Advertisement

Digital Echoes pp 125-149 | Cite as

(Ukulele) Strings of Knowledge: Tactile and Digital Interactivity with Archives and Ethnography

  • Rachel M. Ward
  • Kate Hennessy
Chapter

Abstract

Ukulele: An Interactive Biography and Liliuokalani: Archival Experimentations are ethnographic art installations that utilize a musical instrument as a platform for telling an ethnographic story. The ukulele used in the installations was borrowed from a musician as a representation of personal-cultural belongings, material heritage, utilitarian sites of knowledge, lived experience, and as a physical template for embodied scholarship. Installation participants are invited to pluck the ukulele strings to generate sensory visual stories that can be experienced in a non-linear manner. The media content includes original audio and video material as well as (experimentally-modified) images sourced from public archives. These projects represent a playful experimentation with discourse on material culture, intangible cultural heritage and sensory methodologies to create prototypes for what could be termed “interactive anthropology.”

References

  1. Alivizatou, Marilena. 2011. Intangible Heritage and Erasure: Rethinking Cultural Preservation and Contemporary Museum Practice. International Journal of Cultural Property 18 (01): 37–60.CrossRefGoogle Scholar
  2. Anderson, Jane, and Kim Christen. 2013. ‘Chuck a Copyright on It’: Dilemmas of Digital Return and the Possibilities for Traditional Knowledge Licenses and Labels. Museum Anthropology 7 (1–2): 105–126.Google Scholar
  3. Aston, Judith, and Sandra Gaudenzi. 2012. Interactive Documentary: Setting the Field. Studies in Documentary Film 6 (2): 125–139.CrossRefGoogle Scholar
  4. Bearman, D., and J. Trant. 1999. Interactivity Comes of Age: Museums and the World Wide Web. Museum International 51 (4): 20–24.CrossRefGoogle Scholar
  5. Boast, Robin. 2011. Neocolonial Collaboration: Museum as Contact Zone Revisited. Museum Anthropology 34 (1): 56–70.CrossRefGoogle Scholar
  6. Boyer, D. 2011. A Gallery of Prototypes: Ethnographic Terminalia 2010, Curated by Craig Campbell, Fiona P. McDonald, Maria Brodine, Kate Hennessy, Trudi Lynn Smith, Stephanie Takaragawa. Visual Anthropology Review 27 (1): 94–96.CrossRefGoogle Scholar
  7. Brewster, S.A. 2001. Impact of Haptic ‘Touching’ Technology on Cultural Applications. In Digital Applications for Cultural Heritage Institutions, ed. James Hemsley, Vito Cappellini, and Gerd Stanke. London: Routledge.Google Scholar
  8. Castaing-Taylor, Lucien. 2009. Sweetgrass. New York: Harvard Sensory Ethnography Lab.Google Scholar
  9. Castaing-Taylor, Lucien, and Verena Paravel. 2012. Leviathan. New York: Cinema Guild.Google Scholar
  10. Classen, Constance. 1990. Sweet Colors, Fragrant Songs: Sensory Models of the Andes and the Amazon. American Ethnologist 17 (4): 722–735.CrossRefGoogle Scholar
  11. Coover, Roderick. 2012. Visual Research and the New Documentary. Studies in Documentary Film 6 (2): 203–215.CrossRefGoogle Scholar
  12. Degnen, Catherine. 2009. On Vegetable Love: Gardening, Plants, and People in the North of England. Journal of the Royal Anthropological Institute 15: 151–167.CrossRefGoogle Scholar
  13. Dvorko, Nina. 2014. Interactive Documentary and Its Potential for Cultural Heritage Mediation [Working Paper].Google Scholar
  14. Ethnographic Terminalia. n.d. Accessed May 2, 2016. http://ethnographicterminalia.org/.
  15. Feld, Steven. 2012. Sound and Sentiment: Birds, Weeping, Poetics, and Song in Kaluli Expression. Durham: Duke University Press.CrossRefGoogle Scholar
  16. Foster, Stephen, and Mike Evans. 2015. The Prince George Métis Elders Documentary Project: Matching Product with Process in New Forms of Documentary. In Reverse Shots: Indigenous Film and Media in an International Context, ed. Wendy Gay Pearson and Susan Knabe, 221. Waterloo: Wilfrid Laurier University Press.Google Scholar
  17. Freixa, Pere, and Joan Soler-Adillon. 2014. Snow Fall and a Short History of the Highrise: Two Approaches to Interactive Communication Design by the New York Times. Textual & Visual Media(7): 63–83.Google Scholar
  18. Geertz, Clifford. 1973. The Interpretation of Cultures: Selected Essays. New York: Basic Books.Google Scholar
  19. Geismar, Haidy. 2013. Defining the Digital. Museum Anthropology Review 7 (1–2): 254–263.Google Scholar
  20. Gifreu-Castells, Arnau. 2014. Mapping Trends in Interactive Non-Fiction Through the Lenses of Interactive Documentary. In International Conference on Interactive Digital Storytelling, 156–163. Cham: Springer.Google Scholar
  21. Hahn, Tomie. 2007. Sensational Knowledge: Embodying Culture Through Japanese Dance. Middleton: Wesleyan University Press.Google Scholar
  22. Hennessy, Kate. 2010. Repatriation, Digital Technology, and Culture in a Northern Athapaskan Community. PhD thesis, Department of Anthropology, University of British Columbia.Google Scholar
  23. ———. 2012. Cultural Heritage on the Web: Applied Digital Visual Anthropology and Local Cultural Property Rights Discourse. International Journal of Cultural Property 19 (03): 345–369.CrossRefGoogle Scholar
  24. Hennessy, Kate, Natasha Lyons, Stephen Loring, Charles Arnold, Mervin Joe, Albert Elias, and James Pokiak. 2013. The Inuvialuit Living History Project: Digital Return as the Forging of Relationships Between Institutions, People, and Data. Museum Anthropology Review 7 (1–2): 44–73.Google Scholar
  25. Hennessy, Kate, Claude Fortin, Aynur Kadir, Reese Muntean, and Rachel Ward. 2015. Producing New Media Ethnographies with a Multi-sited Approach. Proceedings of the 21st International Symposium on Electronic Art.Google Scholar
  26. Hight, Craig, Kate Nash, and Catherine Summerhayes. 2014. New Documentary Ecologies. New York: Palgrave Macmillan.Google Scholar
  27. Hollinger, R. Eric, Edwell John Jr., Harold Jacobs, Lora Moran-Collins, Carolyn Thome, Jonathan Zastrow, Adam Metallo, Günter Waibel, and Vince Rossi. 2013. Tlingit-Smithsonian Collaborations with 3D Digitization of Cultural Objects. Museum Anthropology Review 7 (1–2): 201–253.Google Scholar
  28. Howes, David. 1988. On the Odour of the Soul: Spatial Representation and Olfactory Classification in Eastern Indonesia and Western Melanesia. Bijdragen tot de Taal-, Land-en Volkenkunde 1ste Afl 144: 84–113.CrossRefGoogle Scholar
  29. Huvila, Isto. 2008. Participatory Archive: Towards Decentralised Curation, Radical User Orientation, and Broader Contextualisation of Records Management. Archival Science 8 (1): 15–36.CrossRefGoogle Scholar
  30. Ignace, Ron, George Speck, and Renee Taylor (Interviewed by N. Dyck). 1993. Some Native Perspectives on Anthropology and Public Policy. In Anthropology, Public Policy and Native Peoples in Canada, edited by N. Dyck and J. B. Waldram, 166–191. Montreal: McGill-Queen’s University Press.Google Scholar
  31. Kreps, Christina. 2009. Indigenous Curation, Museums, and Intangible Cultural Heritage. In Intangible Heritage, ed. LauraJane Smith and Natsuko Akagwa, 193–208. London: Routledge.Google Scholar
  32. Kurin, Richard. 2004. Safeguarding Intangible Cultural Heritage in the 2003 UNESCO Convention: A Critical Appraisal. Museum International 56 (1–2): 66–77.CrossRefGoogle Scholar
  33. Lassiter, L.E. 2005. The Chicago Guide to Collaborative Ethnography. Chicago: University of Chicago Press.CrossRefGoogle Scholar
  34. Liliuokalani (Queen). 1898. Hawaii’s Story by Hawaii’s Queen. Boston: Lee and Shepard. Accessed June 15, 2017. http://digital.library.upenn.edu/women/liliuokalani/hawaii/hawaii.html.
  35. Leyshon, Andrew, David Matless, and George Revill, eds. 1998. The Place of Music. The Guildford Press: New York.Google Scholar
  36. Markham, Annette N. 2005. The Methods, Politics, and Ethics of Representation in Online Ethnography. In The Sage Handbook of Qualitative Research, ed. K. Denzin and Y.S. Lincoln, 3rd ed., 793–820. Thousand Oaks: Sage.Google Scholar
  37. Mikelli, Danai. 2014. Introducing Interactive Documentary in the Context of Critical Media Education. Networking Knowledge 8 (1): 1–12.Google Scholar
  38. Muntean, Reese, Kate Hennessy, Alissa Antle, Susan Rowley, Jordan Wilson, Brendan Matkin, Rachael Eckersley, Perry Tan, and Ron Wakkary. 2015. ʔeləw̓k̓ʷ Belongings: A Tangible Interface for Intangible Cultural Heritage. Proceedings of Electronic Visualization and the Arts (EVA), 360–366. London, June.Google Scholar
  39. Nakamura, Karen. 2013. Making Sense of Sensory Ethnography: The Sensual and the Multisensory. American Anthropologist 115 (1): 132–135.CrossRefGoogle Scholar
  40. Nash, Kate. 2014. Strategies of Interaction, Questions of Meaning: An Audience Study of the NFBs Bear 71. Studies in Documentary Film(October): 1–14.CrossRefGoogle Scholar
  41. Parry, Ross. 2007. Recoding the Museum: Digital Heritage and the Technologies of Change. Oxford: Routledge.CrossRefGoogle Scholar
  42. “Photograph Collection.” State of Hawaii: Department of Accounting and General Services, n.d. Web. 19 June 2017. http://ags.hawaii.gov/archives/about-us/photograph-collection/.
  43. Pink, Sarah. 2006. The Future of Visual Anthropology: Engaging the Senses. London: Routledge.Google Scholar
  44. ———. 2009. Principles for Sensory Ethnography: Perception, Place, Knowing, Memory and Imagination. In Doing Sensory Ethnography. London: Sage.CrossRefGoogle Scholar
  45. ———. 2013. Doing Visual Ethnography. London: Sage.Google Scholar
  46. Seeger, Anthony. 1981. Nature and Society in Central Brazil: The Suya Indians of Mato Grosso. Cambridge: Harvard University Press.CrossRefGoogle Scholar
  47. Srinivasan, Ramesh, Robin Boast, Jonathan Furner, and Katherine M. Becvar. 2009. Digital Museums and Diverse Cultural Knowledges: Moving Past the Traditional Catalog. The Information Society 25 (4): 265–278.CrossRefGoogle Scholar
  48. Stoller, Paul. 1989. The Taste of Ethnographic Things: The Senses in Anthropology. Philadelphia: University of Pennsylvania Press.Google Scholar
  49. Underberg, Natalie M., and Elayne Zorn. 2013. Digital Ethnography: Anthropology, Narrative, and New Media. Austin: University of Texas Press.Google Scholar
  50. Ward, Rachel (Dir.), Chris Mason, Sarah Whitelocke, Elanor Balser, and Marilyn Caldrone. 2014. Appalachian Punks: A Resurgence of Tradition. Documentary. 14 min. http://www.vimeo.com/rachelward/punks.
  51. Whitehead, Neil L., and Michael Wesch. 2012. Human No More: Digital Subjectivities, Unhuman Subjects, and the End of Anthropology. Boulder: University Press of Colorado.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Rachel M. Ward
    • 1
  • Kate Hennessy
    • 1
  1. 1.Simon Fraser UniversitySurreyCanada

Personalised recommendations