Istraživanje uz angažman zajednice i za zajednicu te njegovi ishodi: projekt mrežnog portala u Cape Bretonu, Nova Scotia, Kanada

Digital multimedia provides new opportunities not only for dissemination of research but also for the research process itself, entwined with creative work and public engagement. It can complement more familiar textual representations and ethnographies in ethnomusicology as well as take them in new directions. In this article, I describe an internet-based digital multimedia research project that I initiated in 2012 in Cape Breton, Nova Scotia, Canada. In addition to presenting rationales for its launch, together with theories, research and practice that informed its development and design, I overview and briefly chronicle how it provided opportunities for the development of collaborative interdisciplinary and community-engaged research relationships and methods, as well as the widespread dissemination of research. Critically reflecting upon this project, and on participant, partner and audience commentary, I observe that there is great potential in multimedia research as well as challenges and limitations.Autorica je u Cape Bretonu (Nova Scotia, Kanada) inicirala digitalni multimedijalni istraživački projekt, kojemu je glavna sastavnica mrežni portal diversitycapebreton.ca. Kontinuirano se razvija u tijesnoj suradnji sa samim zajednicama o kojima je riječ — onima podrijetlom iz istočne i srednje Europe, a obuhvaća digitalni repozitorij, virtualno uključivanje u njihove svjetove i druge interaktivne edukativne sadržaje. Namjera mu je nadoknaditi manjak u postojećim interpretacijama baštine Cape Bretona, usredotočenima na škotske i akadske karakteristike, predočujući raznolikost etnokulturnog profila ovoga otoka. Korisnici portala mogu pristupiti arhivskom gradivu kao što su fotografije, raznovrsni dokumenti te zvučni i video zapisi. Dostupni su i mnogobrojni interaktivni sadržaji, uključujući prethodno oblikovane izložbe (npr. zbirke usredotočene na glazbu, na povijest zajednica, pa su tu virtualni obilasci izložbenih postava, panoramski obilasci arhitektonske baštine, virtualne šetnje po četvrtima spomenutima u arhivskoj građi), nastavne materijale namijenjene učiteljima i virtualni svijet Cape Bretona po kojem se korisnici, nakon što stvore vlastiti lik, mogu kretati i doći u doticaj sa zvučnom i video građom vezanom uz važne lokacije u regiji. Portal je zamišljen kao široko dostupan živi repozitorij s rastućim fondom građe, što će omogućiti njezinu dugoročnu zaštitu, istraživanje i daljnje osnaživanje dijaloga i razmjene među svim dionicima i drugim zainteresiranim stranama. Takvo multimedijalno istraživanje posjeduje znatan potencijal da potpomogne angažman zajednica jer im pristupa na razumljiv način, povezujući privatnu, obrazovnu i baštinsku sferu. Javljaju se međutim i izazovi istraživanja provedenog uz angažman zajednice i za nju, napose kad istraživač radi s različitim zajednicama i živi među njima. Nadalje, ograničene mogućnosti programiranja te različita infrastrukturna i financijska ograničenja mogu utjecati i na multimedijalne alate. No oni, s druge strane, omogućuju nove i inovativne načine predstavljanja i dijeljena rezultata istraživanja povrh pukog tekstualnog predstavljanja, pohranu i očuvanje prikupljene građe te primjenu istraživanja na dobrobit istraživanih zajednica. Usto takvi alati potiču povezivanje umjetnosti i znanosti te nove tehnološke primjene. Projekt o kojemu je riječ visoko vrednuje sve sudjelujuće pojedince i zajednice, stavljajući naglasak na učenje u oba smjera, izgradnju i dijeljenje informacija te širenja znanja. Predstavlja vrijedan javni izvor o etnokulturnim skupinama koje su u Cape Bretonu aktivne od potkraj 19. stoljeća, no do danas su ostale mahom nevidljive. Osvjetljavajući iz novog ugla što to znači istraživati na atlantskoj obali Kanade, projekt promiče dublje razumijevanje kulturnih identiteta, te time odjekuje i povrh svog nacionalnog konteksta

Women Playing the Bandura : Challenging Discourses of Nationhood

As Ukraine’s national instrument, the bandura evokes contradictory and conflicting national narratives. In this article, the author provides a brief history of the bandura, including its role in Ukraine’s modem nation-building process, its performance practices and issues relating to gender. She examines contexts within which two main bandura performance styles are practiced, by relating them to specific events at the Bandura Festival 2000. Interviews with bandura player Nadia Tarnawska reveal how the Bandura Festival 2000 functions within and as a part of the continuing construction of the instruments history, and discourses of Ukrainianness. Tarnawska’s experiences constitute a poignant illustration of the nature of these discourses in relation to the Bandura Festival 2000, Ukrainian musical production more generally, and wider issues relating to gender and nationhood. For this reason, the author discusses the place of life stories in the larger context of changing musical practices.À titre d’instrument de musique national en Ukraine, le bandura évoque des récits nationaux contradictoires et conflictuels. Dans cet article, l’auteure présente un bref historique du bandura, à l’occasion duquel elle aborde le rôle de cet instrument dans le processus contemporain de construction de la nation, les pratiques de performance qui y sont liées et les questions auxquelles il donne lieu en lien avec le genre. Elle se penche sur les contextes dans lesquels deux modèles principaux d’exécution du bandura sont pratiqués, en relation avec le cas particulier du Bandura Festival 2000. Les entrevues avec la joueuse de bandura Nadia Tarnawska révèlent comment le Bandura Festival 2000 fonctionne à l’intérieur même et comme partie prenante de la continuelle construction de l’histoire de l’instrument et des discours d’« ukrainitude ». Les expériences de Tarnawska fournissent une illustration poignante de la nature de ce discours en relation avec le Bandura Festival 2000, la production musicale ukrainienne, plus généralement, et l’ensemble des questions liées au genre et à l’indépendance de la nation. Pour cette raison, l’auteure traite de la place des histoires de vie dans le large contexte du changement dans les pratiques musicales

A Song and Dance of Hypermasculinity: Performing Ukrainian Cossacks in Canada

no abstract --- JSTOR link to article (restricted access) https://www.jstor.org/stable/2431817

Youth-Engaged Art-Based Research in Cape Breton: Transcending Nations, Boundaries and Identities

In 2017, in conjunction with celebrations of 150 years of Canadian Confederation and with funding from government programs, young people from across Cape Breton Island were invited to participate in a performance creation project to explore narratives and experiences of migration and encounter. Youth (ranging in age from 7 to 19) from disparate communities, including Membertou Mic’maq Reserve, Chéticamp (an Acadian, Francophone community), Étoile de l’Acadie (a French immersion community in Sydney), and Whitney Pier (a community of immigrant cultures, primarily from Barbados, Italy, Newfoundland, Poland, Croatia and Ukraine) all met in their own communities. They listened to elders discuss their own experiences of migration and encounter, and then responded by creating new performance pieces grounded in song, dance, film (including new technologies such as virtual reality and 360 degree cameras), spoken word and story. They will come together on October 22nd to share their creative work with one another and with public audiences. I propose an examination of issues that arose during the creative process, and young participants’ post-process reflections, according to each of the ways in which Vertovec (1999) has identified transnationalism. Interpretations of the Cape Breton youths’ own senses of rooted place is positioned in relation to transnational experiences present within their communities. These young people’s expressions of the local (for example, Acadian step dance and Mi’kmaq drumming) morphs into expressions of the transnational (for example, hip hop and pop music production); musical expressions use so-called traditional instruments (bag pipes or hand drums), and also use DJ mixing techniques, djembe, Acadian folk music, and Elvis. Problematizing assumptions about what it is to be a Cape Bretoner, and interrogating how migration and resulting encounter have shaped how these young people choose to express themselves, this paper examines how these young people simultaneously express and contest transnationalism.   DOI: 10.1353/jeu.2018.001