Anthropology of Media Contributions

One of the major topics covered by the Anthropology of Media involves looking at both the political as well as social meanings found within media. A commonly reoccurring theme here is the effect that different media sources have on cultures and communities. There are no definite conclusions to this, however, by looking at the many different ethnographic cases involving media, we are able to gain some insight on this broad subject matter.

After reading many of the blog posts presented by my classmates, I was surprised at the diversity of responses in regards to the same given topics. One of the subjects that struck me as very interesting was that of Grafitti and its social and cultural implications. Similarly to the way that media forms such as the radio for example, have the ability to respond to or create communities, graffiti has also acted in this way. As many others had recognized, grafitti is far more than simply an outward, artistic expression. It is a forum for communication. The messages taken from graffiti can be direct and obvious, or they can be subtle and open for interpretation. Many bloggers for instance, chose to write about graffiti seen on the East side of Vancouver. The graffiti here is often political in reference to social class, or as Denise Lee argues, it can simultaneously be a symbolic source of pride and identity. As grafitti is often negatively stereotyped, it becomes a marker of different communities or groups within a given society. In reference to this, Chelsea Ousey states that grafitti is “accepted or rejected depending on the space” and is “regulated differently within various social spaces” (Ousey, 2011). Grafitti is far more prevalent in lower class communities such as East Vancouver, and often points out the issues that the people within these communities may be challenged with. In this sense, it brings them together as a collective. The well known East Van cross that Lee speaks to in his blog is an example of a symbol that “expresses “comradeship” in the face of adversity like poverty” (Lee, 2011).

Many individuals will approach the topic of graffiti with intention of justifying its classification as art. The blogs written by Lee and Ousey take on a slightly different perspective by looking at graffiti as a site of resistance and free expression. Most forms of media, such as television programs, films and magazines are controlled and have underlying agendas. Graffiti on the other hand, is created in the moment, by regular, every-day people who should have the right to have their voices heard. Whether or not the way they express this message is characterized as “artistic”, is another case. The messages that are spread through graffiti are often thought provoking and challenge ideas, politics and society in general. As an alternative media source, graffiti “loses its essence of resistance” (Cousey, 2011) when it becomes constrained by attempts to place it solely in the realm of art.

The Oxford American Dictionary defines media as “main means of mass communication”. The ideas communicated within these blogs show graffiti as an alternative media source that, while fitting this description, also stands for many other things.

Sources:

Lee, Denise

2011 The East Van Sign: Graffiti and Public Art in Creating an Imagined Community. http://deniseleesblog.tumblr.com/post/3291014858/the-east-van-sign-graffiti-and-public-art-in-creating, Accessed March 30, 2011

Chelsea, Ousey

2011 The Value in Graffiti. http://couseymedia.blogspot.com/2011/02/february-4-th-2011-historically.html, Accessed March 30, 2011.

Film Analysis: "Alamar"

In his article on film theory, Gordon Gray states that neo-realism is an “ideological move…away from…the artifice of Hollywood cinema” (46, Gray). The film “Alamar”, created by Pedro Gonzalez-Rubio encompasses this basic concept, along with many other neo-realism features. Filmed in the beautiful setting of the Banco Chinchorro reef on the coast of Mexico, “Alamar” or “To the sea” is able to convey basic, yet very real ideas in a way that is not overly dramatic. The premise of the film is based on a young boy, born to an Italian mother living in Rome and a Mexican father living a very modest life in a small, tropical fishing village. As his final farewell to his father, “Natan” spends the summer learning about his traditional Mayan origins and bonding with his father in an environment that he is not accustomed to. Unlike most Western, or Hollywood style films which feature major events to influence the plot in drastic ways, Alamar is more about showing a way of life while using the beauty of natural surroundings, and expressing raw human emotions. It proves its ability to be emotionally moving, with an “emphasis on the values of ordinary people” (46, Gray) while remaining minimalistic.

“Alamar” fits the Neo-Realism category with its presentation of the poor working class, its long nature shots, and the use of non-professional actors. Although the film is not a true documentary, the actors are in fact playing themselves in the film. Gray states that the “use of ordinary people rather than professional actors was intended to create a greater sense of realism and thus give the scenes more authentic power” (47, Gray). The focus of the film is mainly on the stripped down relationship between father and son, which is easily recognizable between these two characters. By introducing Natan to a simple but rather fulfilling lifestyle that is based on the beauty and appreciation of nature, the father is able to create a strong bond with his son. Through their relationship, the viewer may extract a deeper message that forces them to look at the way that they live, and the things that they value. This pays tribute to the “focus on emotional veracity rather than the articulation of abstract ideas” (46, Gray). The film does not present their lifestyle, or their relationships, in an idealistic fashion. The approach is more realistic, emphasizing the fact that although their life may be fulfilling, it may not be easy. The cinematography makes use of drawn out shots, accentuating the slow pace of life and beauty of the setting, making each scene important and revealing. This is a typical feature of Neo-Realism film, which generally avoids “trickery in editing, camerawork and lighting in favor of a more immediate ‘documentary’ style” (47).

In terms of significance or lessons revealed through this film, is very straightforward, allowing the viewer to take what they want from it. There is minimal dialogue, leaving the individual to create their own interpretations or meanings and refusing to “make easy moral judgments” (46, Gray). The “use of conversational speech rather than, formal, more literary language” (47, Gray) is yet another feature of neo-realism that is very suiting to this film in particular. The intent of “Alamar” is not limited to one message regarding basic human relationships, but is open to interpretation. It exposes a culture and a lifestyle while also creating a meaningful link to the landscape of the Banco Chinchorro coral reef ecosystem, which is currently under the attempt of being made into a protected World Heritage Site. Lastly, the film also speaks to important life lessons of “impermanence and letting go” ((Holden, 2010), which may apply to everyone in one way or another.

Radio Communities

The radio has long been a major auditory media source that has allowed the basic transmission of information, news and music to people living in a given area. In a way, it has made the world a smaller and more familiar place. Prior to this technology, direct information was typically limited in scope and rate of exchange. Information spread through local communities via word of mouth, or otherwise through written text, which was absorbed at a much slower pace and was typically unequally accessible to the masses. Today, individuals have the ability to tune into different radio stations worldwide and experience a diverse range of news reports, as well as opinions, ideas and music. Most of these individuals will come to favor certain stations or broadcasts that they enjoy or associate with on some level. The radio also provides an interactive venue, often allowing listeners to step out of their audience member role, and voice their own opinions on air. It engages the interests or concerns of its listeners and allows them to play a role in its functioning, thereby promoting the existence of an unseen community.

In her lecture, Tal Nitsan spoke about the women’s radio programming in Guatemala and its success in connecting women and making them more politically aware. In a country where violence against women is longstanding and prevalent, this radio show, controlled and led by women, has helped to bring Guatemalan women into the public sphere. As these women share many of the same ongoing issues, they are able to connect to one another to create a sense of belonging and community. The power of the radio as a media form has allowed them to become more conscious of the challenges they face as women, and understand them as more than just a private issue that is to be dealt with alone. The women exposed to this radio show have been given an opportunity to learn more in regards to their own rights and how to deal with the issues they face. By targeting a specific group of people, the radio show has led these women to coalesce and form a community joined together by their shared experiences and intentions to speak out against violence.

The radio has the ability to quickly connect people throughout their daily lives by targeting a certain audience. It has the capability to not only create a sense of community, as seen in the previous example, but also cater towards a community that already exists. In his article, Daniele Fisher describes the way in which the Indigenous radio broadcasting stations in Australia have helped to create a stronger link between “families, communities, and dispersed members of Australia’s Stolen Generations” (Fisher, 282) together. Through radio request programs, they have promoted a sense of kinship between indigenous individuals whom have been dispersed throughout the continent. The radio reflects the interests of these individuals and has facilitated the creation and recognition of an identity that is separate from the mainstream settled society of Australia. Within a culture that strongly values the kinship network, Fisher focuses on the importance of these shows in their ability to connect family members that have been separated, often as a result of incarceration. Via the radio, individuals are able to address others and create a momentary connection within this shared space. So, although these communities are already in existence apart from the radio, the medium aids in keeping a day-to-day connection between peoples while “eliciting and broadcasting the declarations of solidarity, hope, longing, and loss” (Fisher, 289).

Cultural Appropriation in the Media

As of recently, there has been a trend in the use of Native American and Aboriginal symbols and customs in the mainstream media and fashion. Within the past few years especially, there has been a huge incline of traditional objects such as cowichan sweaters, fashion headdresses, dream catchers and feather accessories, worn and used by many. The issue surrounding this is the misappropriation of these items, which are typically very sacred to the tribes from which they originate. One particularly offensive example of this misuse of cultural customs by the media is the 2004 Grammy performance of the song “Hey Ya” by Outkast. The performance begins with the group emerging from a Teepee, wearing highly sexualized and stereotypical traditional native attire. They begin by dancing in a way that mocks the style of dance that originates from the Powwow ceremony, whilst mimicking the recognizable chants also heard during these spiritual gatherings. Similarly, in a recent performance, musician Ke$ha chose to don the headdress, which again, has nothing to do with the song in particular. The headdress is an item with deep symbolic significance to Native Americans and is of spiritual value to its people. Traditionally, and to this day, it is worn by individuals of high status and important community leaders who have earned the their position and its accompanied right to wear the headdress. Also known as a War Bonnete, these pieces are traditionally reserved for men. Women who then wear them for the sake of fashion, as Ke$ha did, are showing their disregard for the values tied to this custom.

The use of these symbolic elements in the performances perpetuates a stereotype that began shortly after the colonization of North America and has been prevalent in all forms of media throughout history. The stereotype is one of a primitive and backwards Native American, which was fueled by Disney cartoons such as Pocahontas, made its way into all forms of media. Not only does this stereotype force a limited view of Native American groups, categorizing them all into one, but it also contributes to the continued suppression of these groups. The reuse of media is mentioned by Novak, who states that “contemporary media and their subjects are made to be detached, circulated and recontextualized, creating a tension between “tribute” and “mockery”” (Novak, 64). With their out-of-context use of symbolism, Outkast does not honor or pay tribute to aboriginal communities but rather, undermines them. By mocking and dismissing their cultural values and practices, the group feeds into the cycle of diminished power, which native groups have struggled with since the beginning of colonization.

In contrast to this example, we can look to Shakira’s song and video titled “Waka Waka” which was written and performed specifically in promotion of the World Cup in Africa. Shakira incorporates the lyrics and tune from the popular song Zangalewa, which was created by a group from Cameroon in honor of WWII skirmishers. The song was redone by Shakira, using traditional African instruments and dance routines, however, rather than simply copying these forms, she is able to incorporate her own Columbian culture. The lyrics are inspirational and supportive of African culture in a tasteful manner, rather than simply exploiting it. By integrating aspects her own culture into the performance, and creatively blending them into the original African theme, the piece exemplifies the positive outcomes of cultural diversity, while paying respect to the traditions of the separate cultures.

Sources:

http://www.gsusignal.com/opinions/mockery-of-native-heritage-only-perpetuates-native-issues-1.2231674

http://nativeappropriations.blogspot.com/2010/03/keha-headdress-and-trend-that-wont-go.html

Graffiti: Challenging Our Notions of Art

For centuries, cultures worldwide have struggled with the idea of art, and the precise definition of “art” in particular. Societies have privileged certain forms of art over others. The Western culture, for example, has distinguished “high” art forms, which include things such as paintings and sculptures, and has given these a superior level of value over other forms. Along with their celebrated status, these art forms are generally placed in venues that are separate from daily aspects of life, such as museums. Essentially, we have been cultured to expect art to come in certain styles and mediums, with specific features. We also, do not expect to encounter it unless we specifically go looking for it ourselves in the designated arenas that are known to hold art. However, with the pop-art movement, we have seen a shift in the ideas surrounding this topic. In his article, Riggle states that art has transformed and can “no longer be distinguished from nonart by its visual properties” and that instead, it “could look like, or be anything” (Riggle, 243).

Since the 1970’s, the spread of graffiti and street art throughout cities has resulted in mixed reactions ranging from pure aversion to a strong appreciation for this non-constrictive expression. Modern definitions of art have placed emphasis on the notion that art should be judged and appreciated on an individual scale as is depicted from the phrase “beauty is in the eye of the beholder”. However, as Riggle puts it “street art is deeply antithetical to the artworld” (Riggle, 248). It is a category that challenges our cemented or normalized ideas of how art should look, and where we should find it. For this reason, graffiti has often been classified as vandalism and has held strong negative connotations as an illegal act. Graffiti artists, as well as those who appreciate this form of art will contest this idea and claim that through this practice, they are “bringing the everyday into the artworld” (Riggle, 255).

The purposes of different graffiti styles can range from purely aesthetic, to claiming of territories, or to the spreading of politicized messages. This last form of graffiti has become very common and is thought to have the power to create “conversational commons wherein city inhabitants can confront one another” (Visconti, 521). In general, graffiti addresses the issue of public space and who has the rights to decide what is done with this public space. It challenges authority while the artists attempt to “claim entitlement to and sharing of city walls and thus question the boundaries of appropriation in public contexts” (Visconti, 518). One particular piece of graffiti that I have chosen to comment on is a piece that was found on the beach near Spanish Banks. It is simply the word “Vandalisn’t” in bold letters, placed on top of previous works of graffiti. It is a strong and eye-catching statement against the oppression of art in terms of who is allowed to produce it, what it should be, and where it is constricted to, spatially. Quite obviously, it is spreading the idea that graffiti defies these norms and should be appreciated for its artistic value rather than misinterpreted or devalued. In his article, Visconti shares the thoughts of graffiti artists and their desire to have an input on the way their city is presented, as they feel that this is their right as citizens, as well as artists. By sharing thought-provoking messages with the public, whatever the content may be related to, they feel as if they are engaging the citizens and making them more aware of certain issues. As one graffiti artist states in this article, street art “has a huge impact on culture” and “if we don’t like the world as it is, well then we need to step up to the canvas and paint a better picture and inhabit it” (Visconti, 522).

Replication of Art: "Jai Ho"

Included in the Academy Award winning film “Slumdog Millionaire” was a dance scene based on contemporary style East Indian music and dance. This particular style, often seen in Bollywood films, has a unique history based on traditional performance customs as well as the incorporation of Westernized popular culture influences. This mixing of cultures has resulted in a distinctive and well-known performance style. The particular scene from this film involves a group dance routine to the Oscar winning song entitled “Jai Ho”, written in Hindi, by A.R Rahman. After its release, the song became widely admired worldwide and was very quickly copied and reproduced by others, based on their own interpretations.

Soon after its appearance in the film, the song “Jai Ho” was translated into English and remade by the group “The Pussycat Dolls”, who also took elements of the original dance routine and incorporated them into their video. This song quickly made it onto the pop charts in many countries. While the original song corresponds to the film for which it was specifically written, the adopted version done by the Pussycat Dolls works to appeal to a general, Western audience. Rather than incorporating the Indian cultural aspects upon which the film is centered around, the newer version of this video disregards these crucial features of the original and creates a highly sexualized mimic that is void of any real cultural elements. In his article regarding the mechanical reproduction of art, Benjamin argues that original pieces of art are linked to a unique history and contain an “aura” that cannot be replicated. He states that “the technique of reproduction detaches the reproduced object from the domain of tradition” (Benjamin, 1936). This is highly evident in the reproductions of “Jai Ho” which tend to diminish the sense of cultural heritage that is so prominent in the original piece. Not only are the associated images from the film taken away, but the costumes, as well as the music are changed in order to suit a different audience. What has made this constant cultural borrowing possible is the spread of mass media that has allowed cultures worldwide to be readily accessible to each other. According to Benjamin, this is a result of “the desire of contemporary masses to bring things “closer” spatially and humanly” (Benjamin, 1936) that encourages the technological advancements aimed at creating a global culture. Media outlets including live television, film, websites, instant messaging and so on, permit the sharing of ideas or practices, which is arguably geared towards “overcoming the uniqueness of every reality by accepting its reproduction” (Benjamin, 1936). Benjamin also states that through these processes of exchange, and the creation of something new, the irreplaceable aura of the art is reduced. The art is detached from tradition and ritual and its specific underlying value is ultimately diminished. Mass media has allowed a major change in the nature of art overall. Not only has it become more political, as stated by Benjamin, but it has also become geared towards a potential display for the world to view. It has essentially become difficult for art pieces to remain unique and original, tied to its foundations. This is evident from the number of reproductions of the “Jai Ho” videos, which end up taking on their own stylistic forms.

What has the role of the media been on the cholera epidemic in Haiti?

Since the earthquake in Haiti occurred one year ago, the media has played a huge role in raising global awareness of the situation in the country, and consequently, fueling the donations to relief organizations. Billions of dollars have been promised to help aid the suffering in the country, from world organizations such as the Red Cross and Unicef, a portion of this money being donated by individual donations. Recently, a cholera outbreak has caused an epidemic in the already struggling country. It is stated that the earthquake created conditions in which the cholera virus could “flourish”, “with people forced to live in tent cities, taking their water from the same rivers where others wash and defecate” (Boseley). As a disease, cholera has not been known to occur in Haiti previously, and has therefore created confusion as to how it was able to spread here. Much of the questions revolve around the issue of what is being done with the billions of dollars worth of aid money.

The media has played a role in presenting the ongoing and almost overwhelming tragedy in the country, leaving many people with a sense of hopelessness in terms of what can and should be done. As an individual being bombarded with catastrophic images, one may feel a sense of duty to help. The easiest and most immediate way of doing so is through the donation of money. However, with all the money that has been raised, the media has not been clear in showing what is being done with these contributions. Whether these actions are being hidden from the public in order to create a constant feeling of urgency in order to keep the money coming in, or whether the money is simply not being put to proper use, is unknown. In terms of the cholera epidemic, many people have been left wondering why basic steps where not taken to prevent this sort of outbreak, while billions of dollars had been available. However, others believe that “if urgency were less of a factor, donations would surely decrease, and there would be less funds for the long term efforts” (Shikhvarger). This is understandable that efforts require not only money, but individuals and skilled workers to deliver aid and implement long-term infrastructures including shelter, drainage, and clean water facilities. However, it is also questionable as to why temporary measures such as vaccinations where not put into place. In his article “Alms Dealers”, Gourevitch claims that images of suffering are more likely to invoke aid and that often, stories are presented “without political or historical context” (106, Gourevitch).

The media creates a situation in which people are compelled to donate their money and feel then, as if they have done their part. There is a sense of disconnection from the real situation in Haiti. Gourevitch also claims that “Emergency aid weakens recipient governments, eroding their accountability and undermining their legitimacy” (108, Gourevitch). Of course, it would be completely unfair to simply ignore the situation in Haiti and let the country deal with the problem themselves, this statement has some truth to it as well, in terms of the way the situation is being managed . Under the Open Society Foundations, Daniel Magloire addresses this particular idea and is critical of the media coverage in regards to Haiti. She claims that as of now, the media is “crammed with personal commentary” and that the facts presented “lack integrity and the necessary background to make sense of them” (Magloire). She explains further, that “the events the media present exist without continuity” leaving the people that are actually experiencing the issues firsthand, unable to understand “the predicament in which they find themselves” (Magloire). She expresses the worthwhile concern that this in turn “weakens the government” and “creates a magical view of reality, one that assumes that human intervention can do little to change things for the better” (Magloire). It would be worthwhile to explore the ways in which current media representation is affecting the perceptions of Haitians themselves, and the consequences of this.

Yan Shikhvarger http://thenextweb.com/socialmedia/2010/02/18/haiti-disaster-relief-impact-social-digital-media/

Daniele Magloire http://blog.soros.org/2011/01/separating-magic-from-media-in-haiti/

Sarah Boseley http://www.guardian.co.uk/world/2010/nov/12/cholera-haiti