The experience of creative encounter navigated through a migrant ethnography develops new perspectives applicable to the reinterpretation of the Western tradition. This is illustrated by my engagement with classical sites and their literature in Italy. A brief discussion of my creative encounter with the classical site of Paestum (southern Italy) leads to a ’migrant reading’ of Plato’s Symposium, where my role there is compared to that of Aristodemus, the ‘stranger at the feast’; this leads to a résumé of the migrant as human symbolon, a half person who lives metaphorically in search of the other. Because of this, it is suggested that, in the creative encounter, ethnography and aesthetics habitually fuse. Recalling the Prelude’s discussion of Oedipus, Translations makes the case for identifying migrant incompleteness (division as doubling) as a form of sovereignty that contains, rather than splits, others (voices, places, ghosts and hosts).
), 1997. Performance: CUB Malthouse, Melbourne, 25 September–4 October .
Jadi Jadian (with Chandrabhanu, members of the Bharatam Dance Company and Gedang Terinai Orchestra of Perlis), 1998. Performance, Commonwealth Games Cultural Festival, Kuala Lumpur, Malaysia. Reference: Paul Carter, Material Thinking, the Theory and Practice of Creative Research, Carlton, Vic.: Melbourne University Publishing, 2004, 97–124 .
Wie ist dein Name/What Is Your Name (with Prompt Theatre Company, Frei Universität, Berlin), 2004
, the study of non-Western and folk music has required the adoption of systems of sound recording in order to delimit an object of study in its materiality. This created a proximity with recording technologies that remains central and opened the door for further developments in the field of multimedia.
The foundational experience of Béla Bartók at the beginning of the twentieth century shows a synergy between his studies of Hungarian folk music and his activity as composer; more specifically, the latter stimulated his research and became a way to make a creative use
are sometimes limited spatially and temporarily to the performance, that is, they are acoustic communities (Truax 1984 : 65–66) or communities of (sonic) practice that come together around a given event and might separate after its conclusion.
In this introduction we unpack how we interpret the connection between sound and the formation of local identities, starting with some clarifications on these two key terms. Subsequently, we trace the main steps in the entanglements of ethnographic research, creative practice and cultural heritage in Basilicata, providing
materialisation, doubled in the canal reflections, and an individual fantasy, the desire to get lost and be found again, its closely handwritten pages are remarkable for their lack of autobiographical interest. The hunger to eat up Venice stone by stone, no doubt a pre-migratory insurance against loss to come, leaves an impression of psychological emptiness. Whatever the case, from day one the dive into Australia was going to be different. Instead of rigid self-censorship, self-authorship would be permitted, not in the sudden possession of a new style or set of creative
may also involve creative and expressive knowledge
Genesis of the data walkshop
As this chapter discusses, walking reflections have been used by philosophers, psychogeographers, urban planners and community organisations to explore relationships between people, ideas, knowledge and
space, and sometimes to locate local assets (my version of the data
walk began as a teaching tool, specifically intended to provide students with a physical, spatial and sensorial experience of the ethnographic experience of data proliferation, while helping them to
border in all its temporal and spatial details. Too many events took place in the course of the more than 100 years since the Bucharest Treaty in 1913, following the Second Balkan War that ended with the victory of Serbia and Greece over Bulgaria. 8
The name conflict has deservingly preoccupied politicians and scholars from different disciplines. Certainly, one of the most creative ways to think about the border and the name issue is the artistic project “The Renaming Machine.” This project focuses on the complex entanglements
wordlists were the unique record of an exchange about the limits to translation – one that opened up, rather than closed down, the possibility of a different kind of coexistence. Beyond the limits of the lexicon, I detected ripples, ‘thoughts coming out to the edge of a dream’.
Migrant identifications may be dreamlike but any associated creative practice is, in my experience, dirty, that is, the opportunistic offspring of propitious circumstance. Perhaps Freud's notion of stratified memory traces ‘subjected from time to time to a rearrangement in
As Pandolfo ( 1997 : 241) points out, the work of a healer involves standing on the edge between the visible and the invisible. Tapping into the invisible and using the ‘cinema fist’ of the Creator carries the risk of venturing astray into the idolatrous thought that by one's own power, one could be ‘self-creative’ (Sedgwick 2006 : 56; Steinbock 2007 : 212). While developed in a Catholic context, Marion's ( 2002 ) theory that the experience of God is always and necessarily predicated on absence and distance seems to hold true here. The more Abu Bilal comes to
Towards a sonic ethnography of the Maggio festival in Accettura
Lorenzo Ferrarini and Nicola Scaldaferri
developing his double role of researcher and performer in the direction of a more engaged and experimental creative practice (see chapter 6 ).
The sonic ethnography of the Maggio also resulted in two CDs, each providing a distinct approach and contribution. The first consists of a seventy minute soundscape composition by Feld, divided into six tracks. Recording through Dimensional Stereo Microphones (see Ferrarini 2017 ), Feld used his body as an emplaced ‘point of listening’ (Scaldaferri 2015 : 377) to balance the different sound sources within a very wide