Upload
patriciakaefer
View
215
Download
0
Embed Size (px)
Citation preview
8/8/2019 Communication and Aesthetics
1/12
Communication and Aesthetics | Helena Wulff | Winter Semester 2010/11
Home Exam | Patricia Kaefer | Student ID 0002264
1
1 | danceThe dominance of science defined our view of ourselves, our view of inside and outside:
During the last centuries every human body was therefore seen as a "closed system",
whereas before 1700 bodies were permeable. In the last few decades we returned to those
"pre-scientific" days: In 1994 Richard Sennett wrote, that urban space takes shape in the way
in which humans experience their body. To make people of different origin live together
harmonically in intercultural cities they have to become aware of their own bodies (Sennett,
1997 [1994]: cf. p. 456) in order to be able to perceive the bodies of other human beings and
respect their demands (cf. p. 30) -- and to be able to communicate physically. The word
communicate goes back to Latin "communis" which means "collective", "together" or -- as a
second meaning -- "friendly".
Only few years later German sociologist Martina Loew argues that those physical dispositions
are moving again (cf. 2001: p. 128). With regard to Helena Wulff's article "The Irish Dancing
Body" (2005) I would add that in some societies, e.g. the Irish, the dispositions or the
awareness of the body maybe have never been stable. "Dance has been linked to national
identity for a long time in Ireland", she writes and argues that the "Irish dancing body" lives
with and within movement (p. 45f). Irish culture is "not just marked but actually defined by the
perpetual motion of the people who bear it. Emigration and exile, the journeys to and from
home, are the very heartbeat of Irish culture. To imagine Ireland is to imagine a journey", Irish
8/8/2019 Communication and Aesthetics
2/12
8/8/2019 Communication and Aesthetics
3/12
Communication and Aesthetics | Helena Wulff | Winter Semester 2010/11
Home Exam | Patricia Kaefer | Student ID 0002264
3
(p. 134). Clyde Mitchell, a member of the Manchester School (that Victor Turner, who I will
refer to in the third part of this paper, also belonged to), saw the Kalela "performed several
times by a group of the Bisa people in Luanshya" (p. 133). Hannerz describes that there was
intercultural "interaction" -- unifying as well as differentiating: "The team had about twenty
members, mostly men in their twenties, laborers or in other relatively unskilled occupations,
and it performed in a public place in the township on Sunday afternoons, in front of an
ethnically heterogeneous but normally all-African audience." Some elements of the dance --
e.g. members that were dressed as a doctor or nurse -- were "inspired by the contact with
Europeans". The main topic of the dancing and its songs was town life: "Most, however, were
concerned with ethnic diversity, praising the virtues of the dancers' own tribe and the beauty
of their homeland, but also ridiculing other groups and their customs." Whereas "the dance
was not used (...) to express antagonism to Europeans, or to ridicule them by mimicking their
comportment". (p. 134)
Now, coming back to Sennett and his explanation about physical communication, one has to
keep in mind, that the Kalela was performed by laborers in the township -- facts that show that
those people belonged to a suppressed social class (and they were only or mainly men!).
Probably they were not respected by their bosses. Nevertheless Mitchell, according to
Hannerz, concludes: "These dances were significant as statements about the interethnic
encounter in the towns, about the need to know, evaluate, and handle people in terms of their
8/8/2019 Communication and Aesthetics
4/12
Communication and Aesthetics | Helena Wulff | Winter Semester 2010/11
Home Exam | Patricia Kaefer | Student ID 0002264
4
ethnic identity. The ridicule of other tribes in the Kalela songs could be seen as a sort of
unilateral declaration of a joking relationship on the part of the Bisa and seemed to be
understood in this vein by the spectators" (p. 135). So there seems to exist not only an "Irish
dancing body", but a "Bisa dancing body" -- and millions of other potential "dancing bodies" as
well.
2 | visual"Modern anthropology, as I was taught it, was not about making films, interrogating
photographs, or experimenting with images and words. It was about writing texts", Anna
Grimshaw complains (2003: p. 3). In her book "The Ethnographer's Eye" she attests
"iconophobia" to the British school that she herself came from. She advises every
ethnographer to allow her or his "eyes" two ways of approaching ethnography: montage and
mise-en-scne. Grimshaw says that she uses the first one "to disrupt the conventional
categories by which visual anthropology has become to be defined and confined", with which
she evokes "the violent collision of different elements in order to suggest new connections
and meanings" (p. 11).
I think that this is a very courageous and artistic approach towards scientific research. To
back up this approach Grimshaw refers to Russian filmmakers such as Sergei Mikhailovich
Eisenstein: "They recognised that what we see is inseperable from how we see" (p. 11).
8/8/2019 Communication and Aesthetics
5/12
Communication and Aesthetics | Helena Wulff | Winter Semester 2010/11
Home Exam | Patricia Kaefer | Student ID 0002264
5
Grimshaw opposes the technique of montage with mise-en-scne, which "in its focus and
particularity is an expression of the academic caution which subsequently followed the initial
euphoria" (p. 12). To clarify this definition, Wikipedia offers a quite comprehensive and
concise explanation: "Recently, the term has come to represent a style of conveying the
information of a scene primarily through a single shot -- often accompanied by camera
movement. It is to be contrasted with montage-style filmmaking -- multiple angles pieced
together through editing."4
An alternative to those "traditional" methods does exist: ethnofiction. Lucien Castaing-Taylor
describes this style of filmmaking in his introduction to David MacDougall's "Transcultural
Cinema": "Among experimental documentary filmmakers (...) observational filmmaking has for
the most part been supplanted by one of two other styles, each of which seeks to remedy
certain of its weaknesses" (MacDougall, 1998: p. 6). According to Taylor this -- firstly -- is
what is called "docudrama", secondly it is "the autobiographical: the first-person diaristic film
essay" (p. 7).
From my point of view5 both techniques meet the requirements of today's mass media, each
one in its special way: The docudrama "tends to subordinate facts to fiction", Taylor notes (p.
4 http://en.wikipedia.org/wiki/Mise_en_scne(Nov. 8th, 2010)
5 I hold a Master's degree in journalism and have worked as a journalist for five years (mainly covering audiovisual
media) for a national Austrian newspaper.
http://en.wikipedia.org/wiki/Mise_en_sc%C3%A8nehttp://en.wikipedia.org/wiki/Mise_en_sc%C3%A8nehttp://en.wikipedia.org/wiki/Mise_en_sc%C3%A8nehttp://en.wikipedia.org/wiki/Mise_en_sc%C3%A8nehttp://en.wikipedia.org/wiki/Mise_en_sc%C3%A8nehttp://en.wikipedia.org/wiki/Mise_en_sc%C3%A8ne8/8/2019 Communication and Aesthetics
6/12
Communication and Aesthetics | Helena Wulff | Winter Semester 2010/11
Home Exam | Patricia Kaefer | Student ID 0002264
6
7). A drama by definition follows a special dramaturgy that again by definition has an
elaborated structure (plot points, arc of suspense etc.). So the ethnographer does not only
have to assess the ongoing things he observes, but really has to intervene like a director.
Missing links have to be made up to fit "a story" (maybe even made up itself) into
dramaturgy. Wikipedia lists e.g. Fernando Mereilles' quite popular Brazilian "City of God"
(2002) as recent "ethnofiction"6, so probably one could add "Slumdog Millionaire" (Danny
Boyle, 2008) to this listing. Considering docudrama in terms of representation and having
those examples in mind, I think it represents an image (including lots of clichs) and not
authenticity -- although of course image itself is again authentic in its own way.
The "autobiographical film essay" carries potential further problems: Nowadays mass media
tends to "personalize" every new trend. Whenever I -- working as a journalist -- had to write a
story about a local or national phenomenon, I had to find an example in person to whom I
could link my plot to. I was reminded of that experience when I watched a trailer to a not yet
released ethnographic film7 about a white Australian girl, introducing her "adopted" Aboriginal
family to her (biological) white family. The protagonist is a very likeable, outgoing young
woman. Thinking of my experience as a journalist who had to deal a lot with TV producers, for
the responsible purchasing agent at a TV station the protagonist probably is very appropriate:
6 http://en.wikipedia.org/wiki/Ethnofiction(Nov. 8th 2010)
7 Sophie Wagner, who attended Helena Wulff's lectures at the University of Vienna in October 2010, presented a
trailer of this film (she was involved in this Australian production) to the group.
http://en.wikipedia.org/wiki/Ethnofictionhttp://en.wikipedia.org/wiki/Ethnofictionhttp://en.wikipedia.org/wiki/Ethnofictionhttp://en.wikipedia.org/wiki/Ethnofiction8/8/2019 Communication and Aesthetics
7/12
Communication and Aesthetics | Helena Wulff | Winter Semester 2010/11
Home Exam | Patricia Kaefer | Student ID 0002264
7
She is young, pretty, female -- a figure fitting perfectly into audiovisual mass media.
On the one hand I think that commercialisation is a threat to ethnographic filmmaking. On the
other hand: Who watched ethnographic films before ethnofiction moved mainstream? I think
that even commercial visual anthropology increases awareness and therefore appreciate this
tendency (with reservations).
3 | ritualsOne of my friends' Jewish boyfriend, Ran, just moved from the US to Vienna. He wants to
stay and in order to get in touch with Vienna's Jewish community he and his girlfriend Lisa
decided to go to the synagogue every Sabbat. On this day religious Jews avoid not only
working but being "active" at all. They also refuse to use e.g. any kind of transportation and
therefore go to synagogue by foot. Ran and Lisa go to a synagogue in Vienna's first district.
Without taking the tram it would take them quite some time to get there. So their compromise
is to use public transport to get nearthe synagogue but to walk for the last few hundred
meters. They don't want to provoke other members of the community that they are eager to
join. They don't want to pollute their ritual.
So from this point of view this aspect of Jewish Sabbat could be seen to fulfill the minimum
requirements of Victor Turner's definition of "ritual" -- but nothing more than that: According to
8/8/2019 Communication and Aesthetics
8/12
Communication and Aesthetics | Helena Wulff | Winter Semester 2010/11
Home Exam | Patricia Kaefer | Student ID 0002264
8
Mathieu Deflem Turner defined ritual as "prescribed formal behavior for occasions not given
over to technological routine, having reference to beliefs in mystical beings and powers"
(1991: p. 5). "Social glue" (p. 3) was another, rather reluctant function Victor Turner -- being a
student researcher at Max Gluckman's "ritual-hostile" (p. 4) Manchester School then --
conceded to rituals at an early stage of his career in 1957. Three decades later Deflem
argues: "What many rituals (of rebellion) often do is precisely to enact social conflicts." (p. 4).
But talking of Turner: What did he describe as "functions" of rituals? In his model rituals were
used on the one hand for transitions through life-crises (birth, death, illness/healing; I'd add
"rebellion" and "reconciliation" here), on the other hand as rituals of affliction (shades of
deceased relatives afflict the person). He ascribed a processual character and three phases
of progression to every ritual: firstly separation, "when a person or group becomes detached
from an earlier fixed point" (Deflem, 1991: p. 8), after that the threshold, the liminal, when the
state of the ritual's subject is ambiguous and social structures are absent, and as a last stage
the re-aggregation, a stabilization with a plurality of new perspectives. From my point of view
the first kind of ritual, that should help one during a life-crisis, is constructive; the second, the
ritual of affliction, is destructive one.
Deflem shows (p. 16) how Turner tried to apply his model of ritual to modern societies and
detects an "ambiguity": First Turner concludes that every ritual has religious connotations but
then differentiates between "liminal" (for tribal rituals and modern religious rituals) and
8/8/2019 Communication and Aesthetics
9/12
8/8/2019 Communication and Aesthetics
10/12
Communication and Aesthetics | Helena Wulff | Winter Semester 2010/11
Home Exam | Patricia Kaefer | Student ID 0002264
10
gods have changed. Because what happened since Turner (who -- by the way -- was a
"devoted" Roman Catholic, Deflem wrote) is that the mainstream of Western society adopted
a new orientation: from the afterlife to the here and now. "Religious" religion has lost its
authenticity in this part of the world.
What could these new gods look like? Particularly with regard to art and aesthetics I would
like to mention Walter Benjamin's view of ritual. According to him, rituals -- especially magic
and religious ones -- were the fertile soil which art could prosper from. In his essay "The Work
of Art in the Age of Mechanical Reproduction" Benjamin argues that only due to this
"mechanical reproduction" art for the first time in history was able to emancipate itself from
(religious) ritual (cf. Benjamin, 2005: p. 17). According to him, politics is the new foundation of
art. Thereby Benjamin refers to politics of power, but I think that one as well could refer to
politics (as a means to achieve a target) of knowledge, of fun, of art (which nowadays has got
its very own momentum), of nationalism, of community etc. The targets that those politics are
assigned to could be values like appreciation, recreation, provocation, freedom, differentiation
etc. I would call those values our new gods. I'd even say that religion finds it place in this
model: Politics of religion evoke actions (e.g. Kurt Westergaard's caricatures of Mohammed,
the work of a Catholic NGO in the so-called "Third World") in order to achieve targets like
differentiation or welfare. And being a football fan of a club like Manchester United could be
considered being "religious", too.
8/8/2019 Communication and Aesthetics
11/12
Communication and Aesthetics | Helena Wulff | Winter Semester 2010/11
Home Exam | Patricia Kaefer | Student ID 0002264
11
BIBLIOGRAPHYBENJAMIN, Walter, 2005 [1963]: Das Kunstwerk im Zeitalter seiner technischen
Reproduzierbarkeit. Frankfurt/Main, Suhrkamp.
BINTER, Julia T. S., 2009: We Shoot the World. sterreichische Dokumentarfilmer und
die Globalisierung. Wien/Berlin/Muenster, Lit Verlag. [Google Books]
DEFLEM, Mathieu, 1991: Ritual, Anti-Structure, and Religion. A Discussion of Victor
Turner's Processual Symbolic Analysis. In: Journal for the Scientific Study of
Religion 30 (1), pp. 1-25
GRIMSHAW, Anna, 2003 [2001]: The Ethnographer's Eye. Ways of Seeing in
Anthropology. Cambridge, University Press. [Google Books]
HANNERZ, Ulf, 1980: Exploring the City. Inquiries Toward an Urban Anthropology. New
York, Columbia University Press.
LOEW, Martina, 2001: Raumsoziologie. Frankfurt/Main, Suhrkamp.
MacDOUGALL, David, 1998: Transcultural Cinema. Princeton, University Press.
SENNETT, Richard, 1997 [1994]: Fleisch und Stein. Der Krper und die Stadt in der
westlichen Zivilisation. Berlin, Suhrkamp Taschenbuch.
TURNER, Victor W., 2008 [1969]: The Ritual Process. Structure and Anti-Structure. New
Jersey, Transaction Publishers. [Google Books]
WULFF, Helena, 2005: Memories in Motion. The Irish Dancing Body. In: Body &
8/8/2019 Communication and Aesthetics
12/12
Communication and Aesthetics | Helena Wulff | Winter Semester 2010/11
Home Exam | Patricia Kaefer | Student ID 0002264
12
Society, Vol. 11 (4). London/Thousand Oaks/New Delhi, Sage Publications, pp. 45-62
WULFF, Helena, 2009 [2007]: Dancing at the Crossroads. Memory and Mobility in
Ireland. Oxford, Berghahn Books. [Google Books]