircreative

endeavors.Inoticedearlyonintheworkshopsthatthegirlswereoftenmore

literalthancreativeintheirresponsestophotographs,forexampletheirinitial

inclinationwasoftentorecordadescriptionofwhatwashappeningina

photograph.Iguidedthegirlstowardamorereflectiveapproachtotheir

response,forexample,askingthemtorecordthemselvesspeakingabouta

memorythatwastriggeredbylookingatthephotograph,orsomethingthatthe

photographremindedthemof.Ialsoaskedthegirlstointerviewmembersof

theirfamilywhowereeitherinthephotograph,orwhoremembertheperiodof

timeormomentwhenthephotographwastaken.Myhopewasthathearing

particularlyolder-generationmembersoftheirfamilyspeakabouttheirpast,a

periodoftimethatthegirlscouldnotremember,mighthelptoincreasetheir

interestintheirownpast,andmightallowthemtoseethewayothersreflecton

photographs,tohelpprovidethemwithsomenewideasfortheirownresponses

thatwerenotstrictlydescriptive.

Ialsousedthecritiquesessionsasanopportunityforallofthegirlsto

providefeedbackoneachother’srecordingsandcreativeresponsesinaway

thatwouldprovideeachwithadditionalinformation,ideas,andtechniquesto

considerwhenrevisingtheirpieces.Manyofthecritiquedayswouldbeginby

tapingcolorphotocopiesofall82photographsaroundthemainworkshopspace.

Oneatatime,thegirlswouldsharetherecordingstheyworkedonthatweek,

andasafull-groupdiscussionandcritiquewasunderway,thegirlswere

encouragedtowalkaroundtheroomandplacecommentsonpostitnotesnext

tothephotographprintoutwewerediscussing.(Seeimages4.3,4.4,and4.5)By

theendofthecritique,eachgirlhadgivenverbalandwrittenfeedback,andthe

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workshopspacewasfilledwiththeircreativethoughtsandideas.Michele

occasionallyparticipatedinthecritiqueprocessaswelltogivefeedback,andat

timestryandsteerthedirectionofsomeoftheirwork,toensurethatitwas

appropriatefortheexhibition.12

Image4.6 Image4.7

Image4.8Allthreeoftheseimagescapturetheworkshopprocesswheretheinternsexploredthevernacularphotographs,sharingpersonalreflectionsabouteach,andthencollectivelycritiquingthedigitalnarrativesinEnglishandArabic.Duringacritiquesession,oneoftheinternsbroughtinaninterviewofher

fatherspeakingabouthiscarcollection.Init,shewasaskinghimtotalkabout

hisfavoritecar,whichwasaThunderbird.Hesaidthathelovedhavingoldcars

butitwasverydifficulttofindthenecessarypartsintheregion,sohewould

12Aftertheworkshopswereover,MicheleultimatelytookallofthecreativesonicresponsestobeapprovedbytheFoundationbeforetheywereallowedtobeapartoftheexhibit.Despitehavingpre-vettedthematerialsduringthecritiquesandcreativeprocess,anumberofthegirls’pieceswerenotapproved,basedonthecontent,andneededtobecreatedagainwithinaverytighttimeline.Thisleadtothecreationofsoundpiecesthatwerelackingindepthandcreativity,andinsomecasesdidnotprovideanyinterestinginformationorcommentaryforthelistener.ThesepiecesareamongthecreativesonicresponsescurrentlyondisplayatWarehouse421,andwithinthemobileapplication.

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havetotraveltotheUnitedStatestofindthepartsheneeded.Welistenedasa

grouptotherecordings,andtheinternsharedherexperienceofinterviewing

herfather,aswellasthechallengesshefaced.Theseincludedthedifficultyof

findingtimeinbothoftheirschedulestoconducttheinterview,beingsureto

havetheaudiorecorderonhandwhentheinterviewwashappening,andhow

thepresenceoftherecorderimpactedherfather’scomfort.Thegroupthen

weighedinwiththeirthoughtsontherecordings,targetedtowardboththe

content,andthefidelityoftherecording.Thiswasfocusedonthequalityand

perceiveddistanceofthespeaker’svoice,thesignaltonoiseratio,theamountof

signalorwantedsoundincomparisontothenoise,orunwantedsoundinthe

recording,i.e.,airconditioners,orchildrenplayinginthebackground,andhow

welltheintervieweravoidedunwantedhandlingnoiseandclipping.Thecritique

usuallylefttheinternswitharenewedsenseofdirectionforbothrevisingthe

narrativeandgettingamoreprofessionalsoundingrecording.

Thegirlsoftenworkedcollectivelyonabatchofphotographs,helpingone

anotherdevelopcontentandrecordings,bybrainstormingcollectivememories

aboutthephotographsandwhatthevisualelementsremindedthemof.Inone

example,therewasaphotographofaboyinacostumeagainstabackdrop;the

narrativeforthephotographwasaboutthewallpaperonthewallbehindtheboy

inthephotograph.Severalgirlsagreedthatthephotographremindedthemof

theirchildhood,(thelate1980s-early1990s)wheneveryhomeseemedtohave

averysimilarpatternandcolorofwallpaper.

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181

livesandexperiencesarefarlessdeveloped,specificallythatwhichexisted20or

30yearsbeforetheywereborn.

Thegirlsbondedoverphotographsthatallowedthemtoreachbackinto

theirchildhoodmemoriesofaUAEthatnolongerexistsexceptintheir

memoriesandphotographalbums.Thisphotographofayoungboyina

khandora,standingagainstthebackdropofawallwithanoldair-conditioning

unit,particularlyinspiredthegirlstoconnectwithoneanotherovershared

memories.

Image4.10FamilyphotoofanEmiratiboyfixinganairconditioner

Heisholdingthechordoftheairconditionerinonehandandwhatlooks

likeascrewdriverintheother.Thegirls’initialbrainstormforthisphotograph

wasadiscussionabouttheirmemoriesoftheseold-styleairconditioners,and

howtherewasoneineachroom.Inacountrywheretemperaturesinthe

summerroutinelyclimbto115degreesFahrenheit,or46degreesCelsius,air

conditioningisadailypartoflife.AlmostallaccommodationsinAbuDhabi

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todayhavecentralairconditioningsystems,makingthesestand-aloneunits

obsolete,athingofthepast.Theysharedmemoriesofhowlongithadbeensince

theyhadseentheold-styleairconditioner,andhowprominenttheseunitshad

beenintheirlivesgrowingup.Oneofthegirlsrecalledanauralmemoryofthe

soundoftheoldunits.Thismemorycausedaneruptionofjoyandacacophony

oflaughterandcomfort.Eachgirlsharedhermemoryofthenoisethattheunits

made,howloudtheywere,howtheymaskedothersounds,andonandon.The

selectedaudiorecordingtopartnerwiththisphotographintheexhibitionwas

recordedbyoneoftheinternswhostillhadoneoftheseoldunitsinherfamily

home.Therecordingbeginsinrelativesilence,followedbytheclickingofaknob

beingmovedfromtheoffpositiontoahighlevelofcooling.SeetheIndexof

digitalattachmentsforAircon.wav.

Thepracticeofsharingcommonexperiencesandofrecallinghistorical

familyandculturalreferences,inspiredbyobjects,places,andstylesfromone

another’sphotographs,leadtoagreaterinterestinthelivesandexperiencesof

theirparentsandgrandparents.Commonthemesemergedfromthefamily

photographsthatallowedforgroupingstobemade.Theseincludedbutarenot

limitedtobirthdays,weddings,internationaltravel,telephones,babies,and

studioportraits.Thesegroupingsservedasthepreliminaryfoundationforthe

organizationofthebook,whichfueledtheorganizationoftheexhibitions.

4.3.3 DigitalMediaArchivingTools

InadditiontotheworkshopsIalsoadvisedMicheleonthedesignofthe

digitalmediaarchivestudiothatexistswithinWarehouse421,asaspacewhere

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visitorscancometocontributematerialstothearchive.Thestudioisdesigned

toserveseveralpurposes,thefirstofwhichisasahigh-enddocumentation

environment,wherephotographsandobjectscanbescanned,photographed,

documentedandcataloguedwhilethevisitorroamsthegallery,afterwhichthe

materialsarereturnedtothem.GiventheresistancewithintheEmirati

communitytocontributingpersonalfamilyphotographsandartifactstothe

collection,thestudiospaceisintentionallylocatedwithinthegalleryspacein

ordertoencouragecontributionsfromvisitors.Thestudioisconvenientfor

visitorstothespace,astheycancontributeanoralhistoryorphotographduring

theirvisit.Thestudiowasembeddedwithinthegallerywiththehopesthatafter

viewingtheexhibitionvisitorswouldbemoreinclinedtocontributeandshare

withthecollection.Thestudioisalsodesignedtosupportoralhistoryrecording

andvideodocumentation,inadditiontoservingasaworkshopandtraining

space.

4.3.4 ExhibitionTechnology

IworkedonthedeploymentoftheLestWeForgetexhibitionapp,which

allowsvisitorstoviewmediacontentontheirphoneortabletwebbrowseras

theywalkaroundthegallery.Theappisasourceofadditionalinformation,and

providestheaudiencewithacloserlookatphotographs,andtheopportunityto

listentodigitalnarrativesabouteachphotographinbothArabicandEnglish.

Thewebappwasreleasedinconjunctionwiththeexhibition;however,the

intentionisthatitwillcontinuetoserveasadigitalresource,whichcanbe

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accessedviatheInternet,forthegrowingcollectionandassociatedmaterialsof

creativeresponse.

Image4.11isthehomescreenofthemobileapplicationwhereuserscanselecttheirpreferredlanguage—ArabicorEnglish.(left)Image4.12isanexampleofthepageavisitorwouldnavigatetoafterenteringthenumberofthephotographthey’dliketolearnmoreabout.Thepageshowsthephotograph,providesawrittendescription,andhasanaudiorecordingthatonecanlistentointheselectedlanguage(right).Themobileappcanbeaccessedatwww.lwfexhibition.ae,andrequirestheusertoenteraphotographnumberbetween1and392.TheaudiofilescontainedwithinthisapplicationarealsoincludedontheassociatedCD-ROM.

IalsopreparedtheLestWeForgetvideoandaudiocontentforthe

exhibition,andintegratedsomeofthedigitalmediacontentwithanalogdevices

intheinstallationspaces.Thebestexampleofthiswasworkingwithadigital

videorecording,takenbyastudentonherphoneoffofatelevision,and

transferringittoaVHStapethatcouldthenbeplayedonaVCRplayerconnected

toaveryoldtelevisionthatanEmiratifamilyhadintheirhome,thendonatedto

theexhibition.

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Image4.13ThisphotographisofanoldtelevisionsetdonatedbyanEmiratifamily.PlayingonlooponthetelevisionisanoldVHSofthehairtossdance,atraditionalEmiratidanceperformedatweddingsandcelebrations.

4.3.5 AdditionalContributions

AsanartistandoutsidertotheEmiraticommunityitisworthmentioning

howmyrolediffersherefromthepreviouscasestudy,andhowthisdifference

impactsthedevelopmentofcreativeresponseprojects,howtheyarereceived,

andtheirimpactonthepersonwhoiscreativelyresponding.

Inthiscasestudy,Emiratigirlsweretheartistsofcreativeresponse,

whileIservedasamentortothemduringtheprocess.Thisisofcoursedifferent

fromtheTheyyamcasestudy,whereIwasanoutsidertoKeezharawhowas

creativelyrespondingtoculturalmaterial.Oneimportantquestionbecomes

howdifferentitistohavesomeonethatdoesnothavedirectexperiencewiththe

artifacts,developingcreativeresponsestothem?OnelessonIlearnedthrough

theLWFprojectwashowdirectpersonalexperiencewithandmemoryof

artifactsoneisrespondingtocomplicatesthecreativeresponseprocess.The

creativeresponsesthatresultarericher,andhavegreatercapacitytoconnect

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membersofacommunitytotheirownculturalheritage,aswellasperhaps

connectoutsiderstoacommunity’sheritage.

HavingdistancefromtheculturalartifactsIwasrespondingtointhe

TheyyamprojectmeantIwasfocusedontheartisticelementsofmycreative

response.ThemeaningandculturalrelevanceoftherecordingsImadeofthe

festivalwereapartoftheresearchIconductedinordertocreativelyrespondto

thefestival.

TheEmiratigirlswhocreativelyrespondedtotheirfamilies’photographs,

broughttotheprocessafamiliaritywithandemotionalconnectiontothepeople

andobjectsinthephotographs.Theseconnectionsbroughtanemotionaldepth

totheircreativeresponse,andIwouldargueanimportantarchivalvaluetotheir

creativeresponses,thatcouldnototherwisebecontributed.

Thegirls’entrenchmentinthesocialvaluesandmoraysoftheir

communitymeantthattheircreativeresponsesweresometimesstifledwhen

creativeideaswereinconflictwithcommunityvalues.Thecreativeresponse

processwasfromtheonset,artisticallygovernedbyatacitunderstandingof

conformitytoandabidanceofEmiratisocialvalues.Withintheworkshopssome

ofthegirlsexpressedideasandvaluesthatdeviatedfromthebroader

communityvaluesandtheseideaswereincorporatedintotheircreative

responses.Forthesegirls,theprocessofdevelopingcreativeresponses,meant

grapplingwiththeircommunity’sidentity,particularlyaroundtensionsbetween

generations.Forthegirls,theartisticimpactofdevelopingcreativeresponses,

involvedaprocessofpersonalintrospectionwheretheyplacedtheirvaluesin

conversationwiththeirpeers.Astheyoftenworkedingroups,thegirlswould

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thenparticipateinthepushandpullofdefiningtheirindividualbeliefsystemsin

concertwiththeirpeers.

4.4 SectionFour:Discussion

4.4.1 CrowdsourcingCulturalHeritage

LestWeForgethasbuiltitscollectionthroughcrowdsourcing,an

approachthataimstogrowitscollectionthroughengagingmembersoftheUAE

tocontributephotographsandartifactsfromtheirfamilyalbumsandhomes.

“Crowdsourcingprojectsaredesignedtoachieveaspecificgoalthrough

audienceparticipation,evenifthatgoalisasbroadlydefinedas‘gather

informationfromthepublicaboutourcollection’”(Ridge,2014,p.4).LestWe

Forget’sspecificgoalistocollectphotographsandobjectsofhistoricaland

culturalrelevancethatspeaktothedevelopmentoftheUnitedArabEmirates,

from1950topresentday.Theprojecthasseveralsecondarygoalsthatpertain

tointergenerationalengagementandsharingwithintheEmiraticommunity.

Thesegoalshavebeenexploredthroughavarietyofapproachesandtechniques

mostofwhichinvolvethetransformationofcontentanduseoftechnological

tools.

InCrowdsourcingOurCulturalHeritage,editorMiaRidgespeaksofhow

participantsofcrowdsourcingprojectsoftenengageintransformingcontent:

Generally,thetasksperformedbytheparticipantsinculturalheritage

crowdsourcinginvolvetransformingcontentfromoneformattoanother

(forexample,transcribingtextormusicalnotation),describingartifacts

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(throughtags,classifications,structuredannotationsorfreetext),

synthesizingnewknowledge,orproducingcreativeartifacts(suchas

photographyordesign).(Ridge,2014,p.6).

TheparticipantsintheLestWeForgetprojecthavelargelybeeninvolved

inthetransformationofcontentthatRidgespeaksof.Theinternsand

volunteersfortheprojecthavebeeninvolvedinscanningandtaggingdonated

materialsfromcommunitymembers,aswellasproducingcreativeartifactsin

responsetomaterialsofculturalheritagedonatedtothecollection.TheLWF

projectintroducesinnovativewaysofengagingcommunitymembersinhelping

tocrowdsourcetheirculturalheritage.

Inparticular,LWFhascreatedagroupofcollege-agedambassadorswho

solicitparticipationfromtheoldergenerations.Thisapproachspecifically

targetsanolderdemographicofEmirati’s,thosewhoarenowintheir60s,70s,

and80sandwhowerebornatleastadecadebeforetheunificationoftheTrucial

States.Thisdemographicofthecommunityisdifficulttoaccessthrough

traditionaloutreachandweb-basedcommunications,whiletheyarealsothe

generationsthathavethemostcomprehensiveknowledgeandmemoryofthe

growthofthenationandthetransformationoftheEmiraticommunity.By

activatingthesecollege-agedstudentambassadorstogatherstories,

photographs,andartifactsfromtheirfamilies,specificallytheirparentsand

grandparents,LWFiscrowdsourcingculturalheritagebywayofconducting

outreachtotheoldergenerationsofthecommunitythroughtheiryounger

familymembers.Thisapproachfostersanintergenerationaldialoguethat

accessesmembersofthecommunity,artifacts,andmemoriesofculturalheritage

thatmaynototherwisebecontributedtothecollection.

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Definingcrowdsourcingisdifficultasthepracticehastakenondiffering

objectivesinavarietyoffields,makingthedatainvolvedveryuniqueand

difficulttocompare.Thoughinitiallymentionedanddevelopedwithina

businesscontext,crowdsourcingquicklyspreadtotheacademicarena,making

wayforacademiccrowdsourcing,popularlyusedinthehumanitiesandsciences,

asameansforthecreationoflarge-scaledigitalresourcesforrawdata(Dunn

andHedges,2014,p.232).Galleries,libraries,archives,andmuseums(GLAM)

havebecomeidentifiedasaseparatecategorywithinhumanitiescrowdsourcing

practices,duetotheorganizationbeinginherentlypublicfacing.

WithintheGLAMdomaintherearedifferentcrowdsourcingtypologies,

includingsimplecrowdsourcinggames,whichwereproposedbyMiaRidge.“In

thistypology,theproposedcategoriesare:Tagging;Debunking(i.e.,

correcting/reviewingcontent);Recordingapersonalstory;Linking;Stating

preferences;Categorizing;andCreativeresponses.”Theproposedcategories

pertaintothetypeofactivitiesacrowdisaskedtoconduct.TheWarehouse421

exhibitionlayoutinandofitselfprovidesaframeworkforvariedtypological

approachestocrowdsourcing,throughanumberofinstallationbased

contributionmoments,andparticipatoryengagementspaces.Oneoftheseisthe

openspaceonthemainexhibitionfloor,whichengagestheaudienceor“crowd”

ingamesandparticipatoryactivitiestowardcontribution.SimilartoRidge’s

categoricalapproach,givenabove,LWFusedcategoriesandcollection-based

themes,whichwerederivedfromthetypesofphotographsthatpeople

contributedtothecollection,todelineatecategoriesofthebook,andresulting

exhibition.Thesecategoriesinclude“Telephones,”“Travel,”“Motary,”“Eid,”

“SheikhZayed,”andmanymore.Twoofthemaintablesintheopenareaofthe

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exhibitionfeatureinteractivegameswhereusersareengagedaroundthe

contentoftheexhibitionthroughthesecategories.

Thefirsttablefeaturesalargescreeninthecenter,withfourindividual

screens,oneateachcornerofthetable.Thelargescreenisbrokeninto

quadrants,andoncethegamebegins,thescreenwillshoweachplayeracluster

ofphotographs.Thenontheirindividualscreen,theplayerispromptedtoselect

onecategoryfromalistoffourthatisinclusiveofallofthephotographs

showcasedonthemainscreen.Onceeachplayerchoosestheywillbetoldifthey

werecorrectorincorrect,andtheiranswerwillbeassignedacertainnumberof

points.Whenthegameisovertheplayerwiththehighestscorewins.

Thesecondtablefeaturesonelargetouchscreeninthemiddleofatable,

andnexttoitamovingcarouselwithdifferentcolorcards,eachsittingwithinits

ownslot.Thecardsareclusteredintocategoriesdifferentiatedbycolors.For

example,cardsthatspecifygeographieswithintheUAEaregreen,whilecards

thatspecifyyearsareyellow.Eachcardhasatitleprintedonit,forexamplea

decade,likethe1980sor1990s,oracitylikeAbuDhabiorSharjah.Someofthe

othercardshavetitleswithcategoriesormetadatathatwereusedinthetagging

ofthephotographiccollection,like“work,”“cars,”or“women.”Thevisitor

choosesacard,let’ssays“AbuDhabi,”andplacesitonthescreen,whichresults

inapileofphotographsautomaticallycollectedonthescreen,whicharepulled

fromthoseinthecollectionthathavebeentaggedwith“AbuDhabi”inthe

metadata.Theusercanthentoucheachphotographtopullitoutofthepile,

enlargeit,orgetadditionalinformationaboutitbytouchingonaletter“i,”inthe

toprighthandcornerofthepicture,whichpopsoutaninformationwindow.

Theusercantakeasecondcardfromthecarousel,let’ssay“women,”andplace

191

thatcardnexttothefirstonthescreen.Theresultingpileofphotographswillbe

ofwomeninAbuDhabi.Atpresentthisparticularcombinationwillshowcasea

verysmallcollectionofimages,asthereareveryfewimagesthathavebeen

donatedtothecollectionofwomeninAbuDhabi.Thisprocesscanberepeated

withanynumberofcategoriesofinterest.Inadditiontobeingpopularamong

localfamilieswhowanttoseefamiliarmomentsintime,thegameisoftenused

asanopportunitytoshowcasewhereinthecollectionthereareveryfew

photographs,toinspirevisitorstocontributefromtheirfamilyalbums.

4.4.2 GenderandRepresentation

Therewereinitiallynovocalrepresentationsofmenorolderwomeninthe

digitalnarratives,asthegirlsweretheonesrecordingthestories.Thenthegirls

decidedtorecordmembersoftheirfamilywhowerenotintheirdemographic,

readingthenarrativestheyhadwritten.Therewerebrothersandcousinsand

fatherswhoagreed,whilemanyofthemothersandgrandmothersdidnot

choosetoparticipate.

Onestudentwasabletogethermothertocreateanumberofrecordings

forthetelephoneroom.Thestudentandhermotherrecordedeightornine

conversationsthatshemighthavehadonthephonewithfriends,parents,or

children.Therecordingswereunfortunatelynotacceptedbythefoundationand

werecutfromtheexhibit.Thelayersofresistancearecomplicatedand

sometimesdifficulttounderstand,asthefinalsayoftencomesfromtheRoyal

Familyofthecountry.Thisistosaythatsometimeswhenindividualmembers

ofthecommunitychoosetoshareorparticipate,theircontributionsmaynotbe

includedinthecollection,iftheideasorstoriestheysharearedeemed

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problematicrepresentationsoftheEmiraticulture.Byproblematic

representations,Imeanarepresentationthatiscontrarytothewaythe

governmentofthecountryperceivestheiridentityorhistory.WithintheLest

WeForgetproject,thedecisionthatsomethingisproblematicwillcomefromor

withthesupportoftheheadofthefoundation.Ifthemotherhadcontributeda

photographofherselfonthephone,tothecollection,thephotographwouldbe

includedinthebookandthearchive.

Therewereotherworkshopsthatthegirlsparticipatedinaswell.There

wasawonderfulworkshoponfilmmakingthattaughtthegirlsbasicsof

storyboarding,scriptwriting,andcameratechniques.LestWeForget,was

approachedtoparticipateinthedevelopmentofatelevisionadvertisementfor

theUAE’s43rdNationalDay.Thegirlsworkedonthepieceinthevideo

workshop,wheretheyusedarchivalphotographsfromNationalDayspast,

overlaidwithanacappellarecordingofthemsingingtheNationalAnthemofthe

UAE.(SeedatafileofLWFNationalAnthem.wav)Allofthegirlsparticipatedin

thisprocess,whichdidnotrequireanyvisualrepresentationofthem,andwhere

theywereabletosingaspartofacollectivevoice.

Astheprojectgrewtherewerealsomembersoftheroyalfamilywho

openlycontributedphotographsofSheikhZayedfromtheirfamilyalbums,as

wellasafewofhisfamily,includinghissonSheikhKhalifa,thecurrentpresident

andruleroftheUAE.Thesetypesofgesturesholdgreatweightwithinthe

Emiraticommunityandinmanywayspavethewayforothermembersofthe

communitytofeelcomfortablecontributingtothecollectionandthearchive.

193

4.4.3 LanguageandRepresentation

ThegirlsdecideditwascriticaltorecordanEnglishandArabicversionof

theirnarrativeforeachphotograph,asthiswouldallowthemtoreachabroader

audience.Therewasalsoagreementthatsomeoftheoldergenerationof

EmiratismaynotbecomfortablewiththeEnglishrecordings,whilesomeofthe

youngergenerationsofEmiratismaybelesscomfortablewiththeArabic

recordings.TheprocessofnegotiatinghowtoarticulatethesameideainArabic

andEnglishwasalsoafrequenttopicofconversationduringtheworkshops.The

girlswouldplaybacktheirrecordinginArabicandinEnglish,andthegroup

woulddiscusswhetherornottherewasasymmetrymaintainedinthemeaning

ofbothrecordings,andifthewaythingswereexpressedinbothsoundedand

feltright.ArecordingthatsoundedgoodinArabicoftendidnottranslatewell

intoEnglishandviceversa.Asaresult,mostofthegirls’recordingsdidnot

striveforadirecttranslationfromArabictoEnglishorEnglishtoArabic,but

rathertheydevelopedtwosimilarnarrativesthatinformedoneanother,andfelt

appropriateforthetwolanguages.Oneofthebestexamplesofthiscomesfrom

photograph319,ofanoldmanholdingagunwhilesittingonamajlis,a

traditionallowlivingroom–likeseatingareaforcommunitymeetingsand

entertainingguests.Thebackofthephotographwasinscribedwithapoem

writtenonitinArabic,whichtranslatesinEnglish:.“Iamgettingold,mygray

hairsarelaughingatme.Allshipsaresailing,onlymineisn’t.Myshipandmy

lover’sshipareloadedwithpassion.Iwilldumpmyload,lestmysecretis

exposed.”ThegirlsdecidedtoreadthepoemintheArabicrecording,asit

soundedpoetic,andtheyfeltitcapturedahistoricalcomponentthathelpedto

situatethephotographwithinatimeperiodinwhichfishingwasaformof

194

livelihood,andhand-writinglettersandnoteswaspopular.However,giventhe

waythepoemtranslatesinEnglish,thegirlsfeltthattheEnglishrecordingthat

accompaniedthephotographshouldnotincludelanguagefromthepoemand

insteadtheycreatedanarrativethatcorrelatedvisualelementsofthe

photograph,withemotionalelementsthatwerehighlightedinthepoem.The

recordingwasasonicdescriptionoftheman’scharacterandstrength.

Evenwithintheinternshipgroup,thegirlshadvaryingcomfortlevels

withArabicandEnglish,andwithinArabic—withtheEmiratidialectofArabic

versusFusha,ModernStandardArabic.Manyofthegirlsidentifiedthemselves

aseithermorecomfortablerecordingtheirvoiceinArabicorEnglish,andwould

thenpartnerwithsomeonewhowasstrongintheotherlanguage.Somegirls

werecomfortablerecordinginbothlanguages,butfewwerecomfortablewith

bothEmiratiDialectArabicandEnglish.

Anothernegotiationwithinthegroupwaswhetherornottheyshould

recordtheArabicnarrativesinFusha,sothatthematerialwasaccessibletoa

wideraudiencethroughouttheArabic-speakingworld,orwhethertheyshould

recordtheArabicintheEmiratidialectsothatitwasmoretruetotheirculture

andmorelinguisticallyaccuratetohowthethoughtsandideaswouldbe

expressed.Intheinstanceswherethegirlsinterviewedolderfamilymembers,

therecordingswereoftenintheEmiratidialect.Ayoungermemberofthefamily

orafriendofthesamesexwouldrecordtheEnglishversionsofthesenarratives.

WhenrecordingsintheEmiratidialectsweresharedwiththegroupduring

critique,therewasstrongconsensusthattheEmiratinarrativeshadastronger

presenceandfeltmoreaccuratelydescriptiveofthephotographs.Asaresult,the

195

ArabicnarrativesintheexhibitionalternatebetweenFushaandtheEmirati

dialectaformofKhaleejiorGulfArabic.

4.4.4 Censorship

Iamreluctantwithinthisdissertationtodiscussthematterofcensorship

intoogreatadepth,inlargepartduetoculturalsensitivityfortheUAE

Government,theEmiraticommunity,andtheLWFproject.Havinglivedinthe

UAEandworkedcloselywiththeproject,Ihaveadoptedanunderstandingofthe

valuesaroundprivatematters,inparticularthematterofEmiratiidentityand

citizenship.Iamchoosingtorespectthecommunitybynotdelvingtoodeeply

intosomeofthesedivideswithinthecommunity.

AsIwillfurtherexplorelaterinthissectionthematterofEmiratiidentity

issomewhatcomplicatedandsensitive.TheLestWeForgetprojectaimsto

documentandcollectvernacularphotographsfromEmiratifamilies,aswellas

creativeresponsetothesephotographs,whichrequirescuratorialdecisions

regardinghowEmiratiidentityisdefined.Whereasone’snationalidentityis

oftendefinedbycitizenshipthiscriteriaiscomplicatedintheUAE,wherea

personcanspendtheirentirelife,frombirth,intheUAEandneverbecomea

citizen.AdditionallyIfeelthattheLWFprojectisnavigatinghowbestto

documentandpreserveEmiraticulturethatisderivedfromtribalBedouin

communitiesnativetothedesert,fromthosecommunitiesthathavemore

recently(inthelast50years)becomethenumericmajoritywithintheUAE,

includingtheArab,WesternEuropean,andNorthAmericanexpatriate

communities,inadditiontothelargemigrantlaborcommunityfromSouthand

196

SouthEastAsiathathasbuiltmuchofthecountriesinfrastructure.Itis

impossibleintheUAEtodrawclearbarriersbetweengroupsofpeoplefor

collectionspurposesandthis,Ibelieve,isattheheartofmuchofthecensorship

withintheLWFproject.

Animportantlayertothisprojectisacritiqueontheoverallcurationof

theLestWeForgetCollectionandtheassociatedexhibitions,books,andweb

presence.Michelecuratestheexhibitionsandthebookwithinputfromthegirls

andothercollaborators;however,theSheikhaSalamabintHamdanAlNahyan

Foundationmakesthefinaldecisionsaboutcontent.Thefoundationfundsand

putstheirstampontheproject,andasaresult,thereareaspectsofLestWe

ForgetthathavebeenputforwardbyMicheleandthegirlsthatareaugmented

orremovedbeforetheyareseenbythepublic.Thesedecisionsseemtobemade

aboutmaterialthatisconsideredtobearepresentationofEmiraticulturethatis

notsupportedbythefoundation.

Thegirls,likemyself,havelearnedanimmenseamountthroughthis

project,includingwaystoengageaboutfamilyandcommunityhistory,howthe

UAEisseenbytheoutsideworld,andwaystheirgovernmentparticipatesin

sculptingthatimage.Forthosestudentswhosefamiliestravelinternationally

often,involvementwithLWFofferedanewapproachtoengagingwithan

internationalcommunitythatisrootedinsharingone’sculturalheritageinan

internationalcontext.

Workingwithinapeergroup,thegirlslearnedtonavigatethevaluesand

parametersoftheircommunity,whileworkingwithinthemtocreativelywork

outsideofthem.Theirprocessofsharingphotographsanddeveloping

197

narrativesaboutthosefamilymemorieshasfosteredtheirprocessofrecognizing

howtoself-censor,andhowtosharegenuinely,andwhatthatmeans.

Thebestillustrationofthisisastudentwhowasheavilyinvolvedinthe

project,whoselatefatherwasEmiratiandwhosemotherisEgyptian.Her

mother’sstorywasfeaturedasoneofthreevignettesinanintergenerational

femalefilminstallation.Thecritiqueofthefilmbythefoundationwasthatthe

narrativedidnotfocusenoughonherdeceasedEmiratihusbandandfocusedtoo

muchonherEgyptianheritage.Thefilmwasre-editedsothatthenarrativeof

thestoryfocusedmoreontheEmiratesandherhusband.Whileneitherversion

ofthefilmwaseditedbythestudent,butratherbyaprofessionalvideoteam

whoshotandeditedthefilm,thefilmingandeditinghappenedincollaboration

withLWF.Thesubjectsofthefilmwerenotinvolvedinthedecisiontore-edit

thefilm.WhenIaskedthestudenthowhermotherfeltabouttheseverelyedited

secondcut,shesaidhermotherwashappythatthefilmfocusedonherfather.

Duringtheexhibition’sopeningweekendthisstudentwasstationedinthe

screeninginstallationroom.Whilecatchingupwithher,Iaskedherhowshefelt

abouttheeditingprocessofhermother’sfilm.Shesaidshehadheardaboutit

andfeltthatitmadesensesincetheexhibitionwasfocusedonEmiraticulture,

andwashappyforherfathertobebroughtintoitmore.Shesaidhermother

hadseentheinstallationandcriedthroughoutthefilmoutofsadnessforher

husband,soshelefttheexhibitionbecauseshedidn’twanttobeseencrying.

Theworkshopsprovidedaspacetodiscussthosethingsthatarenot

allowedinthepublicrepresentationsofUAEhistory.Forexample,discussions

ofhow,priortothediscoveryofoilandunificationoftheTrucialStates,theUAE

grantedcitizenshiptoawidevarietyofexpatriateswhochosetosettleinthe

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country.Especiallybecausemanynuancedexperiencesareleftoutofthatpublic

history,itisimportanttogivevoiceandspaceforthatkindofdiscussionto

happeninthecollectivespace,wherethegirlsspokewithoneanother.One

identifiedoutcomeofengagingthegirlsintheprocessofcreativeresponseis

thattheworkshopsbecameaspacethatlegitimizedtheirthoughtsandideas

abouttheirrelationshiptoself,toculture,tofamily,andtocommunity.The

workshopswereaplacewherethegirlssomewhatovercameself-censorship.

However,whilethegirlsmovedintoaplaceofacceptanceofeachother’swork,

ideas,anddiscussionsbehindcloseddoors,thesewereoftenmaskedbymore

sociallyacceptablebeliefswhenthegirlswerebackinthegeneralpublic.

4.4.5 CreativeResponseandtheLivingArchive

Creativereflectionwasakeytoolinthecollaborationprocesswiththe

girls,anditallowedforadifferentpointofaccesstothecommunity.Whereas

workingwithamoretraditionalarchivalapproachthatfavorsacademic

languageandcontentmightbeoff-puttinginthiscontext,theconversationsthat

resultedfromthecreativecollaborativeprocesswereopenandinclusive.

Thegirls’intheseworkshopswerebetween18and27yearsofage.Asa

resulttheirpointofreferenceforlifeandtheworldaroundthemisrootedin

digitalmediaculture.Theyaretechnologynatives,wholooktowardtheir

phones,theircomputers,andothertechnologiestonavigatetheworld.Weare

lookingatphotographsoftheirparentsandgrandparentsgenerationdialing

rotarytelephonesandusingrecordplayersatatimewherenoneofthemodern

technologyoftheirtimeexisted.Thegirlsareabletointerfacewiththeideasof

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antiquity,theirfamilymembers,andthenotionoftheirhistorybyrespondingto

thephotographsusingtoolsandtechnologiesthatarefamiliarandintuitiveto

them,ratherthanaskingthemtoconnectwiththingsthatareantiquated.Thisis

ahugepartofengagingtheirgeneration.Frommyuniqueroleasbothworkshop

developerandtechnologyadviser,Icouldseehowengagingagenerationaround

antiquatedmaterialsabouttheirowncommunityandfamilythroughtheuseof

digitalmediatechnologiesmadetheyoungergenerationmoreinterestedin

thoseantiquities,andallowedthemadifferententrypointofaccesstotheir

familyandcommunityhistoryandmemory.

Micheletalksaboutexperiencingpushbackfromherstudentswhenshe

begantheprojectinherclassroomatZayedUniversity.Thisresistancecame

fromthestudentswhocouldnotunderstandwhyanyonewouldcareabouttheir

familyphotographsandhistory,orwhyitmattered.Thislikelycomesfroma

nationalmentalityof“outwiththeoldandinwiththenew,”whichhasstemmed

fromtherapidgrowththathasledtotheintroductionofnewdevicesand

comfortswithregularity.

Asaresult,thestudentsoftodaydon’thaveastrongsenseofwhythere

wouldbevalueinphotographsorpersonalhistoriesthathelptodocumentthis

transitionandmodernization.Forexample,afamilyphotographofastudent’s

parentsinanoldcarinthe1970sinthemiddleofthedesert,wherea50-story

skyscrapernowsits,didnotresonateatfirstasbeingofvalueorinterest.Having

thesestudentsengagewiththeoldergenerationsoftheirfamily,andhearingthe

retellingofthestoriesbehindtheimages,wastheprocesstheybeganwith.

AsMicheledescribedit,theturningpointcamewhenthegirlsbrought

theseinterviewsandstoriesbacktoacommunityoftheirpeersintheclassroom.

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Thiswasthepointwheretherewasnoticeableoverlapinexperienceandstories,

andwherethestudentsbegantorecognizethesimilaritiesintheexperiencesof

theirparents’generation.Oneexamplethatstruckmewaswhenthestudents

realizedthatthereweremanyphotosofyoungmeninthe1980swithAfros,in

theUAEaswellasinphotographsthatweretakenontripsabroad.Theypulled

outdiscernablesocial,cultural,andeconomicreferencesthatrevealed

themselvesthroughthesephotographs.Idon’tthinktheywouldhaveengaged

withthesearchivalmaterialsinthesamewayiftheywerenotengagingwiththe

materialsthroughaprocessofcreativeresponse.Thesegirlsconducted

interviewswiththeirfamilymembers,whichbecamedigitalnarratives,andthey

juxtaposedarchivalphotographsofbuildingsinthecitywiththosetheyhad

takeninpresentday,creatingacompositeoftheoldphotographandanew

photofromthesameplace.

Ultimatelyitwasthepowerofcommunalresponseastheycametogether

andsharedtheirstoriesthathelpedthestudentsrealizetherewassomething

powerfulintheirhistory.GettingtothispointwaschallengingandIwould

arguegreatlyfacilitatedbythefactthattheywerebeingaskedtoexploretheir

ownheritagethroughaprocessofresponsethatallowedthemtoengagewith

archivalmaterialsthroughdigitalmediatechnologies.

4.4.6 EthicalResponsibilityandCollaboration

AlloftheworkthatItalkaboutinthisdissertationistiedtocommunities

thatarenotmyown.Oneofthechallengesinherentintryingtopartnerwitha

communityisfiguringouthowtodosowell.WhenIlivedinIndia,Iworkedfor

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anNGOwhereIlearnedthatacrucialpartofmyjobwasnavigatingrelationships

withthecommunityandtheindividualswithinit.IntheUAE,thesame

considerationsapplywhenworkingonacommunitybasedprojectlikeLestWe

Forget.Asafemalecollaboratingwithanall-femalegroup,Ialreadyhadgreater

accessthanamalewouldhave.InthebeginningIwasverymuchanoutsider,

butovertime,throughmyworkwiththegirls,wedevelopedamorecasual

relationshipthatfeltasthoughittranscendedsomeboundaries.

Asanartistandethnographer,Ifindmyselfspendingagooddealoftime

consideringtheethicalimplicationsofmywork.Thequestionofethicalconduct

isconsideredbyethnographersacrossdisciplines,andrightfullyconsidersthe

roletheresearcherplaysinthetransmissionandpreservationofthatwhichthey

areresearching.Ethicalconductdoesnotcomeupinthesamewayorasoften

withintheartscommunity,thoughitisraisedasaconcern.Ibelievethisisin

partduetoafocusonthediscourseoncreativelicenseandfreedom,whichhas

theaimofprotectingartists’abilitytoengagewithsubjectmatter,ratherthan

limitingit.

Workthatstraddlesthesetwodisciplinesisthereforelackingaclearset

ofinstructionsormethodforhowtofollowtheruleswhiledoingthework.In

myowncreativeworkIaimtodevelopmaterialthatisrespectedand

understoodbothwithinandoutsideoftheacademy.Iattempttomediatethe

challengesraisedaboutculturalappropriationbycollaboratingwithlocal

partnerswhoarecreatingtheirownworkfrommyresearchmaterials.The

worktheyarecreatingutilizesmyresearchbutisinnowaymediatedbyme.

InmyworkwithLestWeForget,alloftherecordingsthatwerecreated

havebeenincollaborationwiththeEmiratiinternsandMichele.Oneoutcomeof

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thiscollaborationwasadiscussiononhowbesttobuildacollectionofrecorded

stories,interviews,andmemoriesfortheirarchive.Irecordedinterviewswith

manyoftheinterns,andinsomecasestheirfamilymembers,butIdidnot

conducttheinterviews.Idevelopedandfacilitatedtheworkshopswhereall

recordedmaterialwasplayed,discussed,andrevised,andImadesuggestions

throughout,basedonmyownexperiencesandopinionsaboutthematerial.

Howevertheinternswereempoweredtomakedecisionsabouttheresulting

contentandhowitissharedbacktotheircommunity.Notdissimilartoteaching

studentsinaclassroom,thecollaborationwithLestWeForgetwasalwaysan

exchangeofknowledgeandinformationbetweenallparties.Ididalsoshare

manyofmyownrecordingsandcreativeprojectswiththeinternsasabasisof

referenceandtogivethemanideaofthetypeofworkImakeandinwhichIam

interested.

4.5 SectionFive:Conclusion

4.5.1 Activism

ThroughtheprocessoftheirinvolvementintheLestWeForgetProject

manyoftheEmiratigirlsbecameactivistsforthepreservationoftheirfamily

stories.Theybecametheinterviewers,themediators,andinsomecases,the

storytellersthemselves.Thesegirlshavehelpedtotellthesoon-to-be-forgotten

memoriesoftheirgrandparents,thereflectionsfromagenerationwhowere

bornintoaBedouinlifestyleandwhoarenowlivinginafastpaced,skyscraper-

speckled,globalizing,financiallythriving,oil-richcountry,probablydrivinga

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high-endcar,andbankinginanationalbank.Thememoriestheyshareareof

momentsthathaveoccurredthroughoutthesedramaticallycontrastedworlds,

bothofwhichexistedonthesamelandbutchangedoverthecourseoftheir

lives.MuchoftheknowledgeandhistoryoftheTrucialStates,andtheUAE’s

historypre-unification,isthreatenedtobelostwhenthisgenerationpasseson.

ItisforthisreasonthattheUAEgovernmenthasbeguntosupportprojectslike

LestWeForgetthatarefocusedoncollectingandpreservingCulturalHeritageof

theUAE.The2016QasrAlHosnFestival,alargecommunity-basedfestivalwith

widereachandengagementfromthecommunity,featuredscreeningsofold

videosanddisplaysofhistoricphotographsfromthegovernmentandpetrol

companies,supportedbytheNationalCenterforDocumentationandResearch.

4.5.2 TheArchive

Oneaimofmyresearchistobetterunderstandtheoutcomesofthe

developmentofthecreativeresponsestothearchivalmaterials.Inparticular,

thisworkaimstoidentifywaysinwhichthedevelopmentofcreativework

supportsthepreservationofkeyculturaltraditionsandpracticesand

contributestothearchivingandsustainabilityofatradition,bymakingit

relevantintoday’srapidlyshifting,cosmopolitan,andvirtualworld.

TheoralhistoriesrecordedbytheLestWeForgetinternsaredigital

artifactsthatexistoncomputers,onwebsites,inanexhibition;theycouldeven

besomebody’sringtonefortheirphone.Andwhenthepersonwhohasthat

ringtoneridesthebusorthemetro,andwhentheirphonerings,itispossible

thatthedigitalartifactofsomeone’soralhistorymightbecomeanotherperson’s

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overheard-on-the-subwaystory,whichtheypostasastatusupdatetotheir300

friendsonFacebook,oneofwhommightsharethestorywithafriendathappy

hour,whomightwriteaboutitinanarticleorbooktheyaretryingtopublish.

Whetherthedigitalartifactremainsinitsdigitalformatorbecomestranslated

intoananalogformatlikewrittentext,asinthehypotheticalexampleabove,its

digitalnaturesupportsitsmovementbetweentheanaloganddigitalworlds,

enhancingaccessandvisibilitytothematerial,makingitrelevantintoday’s

rapidlyshifting,cosmopolitan,andvirtualworld.

TheongoingdevelopmentoftheLWFcollectionhappensinavarietyof

ways,manyofwhicharegrassroots,includingdevelopmentthroughstudent

contributionsintheclassroom,bywordofmouth,throughcommunity

discussionsandworkshops,andbycreatingopportunitieslikeinternshipsthat

invitestudentsfromthecommunityintotheproject.Thesedifferentapproaches

tobuildingthecollectionareeachimportantontheirownandserveas

scaffoldingforoneanother,inthatthereareorganicintersectionsthatare

createdbytheseparticularcollectionsapproaches.Forexample,studentsbegin

torecognizethatthereisabroadercontextfortheirownfamilyhistory,which

occursthroughlearningaboutthehistoryoftheirclassmate’sfamilies,their

grandparents,andtheirnation.Utilizingdigitalmediatechniquesand

approachestodevelopthecollectionofphotographs,includingdigitalimage

restorationandmanipulation,digitalaudiorecording,anddigitalfilm

production,allowedstudentstoconnectwiththematerialandtheprojectmore

intuitively.Perhapsthisistiedtothecollege-agedemographicoftheUAEbeing

comprisedofdigitalnatives,forwhomcomputers,digitalphotography,film,and

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sonicmanipulationareallintuitiveformsofexpression,andafamiliarmeansof

communication.

4.5.3 PreservingCulturalPracticesandTraditions

TheLWFprojectisintentionallyintergenerational.InitiallytheEmirati

studentcommunitythatMicheletaughtwasnotinterestedinsharingtheir

storiesandfamilyphotographs,andthroughherteachingandcollaborationwith

thegirls,fouryearslaterthesesamegirlsandtheirfamiliesaresharingtheir

photographsandstoriesinapublicexhibitionaswellasinabookthattheyare

proudof.Inthiscommunitythatprizesprivacy,LWFwasabletoengagepeople

intheir60sand70sinwantingtosharetheirstoriesandmakepublictheir

history.Theprocessofworkingwiththeyoungergenerationsofstudentsto

developcreativeresponsestophotographsbecameaboutconnecting

generations.Itwasaboutusingcreativityasatooltounpacktheprivacyrelated

inclinationsofherstudentswhodidnotwanttosharetheirfamilyhistory.

Therewerealsomanyfamilystoriesthatwereuncoveredthroughrecorded

interviews.Thestudentswouldsitwithafamilymemberandinquireabouta

particularphotographandrecordtheresultingconversation,whichtheywould

thentranscribe.Oftenstudentswouldchoosetouseeditedversionsofthe

recordedinterviewasasonicelementofthecollection.Manystudentsfound

familyphotographsoftheirfathersorbrotherscampingandhuntinginthe

desert,photographsofbirthdaycelebrations,membersoftheirfamilywith

leadersofthecountry,aswellasimagesofAbuDhabibeforethelarge

developmentboom.

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TherewerephotographsthatrepresentedwhatholidayslikeEidlooked

likewithinaparticularfamily,andthestylesofdressingfromdifferentperiods

oftime.ThesephotographsrevealedanAbuDhabithatthestudentswerenot

alivetowitness,butthattheylearnedaboutthroughinterviews.Allofthese

storiesandphotographs,unlessdeemedprivatebystudents,weresharedwith

theotherstudents,furtheringtheircollectiveknowledgeabouttheirowncity,

theircountry,andtheircollectiveculturalhistory.

Havingstudentscollectphotographsandstoriesfromtheirfamilieshas

proventobeawayfortheyoungergenerationstoconnectwithandlearnabout

theirfamilyandculturalhistory.Howeverdoingthistypeofcollectionwork

withinagroupoftheirpeersallowsthestudentstotakeanownershipand

interestoverthathistory,thatmaynotoccurbyspeakingtofamilymembersor

lookingatfamilyphotographs.Collectivelydevelopingacollectionofvernacular

photographsbringsintotheclassroommanystories,histories,andquestions

aboutasharedcultural,social,geographicandnationalhistorythatthestudents

thenbecameinterestedinexploring.

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5 SonicStoryboarding:TheCalltoPrayer

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5.SonicStoryboard:TheCalltoPrayer

5.1 SectionOne:Introduction

5.1.1 Introduction

SonicStoryboardisaprojectdevelopedfromrecordingsoftheIslamic

calltoprayer,alsoknownastheadhan,azhan,ornamaaz,dependingonwhere

youlive,frommosquesaroundtheworld.Iamfascinatedbyandstudied

religionincollege.IwasraisedJewishandmyfatherwasraisedMuslimfroma

familyofEastAsianIslamicdescent.FrommytimelivinginIndia,Ibecame

fascinatedbyreligiousrecitation:ifyoulookatHinduweddingsongs,Jewish

Trope,andIslamicreadingsfromtheQur’an,thesoniccadenceseemsintuitively

similartome.Yet[Westerners]oftenthinkoftheIslamiccalltoprayeras

something“other,”somethingforeign,andassingular.Iwantedtocreatea

projectthatshowedthenuancesamongcallstoprayer,andtofigureouthowto

sharethatwithpeopletowardtheendofhelpingtobreakdownassumptionsof

Islam.

Theideaforthisprojectwastocaptureawiderangeofadhansfrom

aroundtheworldandplaythembackininteractiveenvironmentstohelpbring

greaterawarenessaboutthenuanceanddiversityofthecalltoprayer.I

capturedrecordingsofthecalltoprayeratmosquesindifferentplaces,which

wasfascinatingbecauseitmeantmeetingandtalkingtopeopleatoraroundthe

mosques.Gatheringtheserecordingsindependentlyisatimeconsumingand

expensivetask,whichleadtocollaborationwithothersthroughcrowdsourcing

andsocialmediasites,aswellasfriendsandcolleagueswhowerehappyto

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recordtheadhanduringtheirtravels.Ithendevelopedtwodifferentcreative

projectsfromtheserecordings.

Thefirstprojectisasoundmapthatlivesonlineat

www.dianachester.com/audiomap.html.Itisamapoftheworldfueledby

GoogleMaps,withlittlemarkersplacedwherethecallstoprayerwererecorded.

Ifyouclickonthemarkers,youcanseeapictureofthemosqueandlistentothe

calltoprayer.Theideaissimple;itgeo-locatestheseadhansandallowspeople

tolistentoacallbasedongeography,fromNorthCarolinatoIstanbul,andTunis

toSingapore,thelistenercanhearthedifferencesbetweentheadhans.

Thesecondprojectisanexhibitionwithacompletelydifferentaim.The

exhibitionunintentionallyreachedanaudiencewhowerelargelynon-Muslims,

butwholivedinAbuDhabiandweresurroundedbyIslam.Thedemographic

makeupoftheaudiencewasdueinlargeparttothemakeupoftheartistic

communityIwasapartof,withintheuniversitywhereItaughtinAbuDhabi,

andwasalsotiedtothecomplexityofthesubjectmatter.Thisistosaythatina

MuslimcountryliketheUAE,itiscomplicatedtohaveasonicexhibitionwhich

playstheadhanoutsideoftheappropriateprayertimes,andwhichmanipulates

theadhan.Forthesereasonstheexhibitionwasmoreofaprivateaffair,by

invitationonlyandwashostedatagalleryspacewithinaprivateresidence,

ratherthaninapublicartspace.

Theexhibitionwasreactiveinnature,aninteractiveapproachwhere

people’smovementinaspacecausedareactionfromtheexhibition.Thedesign

oftheexhibitusedsixofthecallstoprayerandassociatedphotographsofthe

mosques,wheretherecordingsweretaken.Thephotographsofthemosques

werehungonthewall,andwhenpeoplemovedamongthephotographsofthe

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mosques,ultrasonicsensorssensedtheirmovements,triggeringchangesinthe

sonicplaybackofthecalltoprayerfromthecorrespondingmosque.

5.1.2 TheHistoryoftheAdhan InalmosteveryIslamiccommunitytodaytheloudspeaker,radioand

televisionhavebecomeessentialinthetraditionalcalltoprayer,a remarkablejuxtapositionofhighmediatechnologyandconservative religiouspractice.Theloudspeakersimplyextendedthepurposeofthe minaret,thattoweringsectionofthemosquewherethereciter traditionallystoodtoperformthecalltoprayer,hisvoicereachingthe surroundingIslamiccommunity.

—ToongSoonLee(2009)

TheIslamiccalltoprayerisrecitedfivetimesdailyasawayofsignifying

theprayertimestoMuslims.Dependingontheindividualinterpretation,the

prayertimescansignifywhenyoushouldpray,orinsomecasesthetime

betweeneachcallservesasawindowwhenoneshouldpray.Thefiveprayer

timesspanfrombeforethesunrisestoafterthesunsets,andaredictatedbythe

sun,makingthetimingsdifferentdaily.ThefiveprayertimesareknownasFajr,

theearlymorningprayer(beforesunrise);Dhuhr,thenoontimeprayer;Asr,the

late-afternoonprayer;Maghrib,theafter-sunsetprayer;andIsha,thelate-

eveningprayer.

Traditionallythecalltoprayerservedasa“soundmark”(Lee,1999,p.

87),whichmarkedtheboundaryofagivenIslamiccommunity,basedonthe

areaoverwhichthemuezzin’svoicecouldbeheard.Whereastraditionallythe

muezzin,orreciteroftheadhan,wouldrecitetheadhanfromthetopofthe

minaret,inmoderndaythemuezzinrecitestheadhanintoamicrophonethatis

broadcastoverloudspeakers,affixedtotheminaretsofthemosquefacing

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outward,towardthecommunity.Inurbancontexts,wherepeoplemaynotlive

orworkwithinearshotofamosque,peopleusetechnologicalaidestohelpthem

keeptrackofprayertimes,likearadioadhan,anadhanalarmclock,orasmart

phoneappwiththecalltoprayertimesforeachcityaroundtheworld.

Theadhanisbeautifultolistento,butisnotconsideredsongormusical;

forMuslims,theQur’an,orholybook,isnotconsideredmusic.“Insteadthe

literaryandrhythmicqualitiesofthetextareextensionsoftheinherentquality

ofthetextitselfratherthansuperimposedmusicalornamentations.”(Sells,2007,

p.162).Thisisanimportantconcepttounderstand,particularlywhenworking

withtheadhaninacreativecapacity.Itfeelsimportanttorespectthe

parametersoftherecitationasdictatedbytheculturefromwhichitisderived.

ForthisreasonIwillgointomoredepthhereabouttherulesandapproachto

therecitationoftheadhan,asdescribedbyMichaelSellsinApproachingthe

Qur’an:TheEarlyRevelation.

Sellsdiscussestheimportanceoftherecitationoftheadhanas“oneofthe

mostveneratedactivitieswithinIslamiccultureandcivilization.”(2007).There

arespecificrulesofrecitationthatguidemuezzinsaroundtheworldintheway

theyrecitethecalltoprayer.Thoughtherecitationsoftheadhanvaryby

countryandindividualmuezzin,asisevidentintherecordingsIhavetaken,

therearetwobasicstylesofrecitationthatarefollowedbyall,thetartīlandthe

tajwīd.Thetartīlisanextremelypowerfulstyle,characterizedbyasteadychant

thatdoesnotboastmanymelodicflourishings,whilethetajwīd,ortajawwud,isa

highlyelaboratestyleboastingmanyelaboratevocalextensionsandflourishings.

(Sells,2007,p.163).

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Theadhanhassimilarsonicqualitiestorecitationsofotherreligionslike

thatoftheTorah,theJewishholytext.RecitationsoftheTorahandadhanboth

employexplicitreadingapproachesthatgovern,howportionsofwordsshould

berecited,whereaccentingshouldlieandforhowlongsyllablesshouldbeheld.

ItisforthisreasonandthesharedSemiticoriginsoftherootlanguages,Hebrew

inthecaseoftheTorahandArabicinthecaseoftheadhan,thatwehear

similaritiesintherecitations.

ThereadingoftheTorahisgovernedby27differenttropes,orTa’amei

haMikra,translatedastheflavorofthereading.Traditionallythesetropeswerea

partoftheoraltraditionoflearningtoreadtheTorah,andinmoderndayhave

beentranslatedintowrittensymbolstohelplearnersunderstandhowtorecite

thewordsintheTorah.Thesesymbolsdonot,however,appearintheTorah,

andtheymustbelearnedandmemorizedseparately.

TherulesofrecitationfortheQur’anareknownastajwīd,thesamename

asoneofthestylesofrecitation.Tajwīd“involvesstrictstandardsaboutwhen

andhowtomakeelisionsbetweenwords,whenandhowtodrawoutcertain

vowelsoundsormakecertainsoundeffectswithconsonants”(Sells,2007,p.

162).Despitethespecificityoftheserules,thesonicrepresentationoftheadhan

iscustomizedanduniquetoeachmuezzin’sstyleandthenuanceofcontributing

culturalfactorsfromeachcountryorcommunity,yetanoverallsoniccohesionis

maintainedacrossadhanswithinagivenstyle.Tajwīdincludesavarietyof

soundeffects,whiletwoarethemostcommonlyused:extension(madd),and

humming(ghunna).Maddisaneffectthatelongatesthelongvowelsattheend

ofsentences,whileghunnacreatesanasalizedeffectwithcertaincombinations

ofthelettersnandm.(Sells,2007,p.163).TherulesofTajwīd,thatIdiscuss

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here,describeatypeofexpressionwithinQur’anicrecitationthatisnoteasily

expressedthroughtraditionalmusicallanguage.Sellsexplainsthisphenomenon

inthefollowingway:“theQur’anshapessoundsintoparticularlypowerful

combinationswithmeaningandfeelingtocreateaneffectinwhichsoundand

meaningareintertwined”(Ibid,p.164).IdrawonthisideaintheSonic

Storyboardprojectwhenfocusingonthesubjectiveelementsofthecalltoprayer

thataredifficulttoname,butwhichcanbefeltandexperienced.

5.1.3 TheStoryBehindtheSonicStoryboardProject

In2002,whileexploringtheoutskirtsofacoastaltownontheSinai

PeninsulainEgypt,Idroppedtothegroundinfearatthesoundofveryloud,

scratchywordsbeingscreamedinArabicoutofaloudspeakeronthetopofa

nearbybuilding.Mymindwasracing,andIwasterrified,certainthatsomeone

hadfoundoutIwasJewish.IttookmeafewminutestorealizethatwhatIwas

hearingwasnotdirectedatmeatall.Ittookmeanotherfewyearstorealizethat

whatIhadheardthatdaywasinfacttheadhan.Itwasn’tuntil2010,whenIwas

bicyclingaroundAbuDhabirecordingtheadhan,thatthedisturbanceand

distortionoftherecitationthroughtheloudspeakersystemsoflocalmosques

triggeredmymemoryofthatexperienceinSinai,andhelpedmerealizethat

whatIhadheardthatdaywasinfactthecalltoprayer.

MyinterestinIslamcomesfromaconnectiontoIslamthroughmyfather’s

family,whoareLipkaTatars.HisgrandparentsimmigratedtoBrooklyn,New

York,intheearly1900saspartofawaveofTatarswhoimmigratedtothe

UnitedStates,fromcommunitiesinwhatisnowPoland,Ukraine,Lithuania,

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Russia,andBelarus.In1907mygreatgrandparent’sTatarcommunityformed

theAmericanMohammadanSociety,oftenreferredtoasthefirstmosqueinNew

YorkCity.Mygrandfatherwentontobecomethepresidentofthesocietyfora

periodoftime,andmyfatherwasraisedwithinthecommunity.Themosquestill

existstodayinitsoriginallocationonPowersStreetinWilliamsburg,Brooklyn.

WhilemyfatherhadconnectionstotheTatarcommunityandmosquein

Brooklynthroughhisparents,herenouncedhisinterestinhisreligion,asmany

membersoftheBrooklynTatarcommunityofhisgenerationalsohave.13

MyinterestinIslamgrewduringmytimeinIndia,whichhasthesecond-

largestMuslimpopulationintheworld,andtrulytookgripduringthesixyearsI

havelivedintheUnitedArabEmirates(UAE).LivingandworkingintheUAE,an

IslamiccountrythatisgovernedbyShariaLawexposedmetovariedaspectsof

IslamiclifeandculturethatIdidnotexperienceinIndia,evenwhileworking

withinMuslimcommunities.InAbuDhabi,theadhansoundsfivetimesdaily

frommosqueslocatedatthecornerofeverymainblock.Thenational

population,Emiratis,weartraditionalKheleeji(Gulf)clothing,andthoughthey

arereportedtocompriseonly20%oftheoverallpopulationofthecountry,the

Islamicexpatriatecommunityisquitelarge,representingpocketsofMuslim

communitiesfromaroundtheworld.

GrowingupwithinJewishcommunitiesinNewYork,andnothavinghad

anyassociationwithaMuslimcommunity,Ihadneverheardthecalltoprayeror13DuringavisittotheAmericanMohammadanSociety,withmyfather,inthesummerof2015,IlearnedfromspeakingwithAlyssaRatkewitch,thecaretakerofthemosque,thatmanymembersofmyfather’sgenerationdisconnectedfromtheTatarcommunityaftertheylefttheirparents’homes.WhileIdon’tknowofanyproperstudiesthatlookattherelationshipbetweenthebabyboomergenerationandpracticingIslamintheUnitedStates;itisthecasethatmyfather,alongwithAlyssa’smotherandmanyotherrelativesandcommunitymembersfromtheTatarcommunityoftheirgeneration,steppedoutofthereligiouscommunity.Itisalsothecasethattheirparents’generationandmorerecentlymygeneration,thechildrenofthebabyboomers,aremakingtheirwaybacktotheTatarcommunity.

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beentoamosque,andIhadzerofamiliaritywiththeArabiclanguage.Nowliving

andworkingintheUnitedArabEmirates,Ifindmyselfcompletelyenamored

withthecalltoprayer.Iappreciatehearingitsoundfivetimesadayfromevery

mosqueinthecityandfinditquitebeautiful,afarcryfromtheperspectiveIhad

in2002.

5.2 SectionTwo:StorytellingPlaceandSpace

5.2.1 TheStoryBehindtheSonicStoryboardProject

AsanartistIencountertheworldfirstandforemostasasoundscape,a

never-ending,always-intersecting,andattimessensuallyoffensive,immersive

auralexperience.TheideaoftheSonicStoryboardcameaboutasapartofmy

fascinationwiththeexplorationofsoundthroughtheactofdecouplingandthen

recouplingvisualandsonicmaterialthroughtechnologicalmediation.Through

thisprocess,visualimageryandfieldrecordingareusedtoimmersethevisitor

inamultidimensionalenvironment,wherebythestrategicplacementofvisual

artandsoundinstallationcreatesamomentofsimultaneouslyseeingand

listeningtoastory.Inaworldwherewearesocializedintotheimmediate

gratificationofthetelevisionormoviewatchingexperience,theSonic

Storyboardinitiallyoffersadecouplingofthevisualandsonicexperienceand

ultimatelyarecouplingthatisactivatedanddefinedbytheuser.Byaskingthe

viewer/listenertoexistinasuspendedrealitywherethevisualandtheauraltell

astorythatshemustworktounderstand,onecannothelpbutparticipateandin

turnengagewiththework.

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SonicStoryboard:ACalltoPrayeraimstochallengeandshakeupa

visitor’sassumptionsandperceptions;thepieceunfoldsthroughimagesand

sound,exposingthenuancedbeauty,complexityandculturalvariationsofthe

calltoprayerthatresonatefromallcornersoftheworld.ThisSonicStoryboard

presentsthevisitorwiththeexperienceofstandinginfrontof,insideof,ordown

theblockfromdifferentmosquesincitiesaroundtheglobe.Iwasinterestedin

howcollectingrecordingsandimagesofthecalltoprayerfromdifferent

mosques,thensynthesizingthemintoacontainedsonicenvironment,could

engagelistenerstochallengetheirperceptionofthecalltoprayerandspur

dialoguearounditaboutwhatpeoplereallyhearwhenthehearthecallto

prayer.

5.2.2 SoundMapping

Thecalltoprayerispartofourglobalsoundscape.FromNewYorkCityto

someofthemostruralvillagesinIndia,itisaconstantlive,sonicelementthat

shapestheaurallandscapeofplace.Thisprojectbeganthroughaninterestin

collectingfieldrecordingsandimagesofthecalltoprayerinAbuDhabi,where

thereisamosqueonpracticallyeverycornerthatsoundstheadhanfivetimes

eachday.Iwouldtravelaroundthecityonbicycleandcar,capturingsounds

fromdifferentcornersofthecity.Ibeganplanningmyinternationaltravelbased

aroundmosquesIcouldvisittorecordtheadhan.Initiallyitwasjustme

travelingwithmyrecordingequipment,recordingthecall,takingphotographs,

andthencominghome.Thisprojectexpandedbynecessityasitbecameclear

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thatcollaboratingwithpeoplearoundtheworldwouldallowforanexpanded

scopeandfastergrowthoftheproject.

In2013Ireachedouttofriendsandcolleaguesfromaroundtheworld,

askingiftheywouldcontributetotheprojectbyrecordingtheadhanandtaking

anaccompanyingphotographwheretheylivedorwhentheytraveled.People

respondedtotheprojectwithenthusiasm,buttodateonlyahandfulofpeople

havesubmittedrecordings.Ithinkthisisinpartduetothefactthattheprocess

ofrecordingtheadhandoesrequireacertainlevelofpatienceandcommitment.

In2015Iattemptedtoleveragesocialmediatohelpgrowtheproject,

whichIhadpackagedintoaweb-basedsoundmapofthecalltoprayerfrom

aroundtheworld.Facebookbecametheprimaryplatformforsharingthe

project,linkingpeopletothesoundmap,andrequestingsupporttogrowthe

collection.Thisapproachwasfurtherreaching,andtouchedmanymorepeople,

wellbeyondmygrasp,asfriendsrepostedandsharedtheprojectwiththeir

friends,someevenpointedlyrequestingotherstosubmitrecordings.Idid

receivesomerecordingsfromtheseappeals,anddirectedalotoftraffictothe

website,whichIwillfurtherdiscussintheanalyticssectionofthischapter.

Inadditiontothedevelopmentofthesoundmap,Iusedthefield

recordingstocomposesonicenvironmentsthatengagelistenerstochallenge

theirperceptionsandassumptionsofthecalltoprayerand,byextension,of

Islam.Astherecordingsarealllive,thetruegritandnoiseofthefield

environmentiscarefullycapturedinthem,includingambientstreetnoise,and

soundsystemdistortionfrommosques.LiketheabruptnessoftheadhanIheard

intheSinaiPeninsulayearsagoplayingoververypoor-qualityspeakers,the

qualityoftheadhanIhearwhenrecordingisheavilyinfluencedbythespaces

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insideofthemosquewherethemicrophonesareplaced,andthequalityofthe

amplificationsystemoutsidethemosque,thatcarriestheadhantothe

community.WithintheUAE,whereIhaverecordedthegreatestnumberof

adhan,thequalitycandeviatedrasticallybetweenmosques.Ithasbeenmy

experiencethatthequalityoftheamplificationinthecitiesisgenerallybetter,in

partbecausethespeakersarenotaswornfromthesandblowingatthemdueto

tallcitybuildingsservingasanobstruction.Ihavealsonoticedthatolder

mosques,ortemporarymosquesseemtohavepoorerqualityamplification

systems.OneofthegrittiestadhansIhaverecorded,andalsooneofthemost

interesting,wasfromamosqueontheJebelAlAkhdarMountaininOman.

(SoundRecordingJebelAlAkhdar.wav)Therecordingofthisadhancapturesthe

grit,butmaynotseemasappealingtoalistener,asitdidtomelisteninglive.

Thisisinpartduetohavingseenthemuezzinwalkingtothemosquefive

minuteslate,seeinghisredandbrownstainedteeth,likelyfromdailyshisha

smoking,andthenhearinghisveryraspyvoicerecitetheadhan,whichwas

projectedovercracklyspeakers.

Eachrecordingisanattemptatcapturingthemuezzin’svoicethroughthe

loudspeakersfacingawayfromthemosqueandintothecommunity;the

experienceofbeingapersonwalkingonthestreetinthatcommunityduringthe

adhan.Eachrecordingcapturesasonicfidelityoftheplace,theamplification

systemofthemosque,thetrafficandstreetnoisesoftheplace,andthe

perspectiveofhearingtheadhanrecitednotfromwithinthemosque,oronthe

televisionorradio,butfromwithineachindividualcommunitysetting.

Additionally,dependingonanindividual’sfamiliaritywithIslam,variationsin

theadhancanrevealdetailsaboutthesectofIslampracticedbytheMuezzinand

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hisassociatedmosque.SpecificallytherearevariationsintheadhansofShi’ite

andSunnimosques.

Todate,theprojectincludesrecordingsoftheadhantakeninTurkey,The

UnitedStates,Tunisia,Sudan,Israel,Palestine,Oman,Jordan,theUnitedArab

Emirates,India,Pakistan,Myanmar,Singapore,andMalaysia.Ultimately,I

wouldlikeforthisprojecttohavealiverecordingoftheadhantakeninasmany

placesaroundtheglobeaspossible.

5.2.3 CollaboratingwithCommunitiesAroundtheWorld

Theonlycriteriaforsubmittingafieldrecordingoftheadhanisthatit

mustbecomplete,withoutmissingwordsorphrases.Thismeansthattheperson

recordingtheadhanmustbereadywiththeirrecorderturnedonbeforethe

adhansounds.Theadhantimingchangesdailyasitisbasedonthepositionof

thesun.Itisnecessarytotrackdownthedailyprayertimesinordertoknow

whentoexpecttheadhantosound.Additionally,myexperienceofrecordingis

thatbecausemostadhansarerecitedlivebyamuezzinatthemosque,though

someplaceslikeAbuDhabihavesynchronizedpre-recordedadhans,theexact

timingoftheadhanmaybeslightlydifferentthanthelistedtiming.Duringatrip

toOman,IwaswaitingoutsideamosqueonJebelAlAkhdar,awaitingthe

recitationoftheadhan.Ihadmyaudiorecorderrunningandreadyfor10to15

minutesandheardnothing.JustasIwaspreparedtoleave,assumingthatthe

adhanwouldnotberecited,Isawthemuezzinwalkingtowardthemosquefrom

anadjacentcommunity.Hewaswalkingslowlyandlookedasthoughhemay

havejustawokenfromamiddaynap.AfewminutesafterenteringthemosqueI

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couldhearthefamiliarclicksignalingtheamplificationsystembeingturnedon,

followedbyaclearingofthethroatandtherecitationoftheadhan.

Thecurrentworkflowforcontributingtothesoundmapentailsaperson

sendingmeane-mailwiththeaudiofileandaphotographofthemosquefrom

thevantagepointofthelocationwhereitwasrecorded.Thisfinalnecessary

stepincontributingarecordingtotheprojectalsoposeschallengesthatmay

impactthenumberofcontributors,asitrequiresextrasteps,includingdata

gatheringfromcameras,recordersorotherdevices,andthensendingane-mail

withthismedia.Theidealworkflowwouldminimizethenumberofstepsa

contributorneedstotake,seamlesslyallowingthemtorecordanduploadaudio

andphotographicfilesdirectlyfromtheirphonestoaweb-basedrepositoryfor

thesoundmap.Thiscouldbeeasilyaccomplishedthroughthedevelopmentofa

smartphoneappthatwouldstoretherecordingsandphotographsforeasy

uploadingoncethedeviceconnectstowifiordataservice.Thesefileswould

thenbepostedtothemap,afterbeingcheckedinbythesiteadministrator.

5.2.4 EthicalConsiderations

Theethicalconsiderationsforthisprojectweredifferentfromtheother

casestudiesmentionedinthisresearch,fortwomainreasons.Thefirstisthe

multi-geographicnatureofthefieldwork,whichresultedinbrieflyvisitingmany

communities,butnotpartneringwithanyone.Thesecondconsideration

pertainstothehistoricalsonicintentionofthecalltoprayerasapublic

soundscape,whichwasintendedtobeheardbylocalsandvisitorsalike.

BecauseIwasnotenteringanyonecommunitydeeply,Iwasawareofhoweasy

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itwouldhavebeentobeasound“tourist,”enteringplacesandrecordingsound

withoutanyrealunderstandingofthecontextinwhichthatsoundoccurred.I

thereforemadeanefforttotalktopeopleinthecommunitywhenIcould,bothto

learnfromthemandalsotoletthemknowwhatIwasdoingsothatItwouldnot

disruptorcausealarm.

Duringtheinitialtwoyearsofcollectingrecordingsoftheadhan,I

traveledlargelyalonetolargecitiesandsmalltownsintheUAE,Oman,Jordan,

Singapore,Myanmar,India,andTurkeywithmyarchivalstandardrecordingrig.

Thesevisitswouldoftenlastnomorethanoneweek,duringwhichIwould

generallyvisiteachmosqueeitheronlyonce,ifIwasmovingaroundacountry,

orseveraltimeswithintheweek.ThemosquesIvisitedmultipletimeswere

generallytheoneswhereImadecontactswiththemuezzinandmembersofthe

localcommunity.InsomecasesIhadtheopportunitytospeaktothecommunity

abouttheprojectIwasworkingon,aswasthecasewhenrecordingin

Bangalore,India.IwasinBangaloreforaweek,andIvisitedthemosquewhereI

wantedtorecordseveralhoursbeforetheadhanwouldsound.InthattimeI

spoketomanylocalshopowners,hadteawiththemandtheirfamilies,andthey

thenputmeincontactwithleadersofthemosque—whohadmanyquestions

aboutmyrecording—andultimatelywiththemuezzin.Iwasapproachedbyone

leaderofthemosque,amanreferredtoastheDoctor,whowashighlyeducated

andfluentinEnglish.HewasinterestedinmyprojectandwhatIwasdoing

outsidetheMosquewiththeequipment.HewasinterestedinwhetherornotI

wasMuslim,whereIwasfrom,andwhyIwasinterestedinthisparticular

mosque.Myexplanationofmyinterestintheadhan,myfather’supbringingas

Muslim,andtheSonicStoryboardprojectputhimatease.Ilatermetwiththe

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muezzinoftheMosqueandrecordedtheadhan.

Insomecommunitieswheremystaywasbriefandunplanned,

particularlyinJordanandMyanmar,myinteractionswiththelocalcommunity

werebrieforinsomecasesnonexistent,largelydependentonthetimeofday.In

JordanIstoppedandvisitedahandfulofmosquesonadrivefromAmmantothe

DeadSea,noneofwhichwerepre-planned.Whiledriving,asitnearedprayer

time,Iwouldexitthemainroadanddrivearoundalocalcommunitylookingfor

themosque.Iwouldthensetuprecordingequipmentandwaitfortheadhan.In

oneinstance,tenschoolchildrenspottedmycarandcameovertoaskmewhatI

wasdoing.InmyminimalArabic,andtheirEnglish,wewereabletoestablish

thebasics,thatIwasrecordingtheAdhan,andtheywaitedwithmethroughthe

recordingandtriedtostayquiet.

InMyanmarIhadaverydifferentexperiencerecordingtheadhaninthe

capital,Yangon,whereIwasvisitingforoneweek.Ilocatedamosquenearto

myaccommodation,butitdidnotsoundtheadhanduringprayertime.Ihad

experiencedsimilarchallengesinmanyplaces,wherenotallmosquessoundthe

adhanfivetimesperday,butratherthemuezzinrecitestheadhanunamplified.

ThemosqueIwasabletorecordatwaslocatedonaverybusystreetacrossfrom

themainmarket,whichattractedvisitorsandtouristsalike.Ihadvisitedthe

areaoftownthedaybeforetoseethemarket.WhenInoticedthemosque,I

inquiredwiththestreetvendorsaboutwhetherornottheadhansoundedand

when.TheytoldmetoreturnthefollowingdayandsoIdidclosertoprayertime

Iwasgiven,withmyrecorderinhand.Iwascarefultobemorediscretein

Yangon,asIwasawarethattherewasalotofanti-Islamicsentimentin

Myanmar,andIdidnotwanttoalarmthemuslimcommunitiesordrawtoo

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muchattentiontomyself.

Iwalkedaroundthesideofthemosquewithasmallhandheldaudio

recorder.ThereweretwoMyanmarimenofBengalidescentclosingdowntheir

streetshopadjacenttothesideentranceofthemosque.Theysawmelingering

intheareaandIdecidedtoapproachthemtoaskabouttheadhantiming.They

wereapprehensiveaboutourconversationatfirst,andtherewasalanguage

barrier,whichwenavigatedthroughamixtureofBengali/HindiandArabic.

TheyaskedmeifIwasMuslim,andwhereIwasfrom,andIexplainedthatIwas

visitingfromAbuDhabi,andthatmyfatherwasraisedMuslim.ItoldthemI

wantedtorecordtheadhanforaprojectbecauseitsoundsverydifferentin

MyanmarthanitdoesinAbuDhabi.Thiscommunicationwasalittleless

clarifyingforallparties,giventhelanguagebarrier;however,afterour

conversation,theysupportedmyrecordingandexplainedtootherfolkswho

approachedthemaboutwhatIwasdoing.AfterIhadfinishedrecording,afew

childrenfromthecommunityapproachedme,andIletthemlistentothemselves

beingrecordedtohelpdemystifytherecorder.

ThenatureofthecommunityIpartneredwithinthisprojectwas

differentthantheothertwoprojects;mycommunityconsistedofcolleagues,

merchantswhoseshopswerenearmosques,peopleImetwhileonvacation,

muezzinsandmembersofsmallruralcommunities,childrenexcitedtoseea

foreigner,brothersandsistersoffriends,aglobalcommunityofcontributorsand

visitorstothesoundmap,andalocalcommunityofadvisorsintheUAE,aswell

asaudiencemembers.Thisprojectdoesnotsupportthetraditionalinvestment

inasinglecommunityonewouldtraditionallyseeattheheartofethnographic

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research;however,theintentionofthisworkistofocusononeaspectofone

religiouscommunity,whichspanstheglobe.

Thepublicnatureoftheadhanhashistoricallyservedtohelpdefine

Islamiccommunities,orthe“MuslimQuarter”inheterogeneouscities

(Eisenberg,2013).RelatedtoLee’sideaoftheadhanasa“soundmark,”which

definesacommunitybycreatingasonicboundary,thepublicfacingnatureofthe

adhanisintegraltoitsfunctionofbeingheard.Althoughmosquesbroadcastthe

adhanforalltohear,knowingthatitisreachingMuslimsandnon-Muslimsalike,

IwasconcernedabouthowImightappearandhowmypresencewouldbe

interpretedasIrecordedtheadhan.Throughmyexperiencesrecordingin

differentplacesIhavenoticedthatwithincitiesandcountriesthatare

predominantlyMuslim,noonehasseemedconcernedaboutthenatureofthe

recording.Forexample,inAbuDhabi,wheresurveillancecamerasarepresent

oneverystreetcornerandtheexperienceoflivingintheplaceleadmetobelieve

Ishouldbediscreetinpublicrecording,notonepersonapproachedmeorasked

whatIwasdoing.Instarkcontrast,whenIrecordedatthemosqueinBangalore,

India,acountrythathasstruggledwithamarginalizedMuslimpopulationsince

partitionin1947,Ididn’tgetwithin20feetofthemosquebeforesomeone

approachedmeandaskedmewhatIwasdoing.Whileonecouldarguethatthis

experienceismoresymptomaticofthespecificcountriesIvisitedthanatrend,

otherscholars,likeAndrewEisenberg(2013),havearticulatedsimilar

experiences.

Eisenbergsharesastoryofhisownexperiencerecordingkhutba,the

sermon,inMombasa,Kenya,asayoungethnographer,andwritesabouthow

communitypoliticsandhistoricaloppressionoftheSwahiliMuslimcommunity

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ledtosuspicionandconcernabouthisactions:

OneFriday,earlyoninmyresearchonMombasaOldTown’sIslamic sound-scape,Isetouttomakeanaudiorecordingofanamplifiedkhutba fromawindowoftheflatIhadrentedintheneighborhood.ThoughIwas tryingnottobeconspicuous,neitherwasIattemptingtohidewhatIwas doing,naivelyconfidentintheknowledgethatneitherKenyanlawnormy professionalethicsdictatedthatanypermissionwasnecessarytorecord a‘publicbroadcast’.(p.200).

Havingfoundoutlaterthathisactionshadcausedsuspicionwithinthe

community,Eisenberg’sresponse,wassimilartomyownposedabove,ashe

considers“how[the]actofrecordingapublicbroadcastcouldbeseenas

threatening.”(p.200).Eisenberggivesaglimpseintothecomplexitiesand

dynamicsoftherelationshipbetweenMombasaOldTowne’sIslamiccommunity

andthedominantChristianclass,whoembodytheauthorityoftheKenyanstate.

Whiletherecordingitselfwasnotinherentlyproblematic,theconcernoverhis

recordingandpresenceinthecommunitywasthathewaspossiblyaspy,and

therewasconcerninthecommunityforsafetyinplacesinMombasa,and

possiblyKenyaatlarge.Keepingthisinmind,Itriedtotalktopeopleatthe

mosquesandinthesurroundingcommunitywhenIcould.

Ifeltstrengthenedbythegoalsoftheprojectandmyactivistintentionto

buildawarenessandbreakdownbarriersandassumptionsaboutIslamand

aboutMuslimcommunities,eventhosethatdonotsoundtheadhan.Ifeltthat

theethicalchallengesofpassingthroughcommunitieswereoutweighedbythe

valuableworkofdisseminatingtheadhanandeducatingpeopleaboutthebeauty

andnuanceofthissacred,globalsound.Thoughnottraditional,thisresearch

aimstobeinserviceofMuslimcommunities,andisconductedwithethical

considerationforthepeople,communities,andculturethatitexplores.

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5.3 SectionThree:TheExhibition

5.3.1 TheExhibition

TheSonicStoryboardexhibitisamodalityofcreativesoundworkthat

drawsontraditionalstoryboarding,wherebyonecreatesavisualenvironment

inwhichdistinctiveideasorscenesareidentified(oftenonanindexcardor

pieceofpaper)inorderforthestoryboardertoeasilyreorganizeorstructure

thenarrativebyphysicallymovingthescenesaroundonacanvas,soasto

visuallyseethereorganization.InthecaseofSonicStoryboardingexhibit,the

visitorsplaytheroleofthemoveroftheindexcard,wheretheindexcardsare

individualrecordingsoftheadhanandtheparametersfortheplaybackofthose

recordings.

Forexample,inaniterationoftheexhibition,theAsradhan,ormid-

afternooncalltoprayerfromOman,wasincludedasoneoftherecordings,along

withaphotographofthemosque.Avisitor’smovementinthespacebeginsto

moveortransformthecalltoprayer,andseveralvisitorscansimultaneously

transformanumberoftheadhanrecordings,creatinganoverallsonic

composition.Thephotographthattheaudiencemembergravitatestowardor

awayfrom,thespeedinwithwhichtheyapproachtheimage,andthedistance

theyarefromtheimageareallparametersthataltertheresultingsonic

storyboardcreatedbytheirmovement.

Theexhibition,whichtookplaceonMay23,2014,washeldinan

apartmentgalleryspaceinAbuDhabi,andwasattendedby35to40people.The

installationwasupfora24-hourperiod,withaformalopeningat5pm.The

openingwasheavilyattended,anditservedasanopportunitytoprovide

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informationontheobjectiveandprocessoftheproject,whichwas

communicatedthrougha10-minuteintroduction,whichalsoservedasan

opportunitytoexplainanddemystifythetechnologyusedintheexhibition.

FortheexhibitionIdevelopedamicrocontrollersensordrivendata

collectionsystemwherepeople’smovementinthespacechangedwhatwas

happeningtoaudioplayback.ThisinvolvedusingPingultrasonicsensorsthat

collecteddataofpeople’smovement,sendingthedataintoanArduinoUno

microcontroller,whichwouldthensendthedataintoacomputerthatwould

processthatdatathroughseveralprogramsIbuilt,whichoutputthepre-

recordedadhanswithtransformations(Image5.1).Thearduinomicrocontroller

andcablingwerevisibleandobvioustotheaudienceinawaythatwas

aestheticallyintegratedintotheexhibition,ratherthanmasked(Image5.2).

Havingthetechnologyoutintheopen,themessofcables,solderjoints,and

microcontrollerswasintendedtofueldiscussionsofthetechnologyasapartof

theinstallation.Peoplewerefreetoroaminandoutofthemainexhibitroom

andintoahallwaywithdrinksandsnacks.Thecasualnatureoftheopeningalso

allowedforconversationandfeedbackonthepiece,aswellasanopportunityfor

metocapturesonicfeedbackfromtheexhibit,intheformofambisonic

recordingstakenwithintheexhibitionwhilepeoplewereroamingaround.

Image5.1PingUltrasonicsensorywithcablingonexhibitionwallbelowphotographsof

mosques.

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Image5.2Galleryspaceshowemptywithexposedwiring.

5.3.2 Technology

Thefieldrecordingsoftheadhanweremostlyrecordedusingthesame

equipment,whichIpackagedintoatravelrecordingkitthatwaseasyto

transportthroughoutmytravels.Thekitincludesabatteryoperatedfield

recorder,astereocapsulemicrophone,ashock-mount,cabling,andheadphones

allinonebriefcasesizetravelcase.IusedaSoundDevices702tfieldrecorderin

conjunctionwithanAudioTechnicaAT8022stereocapsulemicrophoneforthe

majorityoftherecordingsofthecalltoprayer.

ThetechnologybehindtheexhibitionwasbuiltinArduinoandMax/MSP.

TheArduinoprogramwasabletotakeinformationfromtheultrasonicsensors

aroundthegalleryandmapthemtoaspecificdatavaluethatcouldbe

interpretedbyMax/MSP,whichIusedtocontroltheaudiooutputofthe

exhibition(DataindexfileSonic_Storyboard_four_sensor_sketch.ino).TheMax

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patchIdesignedtakesthedatasetsfromtheArduinosketch,tosetparameters

thatcorrelatetotheextenttowhichaparticularparameterwasappliedtothe

audioplaybackofthevariousadhans(Dataindexfilesonicstoryboard.maxpat).

Thiswasrealizedthroughmappingthedatarangereturnedbythepingsensors

toaugmentationparameterswithinthemaxpatchthatwouldeffectvarious

aspectsoftherecordedaudiofile.Thepatchalsosenttheaudiooutofthe

computertoasoundcard,whichwastiedtoaquadriphonicspeaker

configuration.AsyoucanseeinImage5.3,thevisualinterfaceforthemaxpatch

containsfourfadersthatallowedmetocontroltheoveralldecibeloutputofeach

track.

Image5.3ScreenshotoftheMax/MSPmaxpatchIbuiltfortheexhibition.ProgramisontheCD-Rom.

Thevisitor’sphysicalmovementinthespacealteredandaugmented

differentparametersoftheaudioplaybackoftheadhan.Themaxpatchwas

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designedsothatone’smovementnearerorfurtherawayfromtheultrasonic

sensorwouldaugmentoneofanumberofpre-determinedparametersofthe

recordingincludingtempo,amplitude,orfrequency.Theintentionbehindthese

augmentationswasthattheycreatedanobviousenoughchangetothe

recordingsoftheadhanthattheywouldbenoticed.AdditionallyIwasvery

interestedintheaudienceeventuallyrealizinghowtheirmovementsimpacted

whattheywerehearing.Thisseemedtohappenmosteffectivelywhenthere

wereonlyoneortwopeopleinthespace,astherelationshipbetweenone’s

movementandvariationinwhattheyheardwasmoretangible,anddistinctive.

Whilemyinitialintentionwastoshowcasethenuanceandvariationofthe

adhan,whichhappenedonlywhenavisitortriggeredasensorandthenleftthe

gallery,theexhibitultimatelydrewgreaterattentiontotherelationshipbetween

thelistenerandwhatwasbeingheard.Specificallytheexhibitmadeclearthe

wayone’smovementinthegalleryimpactedtheresultingsound.

5.3.3 AmbisonicRecording

IusedtheCoreSoundTetramic,anambisonicmicrophone,tocapture

recordingsoftheinstallation.Manyoftherecordingsincludedhuman

interaction,conversation,andfootsteps,whileinoneoftherecordingsI

attemptedtocaptureminimalhumansounds.(DataindexfileSonicStoryboard

ExhibitionRecording.aif)Ambisonicsissometimesreferredtoas3-Dsound

recording,becauseanambisonicmicrophoneisdesignedtocapturethethree

dimensionalsoundfield.Ambisonicmicrophonesarebuiltwith4cardioid

capsulesinatetrahedronconfiguration,oneofwhichhasanomnidirectional

pattern,whiletheotherthreeprovidedirectionalinformation.Ambisonic

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microphonesrecordinA-Format,butbeforeonecanlistentothemtheymustbe

decodedintoB-Format,usinganalgorithmthatencodestheinformationfroma

3dimensionalsoundfieldintofourchannelscalledW,X,Y,Z(Hollerweger,

2008).

A-Formatrecordings,orambisonicencodedsignalsarenotdirectly

feedinganyspeakers,butrathertheformatiscarryinginformationforanentire

soundfield.Inordertolistenbacktoanambisonicrecordingitisnecessaryto

decodetheencodedfileintoB-Format.Itiswithintheencodingprocessthatthe

realbenefitofambisonicrecordingbecomesapparent.Ambisonicdecoding

softwareallowsfortheselectionofaplaybacklayoutfortherecording,for

exampleperiphonic,quadrophonic,5.1,or7.1.Thedecodingsoftwarealso

supportsmanualmanipulationofavarietyofparametersoftherecorded

soundfield,includingthegain,directivity,azimuth,elevation,andwidth.

Recordingwithanambisonicmicrophonehasmanyadvantages,inthatit

allowstheusertodecodethesoundfieldinformationintoawidevarietyof

configurationstomeettheirneeds.Itisforexamplepossibletoapplyafilterto

therecordingthatmakesitsoundasthoughthesoundsourceisaboveorbelow,

behindorinfrontofthemicrophone.Thedecodingsoftwarealsosupports

explorationandtrialwithinthespatializedsoundenvironmentallowingusersto

achievesoundsthatmayhavebeenimpossibletootherwiserecord.The

decodingsoftwareisalsovisual,providingcolorsandpolarpatternshapesfor

eachmicrophoneorientationinthesoundfield,allowingforvisualspatialized

mixingtooccur.

Despitethesebenefitstherearealsoanumberofdeterrentstousing

ambisonicmicrophones,namelycostandthecomplexity.CoreSound’sTetramic

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canbepurchasedfor$1,000.00USD,andisoneofthelower-costambisonic

microphones.Whilesomelargeandsmalldiaphragmcondensermicrophones

cancostthismuchormore,itisalsopossibletopurchaseamuchlessexpensive

microphonethatwillmakeagoodqualityrecording.Theworkflowfor

ambisonicmicrophonescanbedifficult,particularlythedecodingprocess.While

recordingwiththemicrophoneisfairlystraightforwardasIpreviously

mentioned,itisnotpossibletodirectlylistentotheA-Formatrecording,which

meansausermustfirstdecodetheirrecordingbeforepassingitthrougha

plugin,wheretheycanpickthespeakerconfigurationandmanipulatesoundfield

parameters.Atpresentthisprocesscanbeclunky,thedecodingsoftwarecanbe

buggyandnotcompatiblewithallDAW’sanduntilagoodworkflowis

established,willtakesignificantlymoretimethansimplyimportinga.WAVor

.AIFFfileintoProTools.

5.3.4 ArduinoandMax/MSP TheparametersoftheMaxpatchweretoaugmentcertainparametersof

theplaybackaudio,sothatwhenapersonwouldapproachthephotograph,

whichhadtheultrasonicsensorunderneathit,theaudiowouldbeaffected.The

ultrasonicsensorwouldregisternearertothe1endofthespectrumwhena

personwasrightnexttoit,andclosertoa137whenthepersonwasacrossthe

room.Ithenmappedthatrange,1-137,orinsomecasesaportionofthatrange,

toaparameteroftheaudiothatIwantedtochange,suchasfrequencyor

velocity,oreveninsomecases,playingthetrackbackwards.Thiswouldmake

theaudiooftheadhansoundretractedordistorted;sometimesitwouldfeelas

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thoughthetrackwassloweddownorthepitchwasdeeper.Inothercases,the

parameterswouldspeeduporslowdownthetrack.Itwaspeople’smovement

inthespacethatimpactedwhathappened;ifpeopledidnotentertheexhibition,

itwouldbeaspaceplayingthecalltoprayerasitwasrecorded.Theexhibit

helpeddrawaconnectionbetweenthepresenceofapersoninaspaceandwhat

thatpersonhears.Allpeoplehearthingsdifferentlydependentonour

experienceandreferences,aswasthecasewithmyexperienceofbeingscared

hearingtheadhanwhilevisitingtheSinaiPeninsula.Drawingadirect

connectionbetweenourinteractionswiththephotographsofmosquesandthe

resultingmanipulationsoftheadhanwereintendedtochallengepeopleto

considerhowwhatwebringwithus,howwemoveandactimpactshowwe

experiencethatplace,orwhatwehear.

5.3.5 Interactivity,Reactivity,andParticipation TheadhanisaQur’anicrecitationthatdemandsparticipatorylistening

fromMuslims(Eisenberg,2013,p.192).Listeningtotheadhantriggers

practicesof“reception”thatarelearnedbyfollowersofthefaith.These

practicesofreceptionareinteractiveattheircore,notunliketheparticipation

askedofvisitorstotheSonicStoryboardexhibition.In“Islam,SoundandSpace:

AcoustemologyandMuslimCitizenshipontheKenyanCoast,”AndrewEisenberg

talksaboutthisparticipatorypracticeinaSwahiliMuslimcommunityin

Mombasa,Kenya:

Properauditionoftheadhanimpliesanactiveprocessengagingnotonly

theearsbutalsotheentirebody,includingthevoice.Uponhearingthe

234

firstline,piousMuslimsrepeatthefirstwords‘AllahuAkbar’(Godis

Great)quietlytothemselves,alongsidewithotherprescribedresponses

tosubsequentlines.(p.192).

EisenberggoesontomentionotherformsofparticipatorylisteninginIslam,

includingthesilencingoftelevisionsandradiostomakespacefortheadhan,and

habituatedbodilytechniquesmostlyinresponsetosermons(Ibid).Theuseof

interactivemediatechnologyintheSonicStoryboardprojectallowsfor

opportunitiestoincorporateaspectsoftheadhanandpeople’sparticipation

withit,intoanexhibitiontargetingnon-Muslimswhoarenotfamiliarwiththe

practicesofreception.Thismixingofparticipatorylistening,withreactivity

mediatedbytechnology,isanimportantelementoftheexhibitthatrunsbeneath

thesurface,butwhichbringscriticalelementsoflisteningandparticipationto

thevisitors’experience.

Interactivetechnologywascriticalinstagingthistypeofexhibition

becauseoftheendlesspossibilitiesforexpressionandconnectionmade

availablethroughthecombinationofphysicalcomputingandsoftware

development.Togiveyouasenseofhowinteractivetechnologycanfunctionto

connectpeopleandtheirexperienceswithinanexhibit,considerthefollowing

example.Picturearoomthatis12feetlong,andoneendoftheroom,againstthe

wallthereisanelectricpiano.Ontheotherendoftheroomthereisasingle

handprintfourfeetupthewall.Inordertogetsoundfromthepiano,aperson

mustbetouchingthekeysonthepianoandthehandprintacrosstheroomatthe

sametime.Nowimaginethattwoorthreeadditionalpeopleentertheroom,and

theyformahumanchainfromoneendtotheotherbyholdinghands.Thefirst

personhasonehandonthepianokeys,andwiththeotherholdsthehandofthe

235

nextpersoninthechain,andthiscontinuesuntilthelastpersoninthechain

reachesthewall,andplacestheirfreehandonthehandprint,afterwhichthe

depressednotesonthepianoareamplified.Theprocessofdeveloping

experimentalartusingtechnologicaltoolsthataremediatedbyhuman

interactionisattheheartofInteractiveMediaTechnology.Interactivemedia

providesawide-openarenainwhichtocreate,andchallengesanartisttobe

moreinnovativeandexperimentalintheircreations,byblowingopenthe

relationshipbetweenthenumericworldofcomputingandthephysicalworld

aroundus.

OneaimoftheSonicStoryboardexhibitionwasfortheaudienceto

understandandrealizehowtheirinteractionorreactionasitreallywas,with

thephotographs(andsensorsplacedbeloweachphotograph)impactedthe

soundstheywerehearing.Whilesomeaudiencemembersseemedto

understandthisrelationship,othersdidnot.Thiswasduetothedesignofthe

exhibition,whichcouldhavebeenimprovedupon.Asaresultofthesizeofthe

space,andthenumberofvisitorstothespace,thegalleryspacequicklybecame

engulfedinacacophonyofsound,andbecausethereweresomanypeopleinthe

space,itwasnotnecessarilyclearhowone’smovementdirectlyimpactedthe

audibleenvironment.Thedesignofthisexhibitiondefinitelyworkedbetter

whentherewasaone-to-onerelationshipbetweenaudiencememberand

ultrasonicsensor.Inastandardexhibition,itisoftenthecuratorwhothinks

throughhowtheaudiencewillengageandinteractwiththeart.Inthiscase,part

ofthedesignoftheworkisanticipatinghowpeopleinteractwiththeexhibition,

butthisisdifficulttodetermine,andrequiresagooddealofexperiencein

interactivedesigntomaster.

236

5.3.6 Analytics

Inordertocapturedataaboutthewebbasedsoundmap,includingwho

accessesit,fromwhereintheworld,andhowoften,IaddedGoogleAnalyticsa

typeofcustomizedfilter,tomywebsite.TheaimoftheSonicStoryboardisto

bringawarenesstothenuanceofthecalltoprayer,andbyextension,todisrupt

assumptionsofIslamandtobringawarenessoftheadhanfromdifferentplaces

aroundtheworld.HereIwilldiscusssomeoftheanalyticsdatafromthesiteas

wellasmyobservationsandconclusionsbasedonthedata.

Oneaimofthisprojectwastohelpcreatearepositoryofrecordingsof

theadhanfrommosquesaroundtheworld.Alloftheprojectsdiscussedinthis

dissertationaimtoensurethatsomeformoftherecordedmaterialmakesits

waybacktothecommunitiesfromwhereitwasrecorded,andforthisproject

thesoundmapservesthatpurposeaswell.Thefieldrecordingsassociatedwith

theSonicStoryboardwererecordedbypeoplefromdifferentplaces,andtaken

ofmosquesaroundtheworld.Asaresult,returningrecordingsoftheadhanto

eachcommunityposesseveralchallenges.Thewebpresenceofthesoundmap

aimstomitigatesomeofthosechallengesbymakingtherecordingsopenly

availabletoanywhohaveaccesstotheInternet.Thechallengeinherentinthis

approachisthatitisdifficulttoknowiftherecordingspostedonthesoundmap

arebeingaccessedatall,ifsobywhom,andwithwhatfrequency.

InordertoattempttoanswersomeofthesequestionsIaddedGoogle

Analyticstomywebsite,www.dianachester.com,andranseveralsiteusage

queries.Thewebsiteiscomprisedoffourmainpages,accessibleviaicon

navigationatthetopofthepage.Thesearetheaboutpage,theprojectspage,the

237

musicpage,andthephotospage.Thehomepageofthesite,

www.dianachester.comiseasilyaccessibleviaasearchengine,butisnoteasily

accessiblewithinthesite,exceptviaasmall“home”iconinthebottomleftfooter

ofthepage.

GoogleAnalyticsprovidesafreerobustoverviewoftheusageofagiven

website,givingtheowneranopportunitytogaincriticaldataaboutthesite

throughahighlycustomizabledashboard.Someofthetoolsthatareoffered,

whichIwillfocusoninthissection,include:dataonthenumberofusersthat

visitthesite,theorderinwhichthoseusersaccessthedifferentpagesofthesite,

thetimeframeofthevisit,andaccessandusagebasedongeography.The

analyticstoolalsoallowssiteadministratorstosetcustomizedparametersand

goalsbasedontheirneedsandinterests.Notethatthesoundmap,whichisthe

mainfocusofenquiryhere,isembeddedontheprojectspageofthewebsite,and

asaresulttheanalyticsforthispageapplytoallprojectsrepresentedonthe

projectpage,andnotthesoundmapalone.

BetweenAugust18,2015andDecember18,2105,therewere840

discretesessionsduringwhichmywebsitewasaccessed.Ofthose840sessions,

theprojectspageofthesitewasaccessedduring113.WecanseeinImage5.4

belowthegeographiesintheworldfromwherepeopleaccessedtheprojects

pageofthesitefromAugust18,2015,toDecember18,2015.Thesedateswere

chosenastheyrepresentaquarterlylookbackfromthemomentIpennedthis

section,andcanberunregularlyforthemostuptodateresults.

IcreatedasegmentinGoogleAnalyticstosearchspecificallyforthose

sessionswhereusersaccessedtheprojectspage.Thesearchyielded113discrete

sessions,themajorityofwhichoriginatedintheUnitedArabEmirates.Ofthese

238

113sessions,thegeographicbreakdownbycountryisasfollows;64werefrom

theUnitedArabEmirates,21fromtheUnitedStates,15fromIndia,fivefrom

NewZealand,threefromPortugal,twofromSouthAfrica,onefromthe

Netherlands,onefromSingapore,andonefromTaiwan.

Image5.4Mapshowingfromwherethesoundmapwasaccessed betweenAugust18th,2014andDecember18th,2015. Thisuserdatabreakdownbycountryisusefulinunderstandingthe

relationshipbetweencountrieswheretheadhanwasrecordedandcountries

whereusersaccessedthewebsite.Oftheninecountrieswhereusersaccessed

thewebsite,fourofthosecountries,theUSA,UAE,India,andSingapore,were

alsoplaceswhereadhanswererecordedandrepresentedonthesoundmap.

Thisofcoursemeansthattherewereusersfromfivecountries,NewZealand,

Portugal,SouthAfrica,Netherlands,andTaiwanwhereusersaccessedthe

projectspage,butarenotgeographicallycorrelatedtothematerialonthesound

map.

Ofthe113sessions,71accessedtheprojectspageastheirstartingpage,

meaningthefirsttimetheyaccessedthewebsitetheywentdirectlytotheURL,

www.dianachester.com/projects.html.Thegeographicbreakdownbycity,of

239

these71usersareasfollows;42fromAbuDhabi,10fromNewYork,6from

Pune,5fromAuckland,2fromCapeTown,1fromBurlington,1fromNewDelhi,

1fromRoundRock,1fromSingapore,1fromVoorburg,andonewasidentified

as(notset).Image5.5showsthegeographicoriginsofthepeoplewhoaccessed

theprojectspageastheirfirsthitonthesitewithinthegiventimeframe.

GoogleAnalyticshasafunctionthatshowswhenduringavisittothesite,

agivenuseraccessedtheprojectspage,bychartingouttheorderthatpages

wereaccessed.Todoso,Analyticsusesthefollowingdesignations:starting

pages,firstinteraction,secondinteraction,thirdinteraction,andsoon.Thisdata

isusefulinunderstandingifpeoplevisitingthesiteweretherespecificallytosee

somethingontheprojectspage.InordertointerpretthisdataIwillmakethe

followingspeculations:Userswhodirectlyaccessedtheprojectspagewere

doingsofromalinkthatwassharedwiththem,foundthroughasocial

networkingsite,orwhichtheyfoundthroughasearchengine.Userswho

accessedtheprojectspageintheir1stinteractionwerelikelyalsovisitingthesite

specificallytoviewaproject,andlikelysearchedfortheURLofthehomepage,

eitherviaalinkoragainthroughasearchengine,andthennavigateddirectlyto

theprojectspage.Userswhoaccessedtheprojectspageintheirsecond

interactionofbeyond,werelikelyvisitingthesiteforapurposeotherthanthe

projectspage,butwithintheirsearchsawtheprojectspage,andthereforelikely

sawthesoundmap.

CnD!

H2$7*!o'o!A#+0$4!7-$3)!+)/I#%7!8/0%,-#*+!5-/2!I)*-*!0+*-+!$88*++*.!,)*!!3-/^*8,+!3$7*!/5!2:!I*1+#,*!1*,I**%!&070+,!Em?!CDEn!$%.!"*8*21*-!Em,)!CDEo'!

d#A*%!,)$,!,)*-*!#+!%/!7//.!I$:!,/!.*,*-2#%*!I)*,)*-!/-!%/,!$!0+*-!I$+!

+3*8#5#8$44:!,$-7*,#%7!,)*!+/0%.!2$3?!,)#+!.$,$!#+!%/,!$!7//.!7$07*!/5!.*,*-2#%#%7!

#%,*-*+,!#%!,)*!+/0%.!2$3'!!f/I*A*-?!,)#+!.$,$!#+!#23/-,$%,!#%!0%.*-+,$%.#%7!,)*!

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A#$!$!+*$-8)!*%7#%*'!!OI*%,:P+*A*%!0+*-+!$88*++*.!,)*!3-/^*8,+!3$7*!,)-/07)!

,)*#-!5#-+,!#%,*-$8,#/%?!En!0+*-+!$88*++*.!,)*!3-/^*8,+!3$7*!/%!,)*!+*8/%.!

#%,*-$8,#/%?!El!/%!,)*!,)#-.!#%,*-$8,#/%?!o!/%!,)*!5/0-,)!#%,*-$8,#/%?!$%.!n!/%!,)*!

5#5,)!#%,*-$8,#/%'!!W5!,)*!pE!0+*-+!I)/!$88*++*.!,)*!3-/^*8,+!3$7*!$+!,)*#-!+,$-,#%7!

3$7*?!EE!$88*++*.!,)*!3$7*!$!+*8/%.!,#2*!I#,)#%!,)*#-!5#-+,!5/0-!#%,*-$8,#/%+!I#,)!

,)*!+#,*'!c/-J#%7!5-/2!,)*!$++023,#/%+!+,$,*.!$1/A*?!,)#+!I/04.!2*$%!,)$,!qm!

Go to this report

Aug 18, 2015 - Dec 18, 2015Users Flow

Country113 sessions, 56 drop-offsStarting pages

United Arab Emirates64

United States21

...5

Portugal3

India111555

New Zealand5

/projojo ects.html71

/27

/bio.html6

(2 more pages)3

/presentation.html3

/music.html3

⇩

© 2015 Google

pprojojo ect page13.52%

CnE!

0+*-+!$88*++*.!,)*!I*1+#,*!+3*8#5#8$44:!,/!A#+#,!,)*!3-/^*8,+!3$7*!/5!,)*!+#,*?!I)#4*!

lF!0+*-+!A#+#,*.!,)*!+#,*!5/-!/,)*-!-*$+/%+'!O)*!&%$4:,#8+!54/I!8)$-,!/5!0+*-!

#%,*-$8,#/%!#+!+)/I!1*4/I'!

H2$7*!o'F!;$3!+)/I#%7!2/2*%,+!/5!#%,*-$8,#/%!I#,)!,)*!I*1+#,*!I)*%!0+*-+!$88*++*.!,)*!3-/^*8,+!3$7*?!1*,I**%!&070+,!Em?!CDEn!<!"*8*21*-!Em?!CDEo'!

d//74*!&%$4:,#8+!8$%!$4+/!)#7)4#7),!0+*-!1*)$A#/-!1$+*.!/%!I)*-*!$!0+*-!

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50%8,#/%!,)$,!+*$-8)*+!5/-!,)*!%021*-!/5!+*++#/%+!,)$,!I*-*!.#-*8,4:!$88*++*.!

5-/2!$!4#%J!,/!,)*!I*1+#,*!/%!$!+/8#$4!2*.#$!3/+,'!!@+#%7!,)*!+$2*!,#2*4#%*!

3$-$2*,*-+!5-/2!$1/A*?!,)*!.$,$!+)/I+!,)$,!m!0+*-+!$88*++*.!,)*!+#,*!A#$!

=$8*1//J!#%!,)*!5/0-P2/%,)!3*-#/.'!!O)*!$%%/0%8*2*%,!$1/0,!,)*!3-/^*8,!I#,)!$!

4#%J!,/!,)*!3-/^*8,+!3$7*!I$+!3/+,*.!/%!Q*3,*21*-!m?!CDEn?!$%.!,)*-*!#+!%/!+3#J*!

#%!$88*++!,/!,)*!3-/^*8,+!3$7*!8/--*4$,*.!I#,)!,)$,!3*-#/.'!!H,!+**2+!,)$,!,)*!

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A#$!=$8*1//J!I#,)#%!,)*!3*-#/.!I)*%!,)*!$%%/0%8*2*%,!I$+!3/+,*.?!,)*!

Go to this reportDiana Chester - http:///// www.dianachest…All Web Site Data

Aug 18, 2015 - Dec 18, 2015Users Flow

Country113 sessions, 56 drop-offs 57 sessions, 19 drop-offs 38 sessions, 12 drop-offs 26 sessions, 7 drop-offs 19 sessions, 6 drop-offs 13 sessions, 4 drop-offsStarting pages 1st Interaction 2nd Interaction 3rd Interaction 4th Interaction 5th Interaction

United Arab Emirates64

United States21

...5

Portugal3

India111555

New Zealand5

/projojo ects.html71

/27

/bio.html6

(2 more pages)3

/presentation.html3

/music.html3

///bbbiiiooo.hhhtttmmmlll8

(((444 more pages)))7

///phhhotttos.hhhtttmlll7

/projojo ects.html27

/4

/music.html4

///ppphhhoootttooosss..hhhtttmmmlll10

/projojo ects.html1144

/music/they...album.html4

/bio.html4

/3

(2 more pages)3

projojo ects.html13

music/theyy...album.html1

bio.html6

photos.html3

music.html2

presentation.html1

/bio.html2

///musiiic.hhhtttmlll7

/projojo ects.html5

/2

(2 more pages)2

/presentation.html1

photos.html3

projojo ects.html4

bio.html2

music.html2

music/theyy...album.html1

presentation.html1

⇩

© 2015 Google

pprojojo ect page13.52%

242

numbersareverylow,anditlikelydidnotraisemuchawarenessandaccessto

thesiteinthewaysIhadhoped.

Thechallengemovingforwardishowtoincreasethenumbersofpeople

whoaccessthesoundmap.BasedonthedatacollectedabovefromGoogle

AnalyticsIhavedevelopedseveralconclusionsregardingcreatingbetteraccess

tothemap,andhowtocollectmoreaccuratedataaboutvisitorstothesite.First

itwillbeimportanttodecouplethesoundmapfromtheprojectspageofthe

websiteandplaceitonitsownself-standingsite.Movingthelocationofthe

soundmaptoitsownwebpagemeansthatGoogleAnalyticscanbeapplied

directlytothatpage,allowingforbetterdatacollectiononthewaysthesound

mapisaccessed,fromwhere,andwithwhatfrequency.Relocatingthesound

maptoitsownpagewillalsoremoveanypossiblenavigationchallengesin

accessingthemap,asthesitewillbedirectlyaccessible,meaningthehomepage

isthemap,andalinkcanbeprovidedthatguidespeopledirectlytothemap,

whereasatpresentusersmustaccesstheprojectspageandthenclickonthe

soundmapicontolaunchtheembeddedmap.Additionally,oncethesiteis

standaloneitwillbeveryeasytoruntargetedteststhataimtodeterminehow

besttoguidepeopletothesite.Thiswouldentailmakingannouncementsabout

thesoundmapinasmanyplacesaspossible,includingFacebook,throughsearch

engines,viaotherblogsandwebsites,andthenrunninganalyticstodetermineif

peopleareaccessingthesiteviatheannouncementsonotherpages,providing

feedbackonthebestwaytogetthesitetothepublic.

Anotherveryimportantaspectofthisprojectisaskingpeoplefrom

aroundtheworldtocontributerecordingstothemap.Theprojecthasreceived

veryfewcontributionsfromthegeneralpublic,whichIbelieveisinlargepart

243

duetothefactthatthecurrentprocessforcontributingiscomplicated.Inorder

togrowtheprojectIwouldliketomaketheprocessofcontributingrecordings

andphotographsmorestreamlinedbyaddingdirectrecordanduploadfunctions

tothemobileversionofthenewproposedsoundmapsite,andinthefuturetoa

possiblesoundmapapplicationforsmartphones.

5.3.7 Limitations Workingintherealmofinteractivemedialedtomanyunintended

outcomesinthisproject,includingexaggeratedsimultaneoustransformationsof

multipleadhansduetohighvolumeintheexhibition,minimalquiettimewithin

theexhibitforpeopletoresettheirauralpalette,andfewinstancesofthenon-

transformedplaybackoftheadhan.Additionally,thedesignandimplementation

oftheexhibitionposedchallengestiedtocontentaswellastechnology.

WhilereworkingthisprojectforfutureexhibitionsIwouldchangea

varietyofparametersinthedesigninordertomitigatetheseunintended

outcomes,mostofwhichwouldpertaintotheprogrammingwithintheMax

patchthatcontrolstheaudiotransformationsandplayback.Inordertoprevent

theplaybackoftheadhanfrombeingsooverlyexaggerated,dueinlargepartto

allsensorsbeingtriggeredsimultaneously,Iwouldconsideraddingafunction

whereeachadhanwouldplaybackwithouttransformationatleastonetimein

everysixrepetitionsofplayback.Giventhatthereweresixadhansincorporated

intotheexhibition,thiswouldmeanthatwithinthefirstsixtimeseachadhan

wastriggeredtoplayback,oneofthosesixadhanswouldplaywithout

transformation,ideallycreatingasonicenvironmentwheretherewasalways

244

oneadhanplayingbackwithouttransformation.Thiswouldallowtheaudience

togainabettersenseoftherawrecording,whichwouldprovideimportant

perspectiveonthesonicdeviationthatwascreatedthroughtheirmovementin

thespace.

Inordertomeetthissameobjectiveoforientingthelistenertotheextent

ofthetransformation,aswellasthevariationcreatedbytheirmovements,I

wouldreconfigurethemaxpatchtoplaybackthebeginning15secondsofeach

adhanwithouttransformationsothatthelistenercouldorientthemselvestothe

recordingandthenhearthewaytheirmovementimpactedtherecording.This

ofcoursewouldposeachallengeinmaintainingtheaudience’sconnectionto

theirownparticipationinaugmentingtheaudio,inthatforthefirst15seconds

theirmovementwouldnotcreateanychange,whichcouldcauseconfusion.

Finally,inordertoaccomplishmoremomentsofsilenceoremptyspaceinthe

soundscape,Iwouldcreateafunctionintheprogramthatkepttrackofthe

playbacktimethathadelapsed,andtheninsertsomewherebetween30seconds

andoneminuteofspacebeforeanyoneadhanwouldrepeatplayback.

Onecriticalelementtolisteningtotheadhanistohearitinthenatural

sonicenvironmentofeverydaylifesurroundingthemosquewhereeach

recordingwasmade.Alloftherecordingsoftheadhanconsiderandcapture

theselocalenvironmentsthatincludetraffic,peopletalking,merchants,andthe

like.However,whilelisteningtotheadhanincontext,live,thenatural

environmentalsoundscapeisonlypepperedbytheadhan,ratherthanbeinga

constantcyclicalplaybackinthewayithasmanifestedinthisexhibition.One

elementofthelisteningexperiencethatwasinadvertentlyomittedfromthis

projectwasprovidinglistenerswithatruetoformlisteningenvironment,in

245

whichtheadhanisonlyapepperingofthesoundscapeseveraltimesaday.In

ordertoaccomplishtheaimoftheexhibition,theadhansoundsofteninthe

galleryspace,notsimplyfivetimesperday;however,itisimportanttoprovide

spacewithinthesoundscapecreatedinthegallery,asthatopennessinthe

soundscapeallowsforatypeoflisteningthataconstantsonicpresencedoesnot.

Withineach30-minutecycleoftheexhibitIwouldcreateseveralminutesof

silencewherenoadhanwouldsound,providingthelistenerswithabreakin

sonicstimulithatfeelscriticaltotheexperienceofhearingtheadhan.

Thesensitivenatureoftheadhanasareligiousrecitationcreated

challengesintheprocessofsettinguptheexhibition.InAbuDhabi,prayertime

ismarkedbytherecitationoftheadhaninallspacesacrossthecity.Whileina

shoppingmallorrestaurantduringthecalltoprayer,themusicisturnedoffand

thereissilence,orinsomeplacestheadhanisplayedoutloudindoors.In

preparingthisexhibitionIwasconcernedwithhowbesttosituatetheexhibitas

tonotoffendorupsetmemberswithinmylocalcommunity.Findingthe

appropriatespacewasthemainconsideration.Giventhesubjectmatterofthe

installationitwasnotappropriatefortheexhibittobeoutdoors,oropentothe

public,inparticularbecausetheexhibitplayedthecalltoprayeroutsideofthe

actualcalltimes,andbecauseofthetransformativeelementsintheplayback.

Forthesereasons,Idecidedtoholdtheexhibitioninaprivatehome,apop-up

galleryofsorts,heldinavacantapartmentthatafriendwasdaysawayfrom

leaving.TheapartmentwaslocatedstrategicallyindowntownAbuDhabi,ina

veryEmiraticommunity.

Onedownsideofholdingtheexhibitioninapop-upgalleryapartment

wasthatthespacewasnottreatedorpreparedforthistypeofinstallation,and

246

asaresultthereweremanysonicreflectionsinthespacefurthercontributingto

theechoingcacophony.Whiletheexhibitionwasnotnegativelyimpactedby

thesereflections,theambianceofpeople’ssideconversationsdidcausesome

challengestocapturingtheeffectwithinthespaceduringtheopening.People

werehavingregularconversationsinthespace,whichmadeitdifficultto

capturearecordingoftheexhibitionincontextwithoutsignificantsonic

disturbance.Iultimatelyaskedagroupofvisitorstoquietlywalkthroughthe

installationformetorecordit.

Oncetheambisonicrecordingwasmade,Ihadtolearntheambisonicaudio

workflow,whichhavingneverdoneitbeforeprovedquitedifficult.Thefirst

challengewasproperlyconfiguringaworkstationfortheambisonicrecordings

thathadtherequiredpluginsinstalledandworkingwithmyDAW.Oncethe

workstationwasconfiguredproperly,decisionsneededtobemadeaboutthe

bestDAWfortheambisoniccompositionandeditingprocess.UltimatelyIended

upusingdifferenttoolstore-encode,edit,andcompose.

5.4 SectionFour:Conclusion

5.4.1 Conclusion

Oneaimoftheexhibitionwasforaudiencemembers’experiencestobe

jarring,andfortheexhibittoimpacttheirauralsenseofplace.Thetargeted

audiencewascomprisedofexpatswholiveinaplacethatsoundsthecallto

prayer.Thistargetaudiencebroughtwiththemtheexperienceofbeing

outsider-insiderstotheArabworldandthecalltoprayer.Whilemostofthe

audiencehadnotgrownupwithinIslamoracommunitywherethecalltoprayer

247

sounded,makingthemoutsiderstotheexperience,theyallwereatthetimeof

theexhibitionlivinginAbuDhabi,whichalsomadetheminsiderstothecity,and

thereforefamiliarwithhearingtheadhandailyinAbuDhabi.Thisoutsider-

insiderdesignationissignificantbecauseoftheperspectiveitgivestheaudience

inbeingabletohearthingsthatothersmightnot.Theaudiencetotheexhibition

werelikelyfamiliarwiththeadhanandabletohearitasafamiliarsound,not

threateningorjarring,withoutjudgmentthatmightbeassociatedwiththe

adhanincertainplacesaroundtheworld.Additionally,theaudiencemembers

werelargelynotthemselvesMuslim,allowingthemtohearthetransformations

totheadhan,whilenotexperiencingthetransformationsasaugmentationsof

theirholytextorasoffensive.

Asmentionedpreviously,inIslam,likesomeotherreligioustraditions,

therecitationoftheQur’anorthecalltoprayerisnotconsideredmusical;infact,

itisconsideredproblematictospeakofthesetraditionsasmusical.Itwasrisky

todevelopaprojectthatessentiallyre-composesrecordingsoftheadhan,or

withinthecontextoftheexhibitionforhumanbeingsandtheirmovementto

becomethedriversinre-composingthesefieldrecordings,soIwantedmy

audiencetobethosewhowouldbeopentohearinganaugmentedcalltoprayer.

Theseexpatriatesknewwhatthecallsoundedlikeperhapseventothe

extentthattheywerenumbtothesound,meaningitwasafamiliarandcommon

soundscapetothem.Theideaoftheexhibitionwastoputthattargetgroupinto

afamiliarsoundscapeenvironmentthatisaugmented,andtoconnectthat

augmentationtotheirmovement.Thehopewasthatthiswouldcreate

awarenessintheaudienceofthewaytheirinteractionwiththespacewas

248

changingthesoundstheywerehearing,tocallattentiontothesubjectivenature

ofhearing.

Wetendtochoosewhatwepayattentionto.Evenifweliveinan

environmentsurroundedbyadailysoundscape,itisachoicetolistencarefully

orpayattentiontothesounds.Iwanted,withthisexhibit,toprovokeanuanced

understandingofsoundspeoplehavebecomeaccustomedto.Whilewemay

knowsomethingaboutthesoundswehearregularly,thereismuchwedon’t

know,especiallyaboutthesoundswetakeforgranted.Wemaynotknowmuch

aboutasoundbeyonditssonicqualities,whichmayblendintothebackdropof

thesoundscapeofourlives.Ifwetaketheexampleofapersonwholivesina

largecitylikeNewYork,itislikelythatthepersonhearssirensinthe

backgroundoftheircitysoundscapeconstantly;however,theymaynotbeable

toclearlyidentifywhenasirenisforanambulanceorapolicecar,orafiretruck.

Andbecausetheyhearthesoundoften,theymightnolongerregisterthatthe

soundsignifiesthatsomeoneishurtordying—inotherwords,thatthereisa

specifichumanexperienceontheotherendofthatsoundthatisacallfor

empathy.

Thisexhibitionreliedonavariedchangingdynamic.Eachtimeaperson

wasinthespace,whattheyheardchangedastheirpresenceandmovement

changedtheoutcomeofthesonicelementsoftheexhibition.Inotherwords,the

peopleinthespacechangedtheresultingsoundscapeofthespace.Theaimof

theexhibitionwastoplacepeopleinanenvironmentwheretheircommon

inattentivehearingpracticesweredisruptedbytheirinteraction.Ineffect,this

exhibitionattemptedtotrainpeopletolisteninamoreattentiveandfocused

way.Itispossibleforustolearnhowtodifferentiatebetweendifferentsounds

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wemighttakeforgranted;howeverinordertodoso,weneedtoengageina

listeningstudyandchoosetofocusonwhatwehear.

Thisexhibitionhadmanyunintendedoutcomes,bothonanartisticlevel,

aswellaswithregardtoaudienceexperience.Whiletheexhibitionintendedto

focuspeople’slisteningonthesonicnuanceofthecalltoprayer,thesoundmap

seemedtoaccomplishthismuchmoreeffectivelythantheexhibition.Icould

imaginefutureiterationsoftheexhibitionwherelessonslearnedfromthefirst

exhibitionwouldallowfortheintendedoutcomestobebetteraccomplished.I

haveideasforavarietyofdifferentwaysofpresentingthematerial,especially

aroundtheuseofphysicalengagementwithmaps,andvideomappingtoolsto

createphysicalpresenceofplace.Onesuchideawouldbetomakealargemap

oftheworldthatwouldliveonthefloor,whichpeoplecouldtouchandwalkon.

Thismapwouldhaveembeddedpressuresensorsundereachplacewherethe

soundmaphasarecordingoftheadhan.Steppingonthatplacewouldallowthe

persontotriggerthecalltoprayer.Steppingonitasecondtimewouldallow

themtostoptheplayback.Thefloormap,wouldallowpeopletoengagewiththe

world,physically,therelationshipbetweencountries,throughdistancewalked,

awarenessofbodiesofwater,inblue,continents,andplaces.Themapwould

providevisitorsanopportunitytocorrelatethedifferentadhanstheychooseto

play,withthecitiesandcountriesonthemapwheretheyarelocated,thiswill

helpbringastrongerconnectedofplaceandspacetothemap.Apossible

expandedexhibitionmightincludeaprojectedreelwithimagesanddatasheetof

themosque,andtheplacefromwhereeachadhanislocated,thatwillproject

ontothenearbyceilingorwallwhentheadhanistriggered.

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Idiscoveredthatthroughourowninteractionwiththerecordingsofthe

calltoprayer,aswellasourphysicalinteractionwithsensorsandphotographs,

wecreatedanalternaterealitythatwasactuallymorehauntingthanthereality.

ThiswasnotanintendedoutcomehoweverIlearnedthroughinterviewswith

audiencemembersoftheexhibitionthatitwasasharedexperience.Thismaybe

inpartduetotechnicallimitationsonmyside,asIwasexploringthe

developmentofthisexhibitionthroughnewsoftwaretools,includingArduino

andMaxMSP,whichIdidnothavealotofpreviousexperiencewith.

Whentheexhibitionspacewasempty,theadhansoundedbeautiful.Itis

onlywhenpeoplewalkintothespacethatthesoundbecomesloud,jarring,and

cacophonous.WhileIsetouttoprovokeaudiencemembersintohearingthecall

toprayerinanewway,perhapsthisprojectbecameacommentaryontherole

humanbeingsplayinaugmentingourownandothers’perceptionsofwhatwe

hear.Ourparticipationcreatedahauntingsound,remindingusthatlistening

isn’tobjective—ourpresenceaslistenershasthepowertoalterwhatwehear.

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6 Discussion

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6.Discussion

6.1 SectionOne:Introduction

6.1.1 Introduction

Comparingandcontrastingthesethreecasestudiescanprovideinsight

intotherolecreativeresponsecanplayinarchivingandcollections

development,aswellastherelationshipbetweencreativeresponseand

mediatinghumaninteractioninethnographicresearch.InthischapterIwill

discusskeyideasthathaveemergedfromplacingthesethreecasestudiesin

conversationwithoneanother.Specifically,Iwilldiscuss1)theroleandimpact

ofcreativeresponseonintergenerationalarchivebuilding,2)theethical

considerationsoftheoutsider-insiderapproachtoresearch,3)theroleofhuman

mediationincreativeresponse,and4)theroleoftechnologicalmediationin

creativeresponse.

Itiswidelyacceptedthatallethnographicresearchersshouldimmerse

themselves,tovaryingdegrees,inthehostcommunity,asthishelpstofoster

trustbetweenthecommunityandresearcher.Thequestionishowbesttobuild

thisrelationshipwhileretainingtherequisitelevelofobjectivity.Whatmy

researchaimstodoisleanintothisexchangeoftrustbuilding,asanecessary

firststepinusingcreativeresponseasatoolforimmersionintothecommunity.

Anytimeanoutsideobservercomesintoacommunitythereisaninevitable

changeordisruptiontothatcommunity.Thereisalevelofinterpretation

inherentinallsuchexchanges.Itiscommonandacceptedwithinethnographic

practiceforanobservertogainthetrustandacceptanceofacommunity;

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howevertherehasbeenalinedrawnabouttheextenttowhichsubjective

experiencecanbeapartofthatinterpretation.

Theideaofaresearcherservingasacollaboratorandnotasastrict

observeris,onthesurface,adeparturefromtraditionalethnographicresearch.

However,contemporaryresearchthatlooksatwaysdigitalmethodologiesare

redefiningethnographicpractices,asarticulatedinPinketal.(2015)supports

theideathattheresearcher’srolemightbemoreexpansivethanstrictlythatof

observer(p.2).Pinketal.exploretheimpactofnewapproachesto

ethnographicresearchdesign,aswellastheimpactofthesedesignsonthe

engagementbetweenresearcherandcommunity.Theysay,“Digital

ethnography,ifitistobeundertakenattheseintersectionsbetweenacademic

disciplinesandexternalpartners,becomesanopenandflexibleresearchdesign,

whichcanbeshapedinrelationtotheparticularresearchquestionswhichit

asks”(2015,p.11).Arguably,thisapproachtodesigningresearchallowsfor

customizationbasedontheevolvingrelationshipbetweentheresearchand

collaborationwithagivencommunity.

OneadditionaltensionIhaveexperiencedwhilewritingthispaper,which

furtherpushestheboundariesoftheroleofresearcher,isthedividebetweenthe

practicalandtheoreticalrealmsofresearch.Asanartspractitionerand

researcher,myworkconsiderstheintersectionsofthesetwoarenas,andmy

creativepracticeisoftenembeddedinmyresearch,asillustratedinthecase

studiesinthisthesis.MyrolewithinthecommunitieswhereIconductresearch

isthereforethatofresearcherandartist,observerandparticipant.Iwilldiscuss

herecreativeresponseasamethodwithinethnographiccontextsthatallowsfor

thejoiningofthetheoreticalresearchandpracticalcontribution.

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Creativeresponseisatthecenterofbroaderresearchforthisthesis,

whichisbestsituatedwithintherealmofdigitalethnography,describedbyPink

etal.,asa“…practicethattakesasitsstartingpointtheideathatdigitalmedia

andtechnologiesarepartoftheeverydayandmorespectacularworldsthat

peopleinhabit.”(2015,p.7).Beingapractitionerwithinone’sownresearchhas

becomemorecommoninthearenaofdigitalethnography,andaccordingtoPink

etal.,“thereisincreasingdiscussionofthedigitalasafieldinwhichwepractice

asmuchasweanalyse”(2015,p.8).Iwillusethisdiscussionsectiontolookat

theoverlapandintersectionswithinthethreecasestudies,withaneyetoward

therolecreativeresponseplaysinthedevelopmentofarchivalmaterial.Iam

particularlyinterestedinconsideringthespecificbenefitsofcreativeresponse

forarchiving,thechallengesandlimitationsoftheprocess,thebenefitsof

creativeresponsetotheresearcherandthecommunity,andthemediation

process,inherentwithinexhibitsdevelopedthroughcreativeresponse,that

takesplacebetweenhumansandtechnology.

6.1.2 IntergenerationalArchiveBuilding

Thissectionwilllookattherelationshipbetweenintergenerationalwork

thatwascreatedwithintheLWFandTheyyamchapters,andthewaysinwhich

simultaneouslycapturingsubjectivehumanexperiencefrommultiple

generationsenhancesarchivaldocumentationandchangesthereachandscope

ofthearchive.Iwasinfactaimingforacreativeresponse,whichparticularlyin

thecaseofLestWeForgetenabledricherinteractionsbetweengenerations.The

workdiscussedinthisthesisusescreativeresponsetoconsiderhowmultiple

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generationscanimpactoneanother’smemory,perspective,andexperienceofa

community’sculturalheritage.Thismergingofgenerationalexperienceinthe

samearchiveallowsforarepresentationofacommunity,festival,orculturethat

ismoredynamicinitsconsiderationoftheimpactchangehasonhuman

experienceandtheevolutionofcultureandheritage.

Thecollectivememoryofmultiplegenerationscanrevealamorecohesive

pictureofanevent,orafestivalortradition,asseeninthecurrentmomentin

timeaseachgenerationbringsauniqueviewandperspectivetothewaythe

documentationisconstructed.Theoverlapandsynergiesthatarerevealed

throughthelayeringofexperiencesofmultiplegenerationsofTheyyam

performers,forexample,revealsdetailsabouttheartistcommunitythatone

mightexpect,aswellasmoreindepthinformationthroughanhistoricand

economiclens.Thisincludesinformationaboutperformances,facemakeup,and

changesovertimethatareever-presentfortheoldergenerationsteepedinthe

performingart,aswellasanexplanationofthewaythatanevolvingIndiaanda

dramaticallychangingworldeconomyhaveimpactedtheroletheyounger

generationplaysinthefamilystructureandthereforefolkloretradition,often

relocatingforwork,leavingagapinyoungertrainedperformers.Thedetails

andnuancesrevealedthroughthesedifferentgenerationalperspectivesonthe

festivalhelppaintaclearerimageoftheevolutionofthefestivaloverthepast50

years,forexamplemovingfromasmallvillageritualtoatelevisedevent

attendedbythousands,arguablyprovidesforeshadowingintofuturedynamics

ofthefestival.Eachnewgeneration’sexperiencebringsimportantcounterpoint

tothearchivaldocumentationofanyothergenerationthatmightexistina

standalonecapacity.InthecaseoftheLestWeForgetproject,creativeresponse

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notonlygavethegirlsaccesstotheirparents’andgrandparents’memoriesand

experiences,butitgotthegirlsinterestedinthehistoryofaculturethat

primarilylooksforward,towardthefuture.Onesuchexamplewasthegirls’

nostalgiafortheoldstructuralVolcano,nowdemolished,thatwasonthebeach

indowntownAbuDhabiandwhichfeaturedheavilyinoldfamilyphotographs.

Everyfamilyseemedtohaveseveralphotographsshotinfrontofthevolcano.

Thegirlsdecidedtorecreateabackdropwiththevolcanoonitthatwashungin

thegalleryatWarehouse421,wherevisitorscouldtakepicturesinfrontofit,in

memoryoftheoldvolcanopictures.Archivingculturalheritagebyengaging

multiplegenerationsofacommunityallowsforthecollectionofmoredatainthe

formofstories,oralhistories,andmemoriesthatwhenlookedatcollectively,

providesamorerobusthistoricpictureofthecommunityandthefestival.

6.1.3 EthicalConsiderationsfortheOutsider-Insider

Creativeprojectshavetheabilitytoengagepeopleonamoresubjective

levelthantraditionalobservationalapproachescan,whichleadsto

documentationthatcancaptureadeeperexplorationofhumanexperience.This

iswheretheoutsider-insiderdynamicplaysanimportantroleinthiswork.As

researchersweoftenplaytheroleoftheoutsider,whichmeanswefunctionasif

behindacurtainorwithinacontextwherethespaceweleavebetweenourselves

andthoseweobservecreateslargegaps,wheretranslationisoftenproblematic.

Thesegapscanhaveanimpactonthedocumentationofthatcommunityor

event.Byemployingcreativeresponsetechniques,artistsandcreativescholars

alikecanbreakdowntheseboundaries,orgaps,traditionallysetinplace.While

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maintainingthestatusofobserver,theprocessofparticipatinginthismodality

ofresearchcanservetoenhancemoretraditionalresearchpractices.This

processmovestheresearcherfromthestatusofoutsidertooneofoutsider-

insider.Whiletheresearcherisnotamemberofthecommunity,theyalsodo

notaimtocreateboundariesbetweenthemselvesandthosewhotheyobserve

anddocument.Theobservedhasanimpact-aresonance-ontheobserver,but

traditionalethnographicmethodsseektodelaytheexposureofthisresonance

ontotheartifactthatisproducedasaconsequenceoftheinitialcontact(e.g.,a

paper,abook,etc.).Byallowingthisresonancetoemergeintheformof

somethingthatisfullyperceivedassubjective/creative,creativeresponsecan

helptotriggeranumberofimportantelementsincludingthought,discussions,

memory,sharing.

Ratherthanprivilegingthepastorpresent,thisapproachtoarchival

documentationspeakstoacontinuouspresent,anideaintroducedbyGertrude

Steininher1926essay,“CompositionasExplanation.”InheressayStein

describesacontinuouspresentasaprocessofunderstandingthingsby

acknowledgingtheconnectednessbetweenthemthatinvariablybeginsagain

andagain,andwhichremainsthesame,butisseendifferentlybasedonthelens

throughwhichdifferentpeoplesee(Stein,1925).Whenthisbarrierbetweenthe

differentwayspeopleseethingsisdissolved,thatwhichexistswithinbecomes

moreporous,allowingforgreaterexchangeanddeeperunderstanding.This

approachcomplementsthetraditionalroleofresearcherasobserver,withthe

goalofmaintainingdistanceordetachmentfromthatwhichwestudy,asit

allowsustoworkfromabroaderviewpointwithamoremeasuredperspective

onthatwhichweresearch.

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Creativeresponserequiresthatweengagewithpeopleandtheir

experiences,andthatweserveasaconduitthroughwhichcommunitymembers

canaccessfeelingsandmemoriesinordertocreatesomethingrepresentativeof

thatexperience.WhiletheaimofmyworkwiththeLestWeForgetProjectwas

toteachthegirlsaboutdigitalnarrativeandthetechnicalityofrecordersand

editingtools,thebulkofourworktogetherreliedonourabilitytolearnabout

andrelatetooneanother’sexperiences.Thisexchangeofstoriesandtrustwasa

necessaryfirststepindevelopingcreativeresponsestoarchivalmaterial.

WhatremainsthesameintraditionalethnographyandtheapproachIam

discussingisgainingthetrustofthecommunitieswithwhichwework.Through

creativityandresponsethatlookstowardsharedexperiences,oralhistories,

digitalmodalities,andcreativeapproachestosharinganddocumentation,

differentgenerationsareengagedtosharetheirstoriesandmemoriesplayfully,

honestly,openly,andwithenthusiasmthatisnotalwaysmatchedbymore

traditionalapproaches.Notunlikethedifferencesofteachingstudents

Shakespearethroughthetext,versusactingoutthescenesinastageproduction,

collectingculturalhistoryandheritageisamoreengagingprocesswhen

conductedthroughacreativelens.

6.1.4 Listening

TheTheyyamexhibition,liketheSonicStoryboard,aimstoinspireactive

listeningwithinparticipants.People’sinteractionwiththespacedidnotchange

thesoundscapeintheEverydayLifeexhibition;rather,theintentionwasforthe

soundscapetochallengepeople’sperceptions,aswhattheyareusedtohearing

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inTheyyamandwhattheyheardintheexhibitionwerenotthesame.The

intentionwastomakethesoundscapesomewhatjarringinasimilarwaytothe

SonicStoryboard,sothatpeoplecoulddecidewhetherornottheylikedwhat

theyheard,andsothattheyweretakenoutoftheirfamiliarexperienceand

compelledtore-seeandre-hearthefestivalthroughneweyesandears.The

soundspeoplearefamiliarwithhearingareoftentheoneswesomewhattune

outorpaylessattentionto,whilethosethataredifferentorfamiliarbutputina

differentcontextcanshockusintoobservation.

Whatisdifferentaboutthesetwoexhibitionsaretheaudiences,and

thereforethetwoexhibitionswereshapeddifferently.FortheEverydayLife

exhibit,theaudiencewasmadeupTheyyamperformersandvillagerswhowere

familiarwithTheyyam.Theaugmentationofwhattheaudienceheardwas

thereforeminor,inpartbecausetheaudiencewassoattunedtothesonic

materialthattheywouldperceiveeventhesmallestchange.Theexhibitionwas

moreare-compositionofsoundthanafocusonaugmentation.Thiswasdonein

partbecause,asthepersontransformingtherecordings,Iwasnotcomfortable

dramaticallyaugmentingthesounds,asIdidn’tfeelIhadtherightasan

outsider.ThisisindirectcontrasttotheSonicStoryboardproject,wherethe

audiencemembersweretheonesaffectingthesound.

TheaudienceoftheEverydayLifeexhibitwasmadeupofpeoplewhohad

alargestakeintheproject,andsomeofwhomwereupsetbytheminor

deviationsfromthetraditionalsounds.Theaudienceforthesonicstoryboard

project,ontheotherhand,wascomprisedofexpatriatesintheArabworld,most

ofwhomwhowerenotMuslims,andwhodidnotexpressbeingupsetor

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offendedbytheaugmentationtheywerecreating.Inthisway,theexhibitions

wereverydifferentapproachestoaverysimilaridea.

InTheyyam,thecreativeresponseelementsoftheresearchwereheavily

tiedtotheexhibition.TheTheyyamfestivalisofcourseintergenerational,in

thatTheyyamartistspassdowntheirtraditionalartformandpracticetotheir

childrenthroughoraltraditionandapprentice-liketraining.Theexhibitionand

projectthatDhanarajandIworkedonwasinterestedinhowusingcreative

responsetomaterialcapturedwithinthefestivalcouldhelptochangepeople’s

perspectiveandmentality.Agitationcanthereforebeprogress.

InLestWeForget,thecreativeresponsewasarguablythethingthat

allowedpeopletowanttoexplorenewthings.Itbecame,aswell,theimpetusfor

multiplegenerationstolistenmorecloselytoeachother,asthepersonal

commitmentonehaswhenempoweredbythemissionofproducingartworkis

verydifferentfromtheimpetusofdocumentingotherpeople’sexperiences.For

example,awomanwhosedaughterwasheavilyinvolvedintheprojectagreedto

commentonaphotographfromtheirhomealbumthroughavideointerview

whereshespokeofherexperiencemovingfromEgypttotheUAEtogetmarried

andhaveafamily.Herdaughter’senthusiasmandparticipationendedupbeing

contagious,andthemotherfoundherselfbecominginterestedinparticipatingin

theprojectherself.Herdaughterwasabletolearnmoreabouther,andvice

versa.Forthemotherbeinglistenedtowasapowerfulformofvalidationina

culturethathistoricallyprivilegesthemen’sexperiencesoverthewomen’s.

InLestWeForget,creativitywasuseddirectlytointentionallychange

somethinginordertoshareit.Augmentingandchangingmaterialmadeit

somethingthatcouldbepreserved.HoweverinTheyyam,theintentionbehind

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augmentingorchangingthematerialwastobeabletocreatesocialchange

withinacommunitythroughdiscomfortandde-familiarizingthematerial.

6.1.5 CreativeResponseThroughHumanMediation

Allthreeprojectsengagewithsonicarchivalmaterial,andtheyallaimto

createsonicarchivalmaterialthroughtheprocessofcreativeresponse.

However,theprojectsengagepeopledifferentlywiththissonicmaterial.HereI

willdiscussspecificdifferencesintherolehumanbeingsplayedasmediatorsof

sonicmaterialintheLestWeForgetandSonicStoryboardprojects.TheLWF

projectwascomprisedmostlyofdigitalnarrativesandrecordingsoforal

histories,whiletheSonicStoryboarddealtprimarilywithfieldrecordings.The

maindifferenceinthewaythesonicmaterialswereusedinthesetwoprojects

pertainstohowtheywerecreativelyrecomposed.InLWF,thesonicmaterial

waschangedandrecomposedthroughhumaninteraction.Intheexamples

discussedintheLWFchapter,thegirlssharedwithoneanothertheirown

experiencesintheformoffamilyhistoriesandstories,andthroughtheprocess

ofdiscussionwiththeirpeersandcreativeresponse,thegirlswereableto

developconnectionsbetweentheirpersonalandfamilyexperiencesandthoseof

theirbroadercommunity.IntheSonicStoryboardproject,theparticipantswere

notabletomediatetheprocessofcreativeresponseinthesameway.Herethe

participants’movementsinthegallerytransformedtherecordedsoundsofthe

adhan;however,theparticipantsdidnothavecontroloverhowthat

transformationoccurred,asthoseaspectsweremediatedbythetechnology

drivingtheexhibit.InLWF,theparticipants’involvementandinterpretation

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augmentedandenhancedthestoriesheardbyaudiencemembersattendingthe

gallery,whileintheSonicStoryboardproject,theparticipantsmovementsand

engagementwiththegalleryaugmentedoneanother’sexperience.However,the

technologyoftheexhibitultimatelydeterminedwhatthatexperiencewouldbe.

Participantswereaugmentingtheadhanthroughtheirmovementinthe

exhibition,notbecausetheywantedto,butbecausetheactofsteppingintothe

exhibitionspacemeanttheywerebydefaultparticipatingintheaugmentation.

IntheLWFproject,therewasanactiveelementtoparticipation;people

neededtowanttobeapartofit.Whiletechnologywasatoolformediationin

theprocess—througheditingsoftware,audiorecorders,andimagemanipulation

tools—thetechnologicalinfluenceintheexhibitwascontrolledbytheextent

thatpeoplewerecomfortableaugmentingorchangingthatcontent.Thesetwo

projectsaresimilarinthatbotharerespondingtoarchivalmaterialandending

upwithasonicreference;however,theyaremarkedlydifferentinthatthe

peoplewhoparticipatedintheaugmentationwithintheSonicStoryboard

projectdidnothaveanycontrolovertheparametersthattheywereaugmenting,

asthesewerepre-set.

Thesetwoprojectsarealsosimilarintheiruseofphotographsandsonic

material.IntheSonicStoryboardproject,photographswereusedtocapture

people’sattentionanddrawthemintotheexhibition.LWFisthesameinthis

way,asitisanexhibitionbuiltaroundaphotographicexhibition.Theother

elementsoftheexhibitderivemeaningfromthephotographiccollection.Thisis

similartoTheSonicStoryboard,wherethephotographswereorganizedto

capturepeople’sinterest,thenaperson’smovementtowardorawayfroma

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photograph—becauseoftheirinterestinit—triggeredmanipulationorchanges

tothecalltoprayer.

IntheLWFproject,thecommunitywasgalvanizedaroundfamilies

contributingphotographstothedevelopingarchive,whichweretheimpetusfor

intergenerationalconversations,aswellascreativeresponseintheformof

storytelling,videomaking,digitalnarratives,painting,andtherecordingoforal

histories.Theexhibitwasalsoorganizedinawaythathighlightedtheintegral

natureofthephotographs.Thefirstroomoftheexhibitionspaceheldalarge

tableofphotographs,whichviewerscouldwalkaroundandobserve;however,in

ordertoaccesstheassociatedsonicmaterialsonewouldneedtotakeoutacell

phoneanddialtheappropriatenumberfortheassociatingdigitalnarrative.In

theSonicStoryboardproject,moreliketheTheyyamproject,aperson’sdecision

towalkintotheexhibitionspaceissynonymoustoengagingwiththevisualand

sonicmaterialsimultaneously.

Thiselementofcontrolbringsupimportantquestionsabouthowhuman

versustechnologicalmediationleavesusfeelingaboutourabilitytocontrolthe

spaceandourinvolvementwithinit.Doestechnologicalmediationprovoke

discomfortorakindofease?Doesitevokeasenseoffreedomandplayora

desireformorecontrol?Howdowerespondinthefaceoftechnological

mediation,andwhatdowewantand/orexpectfromit?InTheyyamandthe

SonicStoryboard,theaudiencesarethrownintospacesthattheycannotcontrol,

whereasinLWF,theaudiencehasmorefreedomtoengagewiththeexhibitas

theyseefit;however,thingsarecarefullycontrolled—ifyoupickupatelephone

yougetapre-recordedvoicethatwillnotchange.IntheTheyyamexhibit,the

radicaltechnologicalaugmentationmadesomeaudiencemembers

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uncomfortable,whileitpiquedtheinterestofothers,suchasthecollege-aged

boyswhowantedtoseeindetailhowthingsworked.

Towhatextentdoesinteractivitymakeusmore(orless)comfortable

withtechnologicalmediation?Insomeinstances,liketheSonicStoryboard

exhibit,audiencemembersparticipatedsimplybyenteringtheexhibit,andso

interactivitywasnotsomethingtheycouldcontrol.Audiencememberswho

walkedintothegallerydidnotneedtowanttoparticipate,buttheirvery

engagementwiththeexhibitionaugmentedandchangedthespaceand

soundscapedramaticallyinawaythateverybodyelsewasaffectedby.However,

theycouldbecomeplayfulaboutitoncetheyunderstoodwhatwashappening,

experimentingwithhowtheirmovementsaffectedthesonicsoundscape.

Thiskindoftechnologicalmediationhighlightstheimpactouractions,

andinsomecasesinactions,canhaveononeanother;itasksus,aswell,how

awareweareofthisimpact.Andifweweretogoonestepfurther,itaskswhat

wearewillingtodoaboutitonceweunderstandourparticipation,however

unwittingly,inthesymbioticrelationshipbetweencultures.Inthecaseofthe

SonicStoryboardexhibit,thetechnologicalmediationofthecreativeresponse

provokedpeopletothinkabouthowtheirseeminglyinnocentpresenceand

“mereobservation”ofthecalltoprayeractuallyaugmentedit,callinginto

questionnotonlywhattheywerehearing,butthenatureoflisteningand

observingaswell.

Similarly,wemightthinkaboutthewaysinwhichmanypeopleinthe

UnitedStateswhobelievetheyaremerelywitnessingeventsintherestofthe

worldareactuallyparticipatinginIslamaphobia,whetherornottheyintendto,

becausetheirperspectivesandopinionsonthematteraresculptedbyconstant

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images,mediacoverage,politicalcampaigning,televisionportrayals,and

messagingthatisanti-Islamic.Peoplewhohaveassumedanti-Islamicbeliefs

throughsocialconditioningdonotneedtopushabuttonordialinanumberin

ordertoperpetuatetheirbeliefs;butratherbytalkingandparticipatinginaway

thatperpetuatestherhetoricofthenews,television,andpoliticalcampaigns,

theyareeffectivelyperpetuating,andinsomecases,evenchangingtheway

peoplethinkaboutIslamandMuslims.Whatmightchangeforthebetterifmore

peoplebecameawareofthewaysinwhichtheir“witnessing”eventsthrough

technologicalmediation—inthiscaseoftenskewed—wasactuallycontributing

totheshapingofthoseevents?

6.1.6 CreativeResponseThroughTechnologicalMediation Onegoalofallthreeoftheprojectshighlightedinthisdissertationwasto

developacollectionofarchivalmaterials,inthiscaselargelyrecordings,that

couldbeutilizedbythecommunitieswherethesourcematerialoriginated.The

Theyyamprojectaccomplishedthisbygivingfieldrecordingsandre-composed

audiocompositionsfromtheexhibittotheKeralaFolkloreAkademi,alocal

culturalcenterforallthingsTheyyam,touseastheyseefit.Theserecordings

werehandedoverwithassociatedmetadatawhereverpossible,includingdateof

recordingandassociatedTheyyamperformance.Mostoftheaudiofileswere

handedoverin.mp3and.wavformatsandallwererecordedatafrequencyof

44.1khz,at24bits.ProvidingtheserecordingstotheAkademiwasdonewith

theintentionthatthematerialsshouldbeeasilyaccessibletoTheyyamartists

andmembersofTheyyamcommunitiesacrosstheNorthernMalabarregionof

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Kerala,aswellastootherresearcherswhomaycontacttheAkademilookingfor

similarrecordings.TherecordingswerealsosharedwithDhanarajforhisusein

additionalcreativeprojects.InthecaseofLestWeForget,allrecordingsand

digitalnarrativescreatedwithandfortheprojectwereuploadedtothecontent

managementsystemofthearchiveandincludedinthecollection,with

associatedmetadata,andavarietyofqualitycompressionformatsforusewithin

publicfacingexhibitionsandforarchivalpreservation.

TheapproachandtoolsusedfortechnologicallymediatedworksthatI

describedintheSonicStoryboardcasestudysupporteddatacollectionthat

revealedinformationabouttheaudienceorusersofthespacethatwouldnot

otherwisebeknown.IntheLWFexhibit,thistypeofdatawasnotcaptured,

whileothertypeswere.Forexample,whileitwaspossibletotrackthenumber

ofvisitorstothephotographtablewhodialedinthenumberofanaudiofileand

listenedtoit,thereisnodatatodrawonabouttheirexperienceofdoingthis.

WhereasintheSonicStoryboardexhibition,arecordofpeople’smovementin

theexhibitionwascapturedthroughanambisonicmicrophoneandthroughthe

datacollectedbywayoftheultrasonicsensors.Theambisonicdatacouldbe

reconfiguredafterthefactandspacializedinavarietyofdifferentwaystore-

conceptualizeandexpresswhathappenedintheexhibition.Anumberofthe

parametersoftherecordingcouldbechanged,includingthepositionorlocation

fromwheretherecordingwastaken,theelevationofthemicrophoneplacement,

andthepresenceoftherecording.Thereissomethingpoeticinthisabilityto

infinitelyreproduce,augment,andchangearecordingofanexhibitionthatitself

focusedonaugmentationofrecordings.

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TheSonicStoryboardprojectisdifferentinmanywaysfromtheTheyyam

andLestWeForgetprojects.AprimarydifferenceisthathereIworkedalone

andthroughcrowdsourcedcontributions,butnotdirectlywithalocal

collaboratorasIhadinthetwopreviousprojects.Asaresultsomeofthe

aspectsofthisprojectwerearguablymorerawandconnectedtoan

investigationofmyowninquiries,ratherthanconnectedtoorbasedonsomeone

else’sideas.Italsomeansthatthepresentationoftheprojectwasnotmediated

throughthelensofalocalcollaboratorandthereforerantheriskofbeingless

sensitivetotheneedsandexpectationsofthelocalcommunity.

6.1.7 Conclusion

Placingthesecasestudiesalongsideoneanotherallowsforacloserlook

attheworkofdevelopingcreativeresponsestoculturalheritage,andforcritical

comparisonintheprocessofdoingsointhreedifferentcommunities.Thiswork

considersthewaysinwhichcreativeresponsecontributestothesustainability

ofculturalheritageandtradition,bylookingatthebenefitsandlimitations

inherentinthemethodofcreativeresponse.Whiletherewerechallengesand

unexpectedoutcomes,suchasthediscomfortmysonicaugmentationcreatedin

theTheyyamexhibition,inallthreecases,thecreativeresponsesultimately

createdpositiveoutcomesthattraditionalarchivingwouldnothaveyielded.In

fact,thevillager’sdiscomfortitself,intheTheyyamexhibit,servesascritical

archivaldocumentationofthesubjectivehumanexperienceoftheTheyyam

Festival.Thecreativeresponseoftheexhibitcreatedopportunitiesforvillagers

andartiststocontributerespond,inturn,tous.Welearnedasmuchaboutthe

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communityfromtheirparticipationandfeedbackaswedidfromobservingthe

festivalandmakingtheexhibit.

Thisideaofcapturingsubjectivehumanexperienceofthemomentinan

archivaldocumentation,orimprintinginformationofthetime,withinthe

archivaldocumentation,hasalwaysbeenimportanttoarchivists.Thiswas

traditionallyaccomplishedthroughtheuseofmetadatatags,orpriorto

computerdocumentation,throughcardcatalogsandwrittendocumentationthat

providedimportantinformationassociatedwiththematerialbeingarchived,

includingdates,geographiclocations,andsoon.Inpresentday,manyarchives

employtheuseofdatastoragetoolsthatallowmetadatatobeinputalongside

theartifactbeingdocumented,sothatasimplerecallofaparticularobjectwithin

acollectionwillsimultaneouslyshowtheartifactandallassociatedmetadata

thatisstoredwithinthecollection.

However,itseemsthatatruedigitalimprint,ameansofcapturinghuman

experiences,eventsofthetime,andcontext-relatedinformationaboutthe

artifact,withinthearchivalmaterialitself,thetimetheyexist,thegeographyand

possiblytopographyofwheretheyexistcouldallenhancethewayarchivists

thinkabouttherelationshipsbetweenthematerialsintheircollections,aswell

asthereasonswhyandthewaysinwhichpeopleaccessthosematerials.Here,I

amproposingtheideaofthedigitalimprintasaresourcethatcansupplementor

perhapsatsomepointintegratepresent-daymetadataapproacheslike

hyperlinks,softwareforks,anduploadedfiles.

Theconceptofthedigitalimprintisoneoverarcingplacewherecritical

relevantinformationaboutanobject,personormomentintimecanbeaccessed

simultaneoustoallotherrelevantinformationaboutthatartifact.Thiswould

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includecurrentlydifficulttocaptureinformationlikehumanexperience,

memory,influences,geography,creativeideasandpractice,andrelationshipsas

itrelatestotheartifactinquestion.Thedigitalimprintistoanobjectina

momentintimelikea360-degreephotographistoaplace,inthatitattemptsto

capturealltherelatedandrelevantaspectsofagivenmoment.Thisistosaythat

thedigitalimprintofthesameobjectcanbedifferentintwodifferent

geographiesortwodifferentpointsintime.Digitalimprintscanthenbecross

referencedtooneanother,helpingmakevisibleotherwiseinvisibleinterrelated

aspectsofcultures,communities,people,andobjects.

Thedigitalimprintdiffersfromcurrentlyuseddigitalmetadataapproaches

thathaveastandardsetoffieldsorinformationthatareconnectedtoeach

digitalfile.Forexamplethismayincludethesizeofthephotograph,materialof

thecameraequipmentandprint,photographersname,yearitwastaken,placeit

wastaken,countryitwastaken,andperhapssomeadditionalinformationabout

thesubjectmatterofthephotograph,thephotographer,theplaceinwhichitwas

shotandthecollectionorperiodicalitwasplacedin.Whattraditionalmetadata

doesnotofteninclude,usingthesamephotographicexamplefromabove,would

beforexample,thereasonthephotographwastaken,wherethesubjectsinthe

photographwerefromandwhythephotowastakenwhereitwas,the

relationshipofthehouseinthebackgroundtothesubjectsinphoto,the

relationshipbetweenthephotographerandsubjectsinphoto,thephotographers

favoritephotographer,photographicinfluences,otherprojectsatthetime,other

photographerswhowereshootingthesamesubjectsthatday,whowasinpower

inthatgeographyatthetime,whatmoviewasshowingatthecinemahallthat

day,andsoon.

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Theideabeingthatadigitalimprintwiththistypeofinformationanddata

aboutagivenphotographwouldallowformuchdeeperresearchandwider

querynotonlyaboutthephotographbutaboutallelementsofthemomentin

timeinwhichthephotographwastaken,possiblyallowingforadeeper

understandingofhowarchivalmaterialsrelatetooneanother.Adigitalimprint

canenabletheusertomakeconnectionsbetweentheobjectandmanyrelatable

andtimelyaspectsofhumanexperiencethathelpconnecttheviewertothe

object.Theconnectionsmadethroughthisimprintmightbesomewhatsimilar

tothewayWikipediaorientstheirreaderstolinksanddataforawidevarietyof

informationconnectedtooneparticularsearchquery.

Tohelpfurtherexplaintheconceptofthedigitalimprint,considerthe

exampleofaphotographfromtheLestWeForgetexhibit.Thephotographmight

becomprisedofthephotographandallassociatedtransformationsofthat

photograph,includingwrittenstoriesaboutthedayitwastaken;paintings

inspiredbythephoto;oralhistoriesfromthepeoplewhotookorareinthe

photograph;responsesfromothermembersoftheirfamily,community,or

outsidersaboutthoseoralhistories;videos,photographsandaudiorecordings

oftheprocessofcapturingthecreativeresponsestothephotograph;aswellas

documentationoftheexhibitandbookwherethephotographisshowcased.

Throughthisprocess,thedigitalimprintofthatoriginalartifact—the

photograph—nowincludesinformationcollectedaboutthehumanexperience

relatingtothatartifactinaparticulartimeandplace,withinaparticular

community.Thedigitalimprintisaframeworkthatallowsthedocumentationof

thatonephotographtoreflectawiderangeofinformationthatisrelevanttothe

photographandwhichcontextualizesit,intheparticularmomentinwhichthe

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digitalimprintismade.Thisartifactnowservesasawayofconnectingallofthe

relatedanddisparateelementsthattogetherhelpdefinetheartifactina

particularmomentintime,usinghumanexperienceastheconduitforthese

connections.

Applyingthisideaofthedigitalimprint,wecanfurtherexpandthe

informationassociatedwithanyparticularartifactbyincludingcollaborators

andcollaborativeinfluences.Thisapproachcanhelpusbettergrasptheway

creativetrends,people,andeventsofthetimeinfluenceapproachestocreative

response,aswellastheintersectionsbetweenthesecreativeresponsesand

digitalmediatrendsofthetime.

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7 Conclusion:CreativeResponse

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7.Conclusion:CreativeResponse

7.1 SectionOne:Conclusion

7.1.1 Summary

Inthisdissertation,Ibringtogethertheoreticalframeworksfromavarietyof

disciplinesinordertoconductresearchthatdrawsfromeachdisciplineand

hasfindingsthatliveintheintersectionbetweenthem.Isetouttoanswer

thisquestion:Howandtowhatextentcanartists,whousematerialof

expressivecultureintheirdigitalmediaartisticpractice,playaroleinthe

archivalpreservationandsustainabilityofculturalheritageandtradition?I

usedthreecasestudiesasthebasisformyresearchandanalysis,and

throughthisresearchIencounteredanumberofproblemsthatbecome

relevanttoansweringthequestion.

• Howandtowhatextentcananartistwhousesmaterialsofsensitive

expressivecultureintheirpracticeplayaroleinthearchivalpreservation

andsustainabilityofculturalheritageandtradition?

• Whatisitthattheparticipantobservercanwitnessandcontributefroma

vantagepointthatisneitherfullyinsideaculturenorentirelyatan

“objective”distancefromit?

• Howcanwemakeanarchiveliving?

• Whatisthevalueofengagingpeopleinartisticresponseaboutcultural

artifactsfromtheirowncommunityandwhyshouldartisticcreation

mattertothearchive?

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Thesequestionsbecamethebasisforaproposedmethodologyofhowtobest

conductartisticpracticeusingsensitiveexpressiveculturefromethnographic

research.

Theultimateaimofmyworkistofurtherthedialogueabouttheimportance

ofmulti-disciplinarycollaborationthatchallengesthepractice-theorydivide,

towardtheendofgreaterpreservationandsustainabilityofculturalheritage;to

provideartistswithatoolkitforhowtoethicallyworkwithmaterialsofcultural

heritageintheirartisticpractice;andtomakeanargumentaboutthevalueof

communitymemberscreativelyrespondingtoartifacts,andarchivalmaterials

fromtheirownculture.

Thisconclusionwillprovideasummaryofmyresearchfindingsfromeachof

thethreecasestudies,thequestionsIposedinmyintroductionalongwithmy

answerstothemnow,aswellastheoriginalcontributionsandfuture

implicationsofmywork.

7.1.2 ImportantFindings

Eachofthethreecasestudiesinthisdissertation—TheTheyyamfestival,

TheLestWeForgetproject,andTheSonicStoryboardproject—providesa

differentexampleofhowdigitalmediaartpracticecanbepairedwith

ethnographicresearchtoproduceartthathasimportancetothepreservation

andsustainabilityofculturalheritagefromthatcommunity.HereIwillexpand

onsomeofthekeyfindingsfromeachofthesecasestudies.

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Theyyam

WorkingwiththecommunityinKeezharaandreturningyearafteryearhas

allowedmegreateraccesstotheTheyyamperformers,tomeetmorepeople,and

tobetterunderstandthecomplexityoftheTheyyamfestival.Ithasalsoallowed

metoexperimentandexplorewiththetypeofdocumentationthatismostuseful

tomypracticeasanartist.Ibeganwithfieldrecordingsasaprimarytoolbut

havealsocapturedphotographsandvideoasaformofdocumentationto

enhancemyartisticpractice.Dhanaraj,thevisualartistIcollaboratedwithon

theTheyyamexhibition,andIhavediscussedfutureprojectsthatbringsound,

video,andvisualarttogether.

Historically,theTheyyamfestivalhasalotofvaluetotheNorthernMalabar

regionofKeezhara;however,theartisticexhibitthatDhanarajandIcreated

garneredattentionandsupportforthefestivalfromgroupsthroughoutthestate

liketheKeralaFolkloreAkademi,whonowholdallrecordingsImadeofthe

festival,aswellastheministerofculturefromtheKeralagovernment.The

exhibitalsogainedtheattentionofnewspapersandtelevisionstations.This

attentionspeakstothewayinwhichanartist’sworkwithinacommunitycan

achieveadifferenttypeofcoverageandreachthananethnographer’smight.

Traditionally,anethnographerconductstheirresearchandthenwritesuptheir

findings,whicharetobefoundinajournalorabook.Foranartist,theirfindings

taketheformoftheirartisticpractice,whichisintentionallyshareddirectlywith

thegeneralpublic,andsocanhaveamoredirectimpactandonthepreservation

andsustainabilityofculturebybringingthefestivalintotheculturalmemoryof

thecommunityandexhibitiongoers.Thiscollectivememoryoftheshared

experienceoftheexhibitcanbepassedonfromgenerationtogenerationand

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sharedwithneighborsinawaythatcannotbereplicatedbyoneindividual

readinganethnographer’sessayorafamilyvisitingaTheyyamexhibitionata

localfolkloremuseum.Inthisway,theartisticexhibitionaboutthefestivalhas

helpedtopreservetheculturalheritageandsustainitbywayofbringingittothe

commonpeopleofthegreaterKeezharacommunity,thecitypeopleinKannur

wheretheexhibitionwasheld,thepeopleatthenewsstationsandnewspapers

whocoveredtheexhibition,aswellasthefolksonsocialmediawhofollow

DhanarajandmyselfonFacebook(whoprobablynewnothingaboutTheyyam,

buthavenowseencoverageofthefestivalandartisticresponsestoityearafter

yearonourFacebookpages).Inaddition,thestudentsatcollegesand

universitieswhereDhanarajandIteachhavealsolearnedaboutTheyyam

throughourresearch,artisticpractice,andoursharingofourworkinthe

classroom.Ihavesharedvideos,fieldrecordings,andphotographsfromthe

festival,aswellasmyprocessofmakingcreativeresponseswithstudents,which

necessitatesadiscussion,notonlyoftheartisticapproachandprocessIhave

used,butalsoofthecommunitiesinwhichIhaveworked,mycollaborators,and

detailsoftheTheyyamfestival,whichtheymaynothaveotherwiseknown

anythingabout.

Therewereseveralkeyfindingsofthiscasestudy.FirstthattheEveryday

Lifeexhibitionwassuccessfulinthatitcausedagitationformembersofthe

audience,byrepresentingtheTheyyamFestivalinanonstructuralistandnon-

linearway,throughcreativeresponse.Secondly,thatmyroleasaparticipant

observeroftheFestivalimpactedthewaystheexhibitionwasreceivedby

membersofthecommunity,andthatmycreativeapproachtorespondingto

TheyyamproblematizedthefestivalforthecommunityinawaythatDhanaraj’s

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artisticworkdidnot,becauseIwasanoutsiderandmyworkwasrootedin

soundscape,anartisticmediumthatisunfamiliartothemembersofKeezhara.

Thiscasestudyalsorevealedhowtheexhibitionfacilitatedatypeofrole

reversal,wherebyempoweringcommunitymemberstocritiquetheTheyyam

festivalandtheirowncommunity,bywayofcritiquingtheworkofanoutsider.

LestWeForget

TheLestWeForgetprojectisuniquelysituatedasadevelopingcollection,

whichatthemomentdoesnotintendtokeeptheartifactsthatpeopledonateto

thecollection.TheLWFstaffdocumentsandscansthephotographs,artifacts,

oralhistories,paintings,andstoriesthatpeopleshare,andthentheygivethe

originalsback.Thisisantitheticaltomosttraditionalarchiveswhereprimary

sourcematerialiswhatispreserved.InthecaseofLestWeForget,thesesource

materialsaredocumented,butitistheresponsefromthecommunitytothese

materialsthatbecomesaveryimportantpartofthecollection.Forexample,

collegestudentsasktheirparentsandgrandparentsforphotographsfromtheir

albums,andthenaskthemtosharestoriesaboutthephotographs.Thestudents

thendocumentthosestories,throughsoundrecordingsand/orinwrittenform,

orthestudentsmayusekeyelementsofthatstorytocreateasketchora

paintingthatisaresponsetothephotographbasedonthestory,usingthestory

theyhavebeentoldasapartofthatartisticprocess.

Throughthisproject,Michele,thestudents,andIhavelearnedalotabout

thewayartisticpracticeanddigitaltoolsandenhancementallowtheartistic

processtotakeshapeandchangeanartifact,byturningitintoadigital

documentoradigitalartifactthatcanthenbechangedoraugmentedwithout

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changingtheoriginalartifact.Thereisarealvaluetothisprocessinthatit

allowsforthecommunity,fromwherethatartifactcame,tounderstandthe

artifactinawaythatbringsitsrelevanceintotheirpresenteverydaylife.Wesee

thishappenintheLestWeForgetprojectnotonlythroughdigitalscansand

referencesthatarecreatedbythecollection,butalsothewaythosedigital

referencesareused.IntheLestWeForgetexhibition,weseethesedigital

referencesusedinaformatthatallowsvisitorstointeract,engage,and

contributewiththematerialofthecollection.Oneexampleofthisisatelephone

roomintheexhibitionwhereoldergenerationEmiratisrecordedtelephone

conversationsthatusedtohappenonhomelandlines,toaccompany

photographsofpeoplespeakingonthephone.Visitorswereinvitedtolistento

theserecordings,butalsotorecordtheirownmemoriesofhowtheyusedto

haveoroverhearconversationsintheirhome.

Oneofthekeyfindingsofthiscasestudywaslearningthattheprocessof

creativeresponsetoarchivalmaterialscanfosterintergenerational

conversation,andasaresult,canfosterthesharingofhistoricalculturalmemory

betweengenerationsthatmightnototherwiseoccur.Thisservestonotonly

bringaparticularartifactintotheconsciousnessoftheyoungergenerationwho

mightnothavebeenabletoexperienceitfirsthand,butalsoallowstheyounger

generationstobecomeactivatedandinvolvedinwhatmightnowbehistorical