Natalie Doonan, Sara Bouvelle, Gaëlle Issa, Mariana Villarreal Herrera
In a graduate-level Digital Storytelling course in the Department of Communication at the Université de Montréal, the first project I assign is called a “Collective Experimental Story.” The intention of this project is to introduce students to collaborative storytelling and to explore a platform that enables participatory forms of presentation and co-creation. I enter into this experimental process with students. In Fall 2021, I proposed that the project respond to the Truth and Reconciliation Reading Challenge. From 2008 to 2015, Canada’s Truth and Reconciliation Commission produced a report documenting the history and ongoing impacts of the country’s residential school system on First Nations. This report includes 94 Calls to Action, including a call for teachers at all levels to address these histories and their effects in the classroom. Students in my course were excited by this proposal. Over the first seven weeks of the course, we read the report, defined the objective and approach of our project, conducted research and development to identify a suitable platform, and divided tasks. We used Gather Town—an online meeting platform that boasts an old-school pixelated video game interface—to stage a live event. The goal was to share what we had learned and to open space for dialogue. Participants circulated as avatars in our simulated spaces. In this article, four of us who were involved in the project describe our practice-based research process.
在蒙特卡马大学传播系的一门研究生水平的数字故事课程中，我布置的第一个项目被称为“集体实验故事”。这个项目的目的是向学生介绍合作讲故事，并探索一个平台，使参与式的展示和共同创造成为可能。我进入了这个实验过程< I >学生。在2021年秋天，我提出该项目响应真相与和解阅读挑战。从2008年到2015年，加拿大真相与和解委员会制作了一份报告，记录了该国寄宿学校系统对第一民族的历史和持续影响。本报告包括94项行动呼吁，包括呼吁各级教师解决这些历史问题及其在课堂上的影响。我这门课的学生对这个提议很兴奋。在课程的前七周，我们阅读了报告，定义了我们项目的目标和方法，进行了研究和开发，以确定合适的平台，并划分了任务。我们使用Gather town——一个拥有老式像素视频游戏界面的在线会议平台——来举办现场活动。我们的目标是分享我们所学到的知识，并为对话开辟空间。参与者在我们的模拟空间中以化身的身份流通。在这篇文章中，我们四个参与了这个项目的人描述了我们基于实践的研究过程。
{"title":"Making Space: Reading the Truth and Reconciliation Commission of Canada's Report in and Beyond the Classroom through Practice-Based Research","authors":"Natalie Doonan, Sara Bouvelle, Gaëlle Issa, Mariana Villarreal Herrera","doi":"10.7202/1102384ar","DOIUrl":"https://doi.org/10.7202/1102384ar","url":null,"abstract":"In a graduate-level Digital Storytelling course in the Department of Communication at the Université de Montréal, the first project I assign is called a “Collective Experimental Story.” The intention of this project is to introduce students to collaborative storytelling and to explore a platform that enables participatory forms of presentation and co-creation. I enter into this experimental process <i>with</i> students. In Fall 2021, I proposed that the project respond to the Truth and Reconciliation Reading Challenge. From 2008 to 2015, Canada’s Truth and Reconciliation Commission produced a report documenting the history and ongoing impacts of the country’s residential school system on First Nations. This report includes 94 Calls to Action, including a call for teachers at all levels to address these histories and their effects in the classroom. Students in my course were excited by this proposal. Over the first seven weeks of the course, we read the report, defined the objective and approach of our project, conducted research and development to identify a suitable platform, and divided tasks. We used Gather Town—an online meeting platform that boasts an old-school pixelated video game interface—to stage a live event. The goal was to share what we had learned and to open space for dialogue. Participants circulated as avatars in our simulated spaces. In this article, four of us who were involved in the project describe our practice-based research process.","PeriodicalId":74113,"journal":{"name":"Material matters : chemistry driving performance","volume":"349 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135015504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"CineWorlding: Scenes of Cinematic Research-Creation. By Michael B. MacDonald","authors":"Matt Horrigan","doi":"10.7202/1102414ar","DOIUrl":"https://doi.org/10.7202/1102414ar","url":null,"abstract":"","PeriodicalId":74113,"journal":{"name":"Material matters : chemistry driving performance","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135064316","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay is a critical narrative of an experience of listening to the Wooster Group’s The B-Side: “Negro Folklore from Texas State Prisons” A Record Album Interpretation (2017). The performance is a verbatim recitation of a 1965 ethnographic recording by Bruce Jackson of African American men toasting and singing works songs just before Texas prisons were desegregated. African American actors on stage hear the album through earpieces and re-perform songs and toasts in real time as the LP plays on a turntable visible (but mostly inaudible) to the audience. Their interpretation “transmits” the album to an audience. The essay, continuing that work of transduction, draws from the psychoanalytic notion of “free association” in order to think through the possibilities and limitations of listening across race and gender. It argues that association is a reciprocal way of listening and making theatre. It is also a way of working through history (recorded and unrecorded) in the face of intractable frameworks of racial antagonism in the United States. The essay assembles and “associates” photographs, songs, and excerpts of interviews with the show’s makers, as well as pairing concepts from the literature of listening and the archive of Black sonic performance.
{"title":"Surface Listening: Free Association and Recitation in the Wooster Group's The B-Side: \"Negro Folklore from Texas State Prisons\" A Record Album Interpretation","authors":"Julie Beth Napolin","doi":"10.7202/1089678ar","DOIUrl":"https://doi.org/10.7202/1089678ar","url":null,"abstract":"This essay is a critical narrative of an experience of listening to the Wooster Group’s The B-Side: “Negro Folklore from Texas State Prisons” A Record Album Interpretation (2017). The performance is a verbatim recitation of a 1965 ethnographic recording by Bruce Jackson of African American men toasting and singing works songs just before Texas prisons were desegregated. African American actors on stage hear the album through earpieces and re-perform songs and toasts in real time as the LP plays on a turntable visible (but mostly inaudible) to the audience. Their interpretation “transmits” the album to an audience. The essay, continuing that work of transduction, draws from the psychoanalytic notion of “free association” in order to think through the possibilities and limitations of listening across race and gender. It argues that association is a reciprocal way of listening and making theatre. It is also a way of working through history (recorded and unrecorded) in the face of intractable frameworks of racial antagonism in the United States. The essay assembles and “associates” photographs, songs, and excerpts of interviews with the show’s makers, as well as pairing concepts from the literature of listening and the archive of Black sonic performance.","PeriodicalId":74113,"journal":{"name":"Material matters : chemistry driving performance","volume":"144 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77946866","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this article, the author attends to how performer Cardi B employs urban vernacular aesthetics to articulate a ratchet, diasporic feminism. Beginning with her early Instagram videos and participation in Love and Hip Hop: New York and followed by her commercially successful song “Bodak Yellow,” Cardi B mobilizes her work between diverse musical genres and sonic registers, challenging listeners and the music industry to find room for the particularities of her ethnic and racial identity and the type of feminist practice she lyrically articulates. The author interrogates how Cardi B’s chart-topping songs, Instagram videos, and interviews on talk shows and online operate as sonic strategies that challenge, disrupt, and reject respectability politics. In turn, the author highlights how Cardi B engages with gender, class, and sexuality, proudly claiming her positionality as a former erotic dancer/stripper in order to craft a sonic narrative, framing her current success as predicated on her diligent work ethic and immigrant roots.
在本文中，作者关注表演者Cardi B如何运用城市方言美学来阐明棘轮，散居的女权主义。从她早期的Instagram视频和参与《Love and Hip Hop: New York》开始，再到她在商业上取得成功的歌曲《Bodak Yellow》，Cardi B在不同的音乐流派和声音音阶之间调动她的作品，挑战听众和音乐行业，为她的民族和种族身份的特殊性以及她在歌词中表达的女权主义实践类型找到空间。作者探究了Cardi B的热门歌曲、Instagram视频、访谈节目和网络访谈是如何作为挑战、破坏和拒绝体面政治的声音策略运作的。反过来，作者强调了Cardi B是如何与性别、阶级和性行为相结合的，她自豪地宣称自己是一名前色情舞者/脱衣舞娘，以打造一种声音叙事，将她目前的成功建立在她勤奋的职业道德和移民的基础上。
{"title":"“I’m A Stripper, Ho\": The Sonics of Cardi B’s Ratchet, Diasporic Feminism","authors":"Karen Jaime","doi":"10.7202/1089680ar","DOIUrl":"https://doi.org/10.7202/1089680ar","url":null,"abstract":"In this article, the author attends to how performer Cardi B employs urban vernacular aesthetics to articulate a ratchet, diasporic feminism. Beginning with her early Instagram videos and participation in Love and Hip Hop: New York and followed by her commercially successful song “Bodak Yellow,” Cardi B mobilizes her work between diverse musical genres and sonic registers, challenging listeners and the music industry to find room for the particularities of her ethnic and racial identity and the type of feminist practice she lyrically articulates. The author interrogates how Cardi B’s chart-topping songs, Instagram videos, and interviews on talk shows and online operate as sonic strategies that challenge, disrupt, and reject respectability politics. In turn, the author highlights how Cardi B engages with gender, class, and sexuality, proudly claiming her positionality as a former erotic dancer/stripper in order to craft a sonic narrative, framing her current success as predicated on her diligent work ethic and immigrant roots.","PeriodicalId":74113,"journal":{"name":"Material matters : chemistry driving performance","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86420596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Against Conventional Harmony: An Interview with the Cuban Theatre Company El Ciervo Encantado","authors":"Mariel Martínez Alvarez","doi":"10.7202/1089683ar","DOIUrl":"https://doi.org/10.7202/1089683ar","url":null,"abstract":"<jats:p />","PeriodicalId":74113,"journal":{"name":"Material matters : chemistry driving performance","volume":"34 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85518665","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay analyzes aural fugitivity in archives of nineteenth-century freak show performers Millie Christine McKoy and traces the difficulties in staging these archives for twenty-first-century audiences. Aural fugitivity couples theories of Black fugitivity with sound studies analysis of enslavement and nineteenth-century performance in order to explore the legacies of freak show and sideshow performers who were also enslaved. This essay, taking as an object of analysis the author's own creative work based on these archives, traces the biography of the McKoys alongside their performance strategies that resisted full archival capture through fugitive sound.
{"title":"Staging Aural Fugitivity through Nineteenth-Century Freak Show Archives","authors":"D. Bainbridge","doi":"10.7202/1089677ar","DOIUrl":"https://doi.org/10.7202/1089677ar","url":null,"abstract":"This essay analyzes aural fugitivity in archives of nineteenth-century freak show performers Millie Christine McKoy and traces the difficulties in staging these archives for twenty-first-century audiences. Aural fugitivity couples theories of Black fugitivity with sound studies analysis of enslavement and nineteenth-century performance in order to explore the legacies of freak show and sideshow performers who were also enslaved. This essay, taking as an object of analysis the author's own creative work based on these archives, traces the biography of the McKoys alongside their performance strategies that resisted full archival capture through fugitive sound.","PeriodicalId":74113,"journal":{"name":"Material matters : chemistry driving performance","volume":"49 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91062869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：