Perry Gilmore on her new book, Kisisi

Kisisi Cover

Press link: http://www.wiley.com/WileyCDA/WileyTitle/productCd-1119101573,subjectCd-AN43.html

Kisisi was published in cloth, paperback, and e-editions by Wiley Blackwell in 2016

Interview by Alma Gottlieb

reposted from her website: http://almagottlieb.com/2017/05/interview-with-perry-gilmore-about-kisisi-our-language-the-story-of-colin-and-sadiki/

Kisisi (Our Language): The Story of Colin and Sadiki chronicles a charming and, indeed, remarkable friendship that developed between two five-year-old boys—one (Sadiki), the son of a traditionally pastoralist Samburu family in Kenya working as a wage laborer for wealthy British landowners; the other (Colin), the son of a white American couple of means, both students, living in Kenya for 15 months of graduate research.

When they first met, the age-mate boys found themselves drawn to one another . . . but frustrated by their lack of a common language. Slowly, they developed their own language (dubbed “Kisisi” by Colin’s mother, Perry Gilmore), combining bits and pieces of Swahili and English into a constantly-evolving pidgin that they, alone, understood. Narrating the development of this unique pidgin, the book combines the engagingly personal voice of a proud and loving mom with the sharp observer’s eye of a trained anthropological linguist.

Renowned linguist, Deborah Tannen, has this to say about the book:

It’s part linguistic analysis, part gripping story of culture contact, part deeply moving memorial to a life tragically cut short. This book will fascinate anyone interested in language, children, or human experience.

The 136-page book has five chapters, and Gilmore writes like a dream. Once you start it, I dare you to put it down.

You can find a link to a sample chapter here (“Uweryumachini!: A Language Discovered”):

If you’d like to request an exam copy for a course you teach, follow this link.

You can find Perry Gilmore’s contact information here.

I recently interviewed Perry Gilmore online about the book. Here’s what she had to say (AG = Alma Gottlieb; PG = Perry Gilmore):

PG portrait

Perry Gilmore

 

AG: In the Prologue, you write of Colin and Sadiki:

[T]heir invented language helped them construct new identities and resist, transgress, and transform the marked postcolonial borders and harsh inequities of economics, race and culture that engulfed them and dominated the social power relationships and language ideologies that engaged all aspects of their daily lives (xvi).

As such, you call the book

a human story of irrepressible expressive creativity and the politics of language and oppression . . . an ethnographic exploration of young children’s critical and resilient discursive agency in their innocent yet effective quest for language equality and a place for their friendship on the rigid borders of their vastly different language and cultural worlds (p. xix).

Similarly, in the final chapter, you write:

“the children’s language . . . [created] opportunities for them to cross deeply entrenched colonial borders as effective change agents and as an official effective language policy makers” (p. 95).

Those are impressive claims. How would you respond to skeptics who might doubt the ability of five-year-old children to disrupt the intertwined and entrenched legacies of colonial domination and racism in East Africa?

Colin and Sadiki Planning a Pretend Hunt

Sadiki (left) and Colin (right) planning a pretend-hunt

PG: I agree that these are impressive claims! But I am convinced that they are reasonable and accurate insights about the social dynamics that Colin and Sadiki’s border-crossing friendship generated – for them and for those around them.

In the early pages of my book, I express the hope Colin and Sadiki’s story will be able to amaze the reader. The boys’ story urges us to look more closely and see all children with a little more awe, wonder, and respect.

I, myself, was almost incredulous when I first discovered that, before two months, the children were communicating non-stop and with great facility in a Swahili- sounding language that only the two of them understood. My own shock, disbelief, and curiosity prompted me to record their language carefully and document the full range of their social interactions. In 1975, when these events occurred, I, myself, was doubtful that Colin and Sadiki – at only five years of age – could actually be displaying such creative linguistic virtuosity, strong agentive social roles, and active resistance to the existing language ideologies and conventions that surrounded them.

Having been an elementary school teacher for six years, a language and literacy curriculum developer for school-age children, and a graduate student in developmental psychology with a focus on language acquisition, I had a strong background in child development and behavior. All that I had ever read about children and about language at that time completely defied what I was witnessing.

In Kisisi, I present what I hope is a range of convincing contextualized behavioral evidence to demonstrate not only the children’s language virtuosity but also their effective and impactful social agency. No doubt, some might be skeptical about the ability of two five-year-olds to interrupt an entrenched and oppressive colonial order. I, myself, initially struggled with these more speculative ethnographic insights. For example, I could answer questions about “what” they were speaking with empirical linguistic descriptions that identified specific lexical innovations and new syntactic constructions. I could answer questions about “how” they constructed meaning and negotiated shared information in an empirically detailed discourse analysis that, line-by-line, examined their turn-taking utterances. However, to answer questions about “why” they chose to invent and continue to use their own private pidgin language instead of the Up-Country Swahili that they were expected to use, I used an ethnographic analysis that is necessarily more exploratory in nature and more interpretive in identifying underlying meanings.

A skeptic – or any reader, for that matter – could, and probably should, question my ethnographic interpretations about the children’s resilient and transformative agency. It was my task in the book to provide enough of their story to convincingly demonstrate their effective resistance in a rich description. I hope I accomplished that. As with all ethnographic work, however, I did not and cannot “prove” my analysis; instead, I explore its underlying meanings.

The case of the boys’ friendship, and the ephemeral invented language that helped create and sustain it, presents a provocative extreme along a continuum of possibilities in examining language choices and behaviors in social practice. The example also provides a lens for understanding how young members of language communities use and think about language – how they clearly exercise language choice, change, and possibility.

It is only in recent years, especially in the new and growing field of the anthropology of childhood, that children’s agentive behavior and early language ideologies have been recognized and explored. In earlier anthropological studies, children had generally been seen as the recipients of generational cultural transmission, rather than seen as contributors toand co-constructors of their own worlds. The role of children as language innovators and de facto language policy makers has been largely understudied, undocumented, and even ignored. This case of language invention provides documentation of children’s language creativity; gives insight into the agentive roles of children as language innovators in multilingual contact situations; and sheds new light on questions of language genesis, change, shift, and maintenance.

Even two-year-olds make their own decisions about language choice in multilingual settings. For example, in my Indigenous language work in Alaska, I saw young Yu’pik mothers in tears when their two-year-olds could understand everything their mothers said to them in Yu’pik, but would only answer in English. Somehow, much to the pain of their families, these very young language learners had made their own decision to choose the dominant English language over their Alaska Native heritage language. Examples like these are widespread and clearly demonstrate that very young children can and do resist existing language ideologies and exercise their own language choices.

Colin and Sadiki’s isolated and remote rural situation contributed to their more extreme language innovation, collaborative language choices, and social practices. I have argued that the children, by choosing to sustain, expand, and develop their own private language, resisted the dominant language ideologies that represented the hegemonic, racialized, post-colonial order of newly independent Kenya. Their public uses of their private language made a symbolic statement about what I describe as their “cultural critique” of an oppressive regime in which their own cross-racial friendship was considered by many as a violation of social norms. The boys refused to docilely participate in the existing colonial order and rejected the Up-Country Swahili language that was designated to keep that order in place. They resisted being socialized into a language ideology they rejected, and instead created a new language ideology that allowed a safe and celebrated space for their friendship. Sadiki and Colin used their language to deconstruct a colonial culture of fear and silence and reconstructed their own counter-culture of courage and voice.

Their resistance and language ideologies may not have been articulated with theoretical vocabulary, but they were boldly enacted. The boys did not resist through anger or aggression. Instead their effective, border-crossing agency was accomplished through loving verbal art and play. Their joy-filled language practices challenged the oppressive colonial culture that surrounded them, identifying them as a distinct and separate speech community that valorized its own social justice values and allowed a space for their treasured border-crossing friendship.

Colin & Sadiki-Proud Pretend Hunters

Colin (left) and Sadiki (right)–proud pretend-hunters

AG: What a persuasive response! I dare a reader to remain unconvinced. . .

In the book, you point out that, until recently, scholars of language overlooked children’s linguistic experiences as unimportant. How does your book contribute to developing scholarship about children’s language practices? Does what you observed about the development of Kisisi suggest anything about the origins of our species’ linguistic abilities?

PG: For centuries, speculations about the origins of human language and the genesis of new languages have presented daunting questions for philosophers, language experts, historians, and scientists. These questions had always fascinated me. My primary reason for being in Kenya in the first place was to study baboon communication. This type of ethological fieldwork was in part driven by a fascination for primate studies and its potential for illuminating the origin of language in the human species. The study of nonhuman primates in their natural habitat was a relatively new research practice at that time. Naturalistic, long-term primate studies promised to be a valuable source of information concerning possible models of early hominid behavior and communication. I had no way of predicting that it would be my son’s unplanned and serendipitous close friendship with his Samburu neighbor that would offer me an even more provocative language origin story!

Ethnographic studies of young children’s language socialization were just beginning to emerge as an area of interest and significance. In striking contrast to earlier widespread Piagetian language studies, which characterized children as developmentally egocentric and incapable of modifying their speech for an interlocutor, newer observational studies showed strong socio-centric abilities of very young children and even babies. For example, Elinor Ochs (1977) demonstrated that her infant twins were able to take conversational turns and repeat each other’s pre-linguistic babbling utterances. These findings in the late ‘70s defied the long-held Piagetian claims of egocentrism. Of course, Ochs’ work had not yet been written or published when I witnessed Colin and Sadiki’s socio-centric language invention.

The infamous “forbidden experiments” recounted by Herodotus and others, the failed and poignant attempts to teach feral children to speak (e.g., Itard’s Wild Child, and the case of Genie), questionable research proposals designed to create a new pidgin language by isolating speakers of different languages on a small island (e.g., Derek Bickerton), the study of a new sign language created by deaf children in Nicaraguatwin languages – all these cases were seen to hold the promise of finding the secrets of language origins and genesis. The study of pidgin and creole languages has similarly been seen as a fascinating place to see language develop and change over time.

The study of Colin and Sadiki’s language adds to this literature in captivating ways. It is a rare, first-hand account of an emerging language-in-the-making. Most of the examples of “new languages” are anecdotal and discovered after the fact. I was in an unusual situation whereby I could document the boys’ language practices as they occurred over time. Invaluable also was the benefit of seeing all of their behavior in social context. The ethnographic details of their situated everyday language practices were unique compared to other studies. These ethnographic data allowed for a more “emic” interpretation of the functions, uses, and meanings of their communication in context. This “ethnography of communication” approach enabled me to describe the children as members of a vibrant (if tiny) “speech community” who used their new language for specific purposes and in specific situations. I did not simply provide a structural description of their “language” in a vacuum but in the context of their complex, multilingual social life.

What can Colin and Sadiki teach us all about human language and about children’s language? One reviewer, a linguist and pidgin/creole scholar, has commented that Kisisi “shows that two five-six year old children can create a new grammatical system” and it “can happen fast.” I suggest that the boys can teach us many things about children and language. What seemed to me at first to be a small and simple story of two children inventing a language turned out to be a story that was complex, nuanced, and multilayered. Their experiences raise many profound questions causing us to rethink common assumptions about children and about language. Their “not-so-simple” story provides provocative insights about some very big ideas concerning language origins, children’s innovative language competencies, and the significant role of play and verbal art in language genesis. Their experience provides compelling evidence concerning the agentive roles that very young children can exercise in language and culture resistance, choice, and change.

Sadiki and Colin’s language began in response to a pragmatic need to understand each other in order to be playmates and friends. Their early genesis of an original, simplified Swahili pidgin served that immediate function, facilitating their play and budding friendship. As time went on and their close bonds deepened – even as they had learned and used other local languages – they continued to use and expand Kisisi, its linguistic form and structure, and its semiotic functions. It was fun. It was secret. It was theirs. It was an artistic verbal spectacle that surprised and captivated unsuspecting audiences. Their new language bonded them as much as it reflected their bonds. They created a secret language with a public function. Through their language use, they carved a new, exclusive, and symbolically resonant space, a separate universe for their controversial friendship.

Their experience taught me that we scholars of childhood need to view all children’s language, in its many complex forms, as inevitably intertwined with the lives and meanings of the children who use it.

Colin & Sadiki Closing the Paddock Gate

Colin (left) and Sadiki (right) closing the paddock gate

AG: You lived in Kenya, where the events described in this book occurred, some 40+ years ago. Some people might think that the data are too old to be relevant; others might think you’ve forgotten too much by now to write accurately about the events. Can you talk about the advantages of waiting so long to write about past events?

PG: Producing what Johannes Fabian would describe as a “late ethnography” that (re)presents and interprets historically situated events and practices, I have written this account forty years after I experienced it. I had deliberately accumulated a substantial archive during my time on Kekopey Ranch in Gilgil, Kenya. Like so many who had come before me, I intended to write a book about my time in Africa–although I originally thought my book might be about my life with the baboons I was studying. With that in mind, I was very meticulous about keeping lengthy journals and records. I also kept carbon copies of all the letters I wrote to friends and family back home. And I kept copies of the audio cassette voice letters we regularly sent back and forth to the States. Those voice letters included rich descriptions of our activities and environment, as well as many instances where Sadiki and Colin told jokes, recounted events, and sang songs for Colin’s grandmother, other relatives, and close friends. Because I was fascinated with their new language, I made regular tape recordings of Sadiki and Colin’s language interactions in a range of contexts and kept detailed notes about and translations of their developing language.

At the time, I was a professional writer for a nationally funded educational laboratory, Research for Better Schools, Inc. (RBS). I was on leave to do the baboon research but was able to do freelance writing for RBS drawing on my Kenya experiences. I mostly wrote children’s poetry and short stories for an anthology for a reading and literature curriculum we had been developing. (I had a wonderful supervisor at RBS who arranged for me to continue as a long distance writer on our project. This was amazing since it was long before fax machines, e-mails, Skype and scans! The international packages took six to eight weeks to arrive at their destinations.) I did this writing for the entire time I was in the field. The poetry and stories I wrote were largely focused on the boys and necessarily captured many subtle details and evocative descriptions of their daily life events.

The letters, journals, notes, recordings, and RBS writings all provided an extremely rich archive for me to draw on, decades later. Even forty years on, the accounts seem vibrant and vivid, and the now-digitized recordings bring the children’s giggling voices right into the room. I also maintained a growing library of local books, newspapers, documents, and articles that captured the local colonial life of the period. Furthermore, I drew on the parallel memories of many colleagues, friends, and Sadiki and his family, who lived with us in Kenya at the time. Many of them were kind enough to read early drafts of the book and/or talk with me about these past times and events.

You ask about the advantages of waiting to write about past events. One of the most exciting advantages of writing the book now is that over these decades, the field has grown so rich theoretically, and that has allowed me a range of theories, concepts, and language to work with that did not exist before. When I was first examining their behaviors, we didn’t really have the theoretical frameworks or the critical language to fully describe or understand what the boys were doing. Post-colonial studies, critical ethnography, language socialization, power and hegemony, decolonizing methodologies, agency, resistance and language ideologies didn’t yet exist as areas of study. I was better able to capture all aspects of their profound and complex story by relying more heavily on more recently developed ideas as central issues in telling their story. It was as if the field finally caught up to the boys!

AG: Ha, yes. We sometimes talk about scholars being “ahead of their time.” In this case, two five-year-olds proved “ahead of the scholars’ time”!

In that regard, in the Epilogue, you suggest that Kisisi offers pedagogical implications for language learning (including bilingual education) that could prove useful to teachers of students at various levels and in various contexts. Can you share some specific ideas you might have along those lines?

PG: Ethnographic inquiry about children’s language practices can inform and often enlighten educators. Ethnography can expose children’s language competencies that hide in plain sight, often unnoticed and unimagined. Kisisi can provide one ethnographic account of young children’s competencies that might help teachers look at their own students differently. Teachers might be encouraged to use an ethnographic lens in their own daily pedagogy. An ethnographic eye can reveal otherwise unseen or unrecognized competencies. Ethnographies like Kisisi can present strong counter-narratives to a dominant, destructive, deficit discourse that unfortunately persists in many educational settings. In a time when deficit arguments continue to hang heavy in US educational circles – fueled, for example, by the so-called “30 million word gap” research (Hart and Risley 1995, 2003), which falsely argues that low-income children in the U.S. at three years of age have been exposed to millions of fewer words than have been their wealthy counterparts – it’s a good time for teachers to use an ethnographic eye to confront the unequal power arrangements that obscure the potential linguistic talent, virtuosity, and strength we need to recognize and nurture in all children. By paying close attention and documenting children’s everyday talk, teachers can identify competencies and start to work from from a resource-rich stance rather than a deficit bias. All students come to schools with naturally creative and flexible multilingual and translanguaging capabilities. Colin and Sadiki are not unique. They demonstrate the fluid language abilities that all children are capable of. What is needed is a safe and respectful space to use language(s) in ways that enhance rather than threaten children’s identities and ideologies. When teachers create those meaningful contexts, language learning and use will flourish.

AG: Speaking of which . . . President Trump began his presidency with an executive order founded in deep suspicion of immigrants and refugees. Your book seems founded in the opposite aim: the urge to find the common humanity linking young children from radically different cultural traditions, historical contexts, economic resources, and life options. Have you had any reactions to your book from readers who might have approached it from something closer to Pres. Trump’s position of skepticism? More broadly, do you think your book, and others like it, can make inroads among those who hold deep convictions about the unbridgeable divides separating people via discourses of “otherness”?

PG: In an era of division, I have had very positive responses to Colin and Sadiki’s story. I believe the boys touch a place of hope and optimism in the hearts of those who have read the book. In this Trump era, Sadiki and Colin’s story reinforces a vision of building bridges, not walls. I think it sparks a yearning for deeper human connections with the “other.”
Colin and Sadiki Running in the Tall Grass w Perry Gilmore

Perry Gilmore, Colin and Sadiki walking through tall grasses

AG: Who do you hope will read this book—among scholars/students, policy makers/politicians, and the general public? What’s your fantasy for the impact that this book could have, if it were read by the right people?

PG: I hope a wide array of people will read the book. The two boys offer us a beautiful lesson in humanity. Love and play are at the heart of their creative language virtuosity and their healing, social justice transformations. I hope those who read the book will forever after watch all children with more awe and wonder! Linguists, anthropologist, educators, policy makers, and the general public can all find something in the book for them. The boys have left us a unique gift – a rare language legacy; and a human story of irrepressible expressive creativity and resilience in challenging the politics of language and oppression.

And, finally, I wrote this book as a memorial tribute to my son, Colin Gilmore, whose life was cut short by a drunk driver when he was only 18 years old. One clear hope of mine is that readers will remember Colin and the courageous and loving lessons he and his dear friend, Sadiki, left us.

Kit Woolard on her new book, Singular and Plural

https://global.oup.com/academic/product/singular-and-plural-9780190258627

Interview by Ilana Gershon

The title of your book, “Singular and Plural,” invokes familiar grammatical categories, but the subtitle “Ideologies of Linguistic Authority….” suggests they have another meaning here. Why did you choose that title, and what do those terms have to do with linguistic ideologies?

Those two terms cropped up so centrally in public discourse about the Catalan language during my fieldwork that it was hard to resist a linguistic pun (and I’ve always had a weakness for those in my titles, anyway). Among historically minoritized languages, Catalan has made an unusually successful bid to become a public language since Catalonia regained political in 1979. That change has involved not only political institutions, but also a shift in the ideological foundations of linguistic authority, and that shift has been from stressing linguistic singularity to plurality.

Traditionally, Catalan has been defended as Catalonia’s “own” language and billed as the defining criterion of the distinctive essence or “singularity” of Catalans as a people. But for more than half a century now, the majority of the population has been of immigrant, non-Catalan speaking descent, creating an uncomfortable ideological tension. Since the turn of the millennium, there has been a trend to talk about Catalan society as pluralistic and plurilingual (in pointed contrast not just to monolingualism, but to “bilingualism” with Spanish). Catalonia is now defended – and marketed – as at one and the same time linguistically singular (with the Catalan language as a distinctive brand), and socially and linguistically plural: more open, multifaceted, and fluid than Castilian Spain. It’s important to grasp this in order to understand the surprising strength and complexity of the Catalan sovereignty movement, which is coming to a head right now, with a referendum on independence set for October 1 that has been declared illegal by the Spanish government in an unresolved standoff.  Most outside political commentators try to impose on this either a traditional Romantic nationalist vision of a clash between two primordially distinct ethnolinguistic groups, or else a purely economic motivation, but neither captures the actual, more complicated dynamics, especially their sociolinguistic dimension.

In this age of Brexit, Trumpism, the National Front, etc. outsiders are always surprised and skeptical that there is no xenophobic, anti-immigrant rhetoric in the Catalan independence movement, but there really isn’t (which is not to say that there’s no xenophobia in Catalonia, that’s another story.) This is not a nativist social movement, and that’s consistent with the developments in linguistic ideology that I found in the period just before the current sovereignty movement broke into the public eye.

To understand the basic argument of your book, readers have to understand language ideologies that locate their authority in authenticity versus ones that locate their authority in anonymity, and how these two forms are co-constituted.  Could you explain these and their significance as though to a curious and enthusiastic undergraduate (who isn’t even tempted to text and is nodding vigorously)?

That would be a pleasure…language ideologies allow one language rather than another to look and sound authoritative, giving institutions and speakers legitimacy and persuasive power in people’s eyes and ears. That power is why such ideologies are important (so I hope you won’t be tempted to text yet). What I call anonymity and authenticity are just two of the possible ideological bases, but these are the ones that have dominated in modernity. Languages that draw on the authority of “anonymity” are represented as neutral, belonging to everyone rather than any place or group in particular, able to express any perspective, and available for all to take up. Not surprisingly, they are the dominant languages. We use the term anonymity to capture the way they can come to be perceived, quite literally heard, as a deracinated “voice from nowhere.”

In contrast, the value of ideological “authenticity” is reserved for languages heard as the voice of someone and somewhere very particular. Linguistic authenticity belongs only to speakers who can claim to be rooted in that particular experience. And in turn the language is taken to be suitable for expressing only that particular perspective. So, authenticity ends up limiting the range of a language and its speakers in the name of valuing it, and creates a sense of illicit appropriation on the one hand or betrayal of one’s true self on the other for those who break the mold. This means that these language ideologies are not just important public matters, they can also be intimately intertwined with individuals’ sense of identity, and bring them personal pain as well as joy, as my informants poignantly recounted to me. (Are you still nodding in vigorous agreement?)

Ideologies are historical creations that take work to sustain, and they can change over time.  I found such changes across the lives of my individual informants as well as in public controversies, and even in linguistic humor, one of my favorite sources of evidence for language ideology. The struggle between Catalan and Castilian for social terrain and persuasive power used to be waged mostly in terms of authenticity – that “singularity” and territorial rootedness of Catalan –  but now there are competing claims to anonymity and cosmopolitanism made for each language. Catalan activists work to debunk Castilian assumptions of the privileges of linguistic anonymity – ‘it’s just a more useful language for everyone; let’s be rational’ – at the same time as linguistic policy and use of Catalan in schools has disrupted the constraints of authenticity that prevented immigrant-descent “New Speakers” from taking it up. I was especially struck by an emerging conception of what I think of as a post-natural sense of personal authenticity as a project, in place of the traditional Romantic vision of the essential, primordial self wedded to a first language. This newer DIY self, no doubt linked to the neoliberal vision of which we are often critical, values willful choice and multilingualism in place of a primordial and seemingly natural relation to language.  I saw this new stance as much in my interviewees’ accounts of how they grew from their earlier monolingual selves as children of working-class immigrants to comfortable bilinguals or multilinguals as I did in public rhetoric. This is one of the ways in which the conception of Catalonia as “plural” appears.

Part of what makes this book such a valuable and insightful take on language ideologies is that you build on decades of research in which you can explore how people’s attitudes and practices have changed over time.  In addressing changes to how authenticity and anonymity are co-constituted, you evocatively claim in your conclusion that “Around the world, people are no longer so certain just what a normal language is.” (304)  How has this uncertainty affected people’s relationships to theirs and others’ linguistic identities?

Catalan speakers and activists have long wished that Catalan could just be a “normal” language, and they even call the goal of extending the use of Catalan “normalization.” By “normal” they mean a language that is used routinely, without fanfare, in any domain of social activity by anyone. In “normal” societies, the thinking went, people “normally” use just one language for all their communicative purposes. We linguistic anthropologists take it for granted that such anonymous monolingual normalcy rarely actually occurs, and where it does it takes work to maintain. But dominant state nationalism became so banal, as Michael Billig has put it, that the work of constructing this “normalcy” remains as invisible to many social scientists and political commentators critical of minority linguistic movements as it does to everyday speakers.

Our era of globalization is unsettling such assumptions. The “normal” languages of the European nation-states, even the larger languages like French, German, and even Spanish that were the model for this normalcy that Catalanists longed for, have surrendered economic, educational, and media functions to global English.  It’s now “normal” for university programs throughout Europe and the rest of the world, and not just post-colonial societies, to function in English; for scholars and professionals to have to publish and work in English or perish; for people around the world not just to consume but to produce even transgressive cultural forms in English. The idea of a standard variety as somehow naturally the best form of a “normal” language has also been challenged by the so-called superdiversity resulting from large-scale transnational immigration as well as the digitally mediated celebration of nonstandard forms, whether in Sheng, AAVE, Estuary English, Rinkeby Swedish….  So, in many parts of Europe and beyond, some formerly taken-for-granted, valued forms and functions of “normal” language are in doubt. This shakes foundations of privilege and of institutions and also creates new forms of inequality and exploitation. But it also opens up ideological space for individuals to form new relationships with a broader set of linguistic forms, and to take pleasure in doing so. I’ve never been known as an optimist about anything, but this is a positive aspect of what I’ve seen developing in late modern Catalonia, in the decades since I first started my research there.

Quite a bit of research on bilingualism privileges high school students’ language ideologies and linguistic choices, yet your longstanding fieldwork in Barcelona shows that this might overlook how language ideologies change over a lifetime.  What does your decades-long research reveal about how language ideologies transform, and why focusing on high school might be too limiting for certain questions?

In hindsight, I guess it’s obvious that people change and we’re not all who we were in high school (fortunately, usually). By the same token, people’s stances toward languages can change, and their uses can follow as they move into the workplace, higher education, romance, parenting. But our sociolinguistic research has put such weight on that adolescent period as both fraught and decisive – for good practical as well as theoretical reasons, and yielding great insights – that I for one lost sight of the obvious. Maybe I should be embarrassed to admit how surprised I was when, twenty years after I had last seen my teenaged informants as pretty determined monolinguals, sometimes ashamed and resentful about the challenge of entering a Catalan-speaking social world, a number of them told me how they had left those fears and constraints behind: “Me, I’ve changed a lot!”  Children of immigrants who had felt shut out from Catalan as teenagers, whether by others or by their own fear of failure, spoke as adults of their pride in exercising new linguistic skills and in leaving behind shame about mistakes and inauthenticity as childish concerns. Of course, change can go in the other direction as well, and ethnolinguistic lines can harden just as they can blur, but most of my interviewees told me of their pride and satisfaction at what they saw as growing up linguistically.

I’d like to take a moment to mention the tremendous gratification that returning to my research site and finding these earlier informants twenty years later brought me. Maybe this is familiar to more traditional anthropologists, but I do urban ethnography in a metropolitan area of some four million people, using a patchwork of methods.  I had little expectation of finding the students from a high school classroom study twenty years earlier (and we could talk another time about the social conditions both of my expectation and the outcome). It was the most moving experience of my research career to get their phone calls or emails (some from Australia and England) answering the letter I had sent to their old addresses out of the blue, and to talk with them and learn what thoughtful, complex adults had grown from the perennial teenagers of the ethnographic present engraved in my mind. One of them still had the notebook I had given each one at the end of my research when they were fourteen, and he showed me that he still used it to jot down brief ideas for his music projects. In fact, he just emailed me this week to say again how much it meant to him as a teenager and still means to him now – thirty years later! – that someone came from such a distance not only to ask about a teenager’s opinions and experiences but to write them down for other people to learn about. I hope he finds that I did justice to them in this book.

Sam Byrd on his new book, The Sounds of Latinidad

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https://nyupress.org/books/9781479860425/

Interview by Ilana Gershon

If you found yourself at a party explaining that you recently published a book on the music playing in the background, how would you describe The Sounds of Latinidad?

bWhen I explain my research, folks often express surprise that the genres of Latin American and Latino music I studied have such a vibrant scene in Charlotte, North Carolina.  Most often their question is, “Why Charlotte?”  The Sounds of Latinidad is a book not just about Latino immigration, but about how the city influences musical production and consumption and how musicians and their audiences position themselves as urban subjects.  In the case of Charlotte, you have a globalizing financial center whose banks were key players in the 2008 financial crisis.  Latino immigrants were recruited to build the bank towers and continue to fill many of the low wage service sector jobs that support the finance industry.  Latino immigrants are still a very invisible population culturally– they are very visible politically in the sense that Mexican and Central American migrants are the target of much anti-immigrant vitriol– but musically most people still tend to think of the South as a black and white place: birthplace of the blues, country, gospel, or more recently, indie rock, southern rap, etc.  Latino musicians are changing that by bridging U.S. and Latin American genres, becoming southern and Latino.  The sounds of latinidad, and the contributions of other recent newcomers- Asian immigrants, Irish immigrants, northern transplants- are transforming the music of the region to a more globally engaged, diverse field.  But there still remains that feeling, that soul that makes the music southern.

When you describe Latino musicians as workers, you point out that the different bands you studied did not all choose the same paths towards being a band.  Some focused on appearing as professional as possible by showing up on time sober, others on seeming to have as good a time as possible, which can involve considerable amounts of alcohol.  Some spent hours and hours rehearsing, others met only to perform.  I was wondering if you could explain some of the working dilemmas that Latino musicians face in particular that allow for such a wide range of strategies?

In chapter 4 of The Sounds of Latinidad, I thought it vital to consider the working conditions of Latino musicians as work.  Far too often, we tend to conflate the extroverted performance styles that many musicians have and the casual way musical performance permeates our leisure time with play, as in musicians are just playing and not really doing difficult labor.  But my research showed how Latino musicians embody the precarious nature of work that is affecting nearly everybody it seems in a globalized neoliberal capitalist economy: they work gig to gig, receive low pay, are non-union, work irregular and sometime unpredictable hours, at times suffer from wage theft or work for “exposure”, and are subject to the vagaries of the consumption economy.  Their experiences are representative of the larger Latino immigrant population.  Their varying performance styles serve as a way for Latino musicians to define themselves and be defined by their audiences, in a way to “brand” themselves, but also to be part of the musical communities that are renegotiating what it means to be Latino in the face of stiff cultural opposition and misunderstanding on the part of non-Latinos in Charlotte.  In other words, for Banda TecnoCaliente, being professional and sober is part of their desire to present a positive image of Mexican immigrants in the face of negative stereotypes of their compatriots in the mainstream media and even from within the local Latino community.  For bands such as Bakalao Stars, having “as good a time as possible” is part of a strategy to use the consumption of Latino culture to bridge genres and connect to audience members of diverse Latin American origins and to non-Latino audiences.  In terms of working dilemmas, Banda TecnoCaliente has to differentiate themselves from other local bands of regional mexicano music to get hired by festival promoters who see bands as interchangeable parts.  Bands that play in bars and restaurants often employ a strategy of drinking and socializing with their audience to make them feel at home, this can lead to the dilemmas of substance abuse and marital infidelity, but also the further casualization of musicians’ labor as they break down the “fourth wall” of performance.

Given that genres for Latino musicians can so significantly signal race and class, how do these interpretations of what different genres index shape the songs of other artists they choose to cover?

 Musicians play what they know.  One striking aspect about Charlotte’s Latino musicians was their wide-ranging tastes. I subscribe to Pierre Bourdieu’s idea that taste is a socially-constructed facet of a person’s class background and habitus. Genres rules can often limit through their rhythm and sound, and through their association with a class identity.  While there is much of this constriction in Charlotte, there also is much borrowing from the diverse streams of culture that immigrants from across Latin America bring to the city.  Because there is no one dominant nationality (and thus genre) that takes precedence, I sense musicians’ openness to trying new ideas.  This is also reflective of  the cosmopolitan nature of popular music genres in Latin America– where Colombian cumbia reinvents itself in Argentina and Mexico, bachata travels outside Santo Domingo,  reggaetón welds together Puerto Rican and Panamian ingredients, or Latin American rock fans grow up idolizing Gustavo Cerati (Soda Stereo) and Slash (Guns N’ Roses). Musicians in Charlotte, I argue, have tried to compile a canon of important songs that they consider vital to cover regardless of genre through an informal process of debate and experimentation during performances. They also engage with their perceptions of what southern music is, integrating blues, jazz, and other American genres into their styles as they interact with local non-Latino musicians.

Some musicians were torn between identifying as Mexican or latinidad, what shaped those decisions and did those decisions change over time?

 “Latino,” “Hispanic” and now “Latinx” are almost entirely United States-specific terms. All the recent immigrants I met identified with their nationality first- Mexican, Venezuelan, Dominican, etc. (and sometimes even the region within the home country) and then begrudgingly Latino or Hispanic next.  I see identifying as Latino as a process that happens as immigrants become long-term residents of the United States and negotiate their new identities as immigrants by interacting with state bureaucracies where they check Latino/Hispanic on forms.  “Latino” also becomes a way to include other immigrants in a common group identity. “Latino” is much more acceptable to the second generation who grows up using the term as part of US identity politics, but increasingly are also the children of mixed-nationality or mixed-ethnicity marriages.  For musicians, the context is important; for certain genres retaining national identity is vital (regional mexicano, for example) while others allow for a more pan-Latino identity.

 You mention that musicians have to be seen to treat their audiences well by giving out a few copies of CDs and so on.  Could you talk a bit about how they use social media to manage this as well?  Are the social media expectations different for Latino musicians than they are for other types of musicians?

  This is a phenomenon to consider in the context of neoliberal economic shifts and the deep (and often devastating) changes technological innovation has wrought on the music industry.  It is now accepted practice for musicians to basically give away their recordings to audiences online (either directly, or though streaming services).  Bands make money through live shows and commercial royalties, if they make money at all. Charlotte’s Latino bands give away CDs to connect with their audience, to convince them to come to future shows, and share the music by word of mouth.  But they also want a tangible product that shows discerning listeners the quality of the music’s production and arrangement (sometimes done at a professional studio with great expense, often on a personal computer using recording software).

Social media is transforming the band-audience interaction.  Innovations like live videos on Facebook allow bands to post rehearsals and shows as they happen to encourage fans to attend, while event pages facilitate publicizing concerts, and band pages become places where people comment and make connections.  It can be a way for an up and coming band to rapidly build an audience.  But does social media presence just become a branding exercise that encourages slick imaging and promotion over musical quality?  Are musicians with less online technological expertise or financial resources, particularly recent, working-class immigrants, being left behind? We shall see.

Nina Sylvanus on her new book, Patterns in Circulation

http://press.uchicago.edu/ucp/books/book/chicago/P/bo25126083.html

Interview by Ilana Gershon

If you found yourself sharing a taxi to the AAA conference with a media anthropologist studying Chinese soap operas, how would you explain your book’s major points?

It’s funny that you mention soap operas since some of the names that are given to the (pagne) cloth that features at the heart of the book are named after (or inspired by) the characters of popular Ivorian and Latin American soap operas. A pattern called “Ricardo’s suitcase” for example is named after the hero of a Brazilian telenovela, and there are many others that broadcast images about power and politics, beauty and wealth, and romance and conflict between men and women in global West Africa. I’d probably continue to talk more about the framing and analytical connections between television, cloth, and the global-local mediations of popular culture, but let me get to the book’s major points.

In the book I take a mundane object –the pagne or the boldly patterned wrap that women wear in large parts of West Africa—to trace its origins, paths of circulation, and its technical and social production from Holland to Java, from Togo to the broader West African region, and now from China back to Africa. Drawing upon archival research and multi-sited fieldwork, the book theorizes the material economies of this iconic commodity (so-called Dutch wax cloth), born out of 19th-century Dutch colonial efforts to copy Javanese batik cloth for Southeast Asian markets, and reborn as a cultural and status marker for West African women. I think of this wax-printed cloth as a vibrant object and an assembled commodity, whose fabrication is uniquely entangled in both imperial circuits of commerce and more recent controversies over piracy and appropriation.

At the heart of this work are two metaphors. First is a visual metaphor: “pattern”–the idea of (memorable) recurring forms that we see and recognize across time and space. Secondly, there is “dense materiality” –the notion that there are properties inherent in the cloth that gives it material agency, and yet it is manipulated by its wearer and brought to life by the body. Through analysis of the cloth, my book reveals the making, unmaking and remaking of relationships between things, people, and the institutions that govern them. While the material object is at the center of the story, the book pays close attention to its various uses and to the way it extends out into different spaces: into the market, into the world of national Togolese politics, and into factory floors in Holland and China.

 

Chapter 3 focuses on analyzing wax cloth as a medium central to political spectacle and the formation of Togo as a nation, I was hoping you could talk a bit about the analytical implications of engaging with cloth this way.  Taking cloth to be a medium particularly well suited to the political in Togo allows you to add to Benedict Anderson’s argument about how national identity emerges, and am hoping you can talk about how using cloth makes this a specifically Togolese form of nationalism.

To answer this question is to address the chapter’s central arguments about how a material object such as cloth helped forge national identity in intimate and public terms in Togo. I have to start with the Nana Benz’s role in the representational order of the nation. The term Nana Benz refers to the powerful Togolese cloth traders who controlled the West African wax cloth trade from the 1950s to the 1990s, until political crisis, neoliberal reform and Chinese knock-offs derailed their hold on the economy. Named this way because these market ‘mothers’ used their wealth to buy the Mercedes Benz cars, which they then lent to the long time president-dictator, the Nana Benz built their financial power by controlling the circulation of cloth and embedding the cloth’s semiotic power (and their branding power) into the order of the nation. The Nana Benz made the nation both intimate and palpable, by trading on national associations in the popular pattern names they bestowed on pagne, thus enabling ordinary Togolese to partake in the narrative of nation-building through their everyday consumption of cloth.

Anderson’s argument about print capitalism is useful for considering how wax cloth (pagne) reached the masses, solidifying communal identities while registering national, ethnic, and gender differences. This is what makes cloth a particularly well-suited medium to the political and the specific brand of Togolese nationalism. The efficacy of this particular type of cloth and its association with Nana Benz-style nationalism is reflected in the common stories Togolese remember about the cloth traders, which offer insights into the way the Nana Benz (and their powerful stock in trade) captured people’s imaginations.  My analysis draws out the “dense materiality” of cloth and the way it can at once evoke sentiment and move imaginaries and bodies while grounding the political and the nation in its materiality and visibility. Because cloth provides a surface for multiple narrations and representations (the literal image layered onto the cloth for everyone to see and the bundle of unbridled meaning it generates and that is open for manipulation) it was made to work as a medium that inscribed and disseminated the political spectacle and embodied power. For instance, when the portrait of the Togolese dictator Eyadéma (in power for nearly 40 years) appeared on cloth, the fabric literally captured the body politic during political spectacles when wearing the presidential party pagne became practically obligatory.

 

During the course of your research, how to be a successful trader transformed to such a degree that who was or could be successful shifted dramatically.  Could you explain how trading cloth changed to such a degree during those ten years that the Nana Benz was replaced by the Nanette?

One of the most dramatic events that fundamentally changed the nature of the regional cloth trade was the 1994 currency devaluation of the West African CFA franc: when the price of cloth doubled over night and practically turned an everyday consumer good into a luxury item. At the same time, shifts in global production, the liberalization of Togo’s political, economic and public spheres and the undoing of the old system of cloth distribution, which had granted the women traders exclusive retail rights to the (Dutch) designs, all weakened the Nana Benz’s place in the market. With the breakdown of national protections in post-Cold War Togo –amidst the crisis of the state, the unraveling of the dictatorship and national structures (Charlie Piot describes this process brilliantly in Nostalgia for the Future)– the Nana Benz’s position as entrepreneurial nationals diminished, if it wasn’t devalued all together.  So when this system fell apart, a new set of female Togolese entrepreneurs, the Nanette, began collaborating with Chinese companies to produce better and better imitations of Dutch wax, undermining the very basis of class distinction in Togo as well as throwing wax cloth production and distribution into chaos.

Over the course of a decade-long fieldwork (2000-2010), I witnessed the struggles, and in some cases the financial ruin, of the old guard of cloth entrepreneurs whose profit margins continued to decline while some Nanettes accumulated fortunes. Although the Nana Benz initially denigrated the new China prints that the Nanettes distributed to cash-constrained consumers as fakes, some of the older women entered the China trade with varying degrees of success. For the new trade required a new kind of entrepreneurial subjectivity and savvy, including the ability to operate multiple trades at the same time.  As subtle neoliberal actors, the Nanettes fashioned themselves entrepreneurially through the flexibility of cloth, moving themselves and cloth in and out of Chinese factory floors. But tinkering with cloth design, engineering copies while teaching Chinese manufacturers about the qualia of cloth — its texture, color, and smell— to enhance its sensuous and aesthetic properties is also a high-risk affair. I saw several Nanettes ruin themselves when the containers of cloth they had commissioned arrived at the port with unsellable (that is, faulty) merchandise. Navigating the fluctuations of a market where profit is made from the speed of copying and moving things transnationally, requires a distinct set of entrepreneurial dispositions. A successful Nanette not only appropriates neoliberal logics but she mobilizes an autonomous set of practices and subjectivities by constantly moving herself and cloth, cultivating close relationships with powerful port brokers, and involving herself with innovative open-source design and production.

 

What does the story of China’s role in Africa look like when one begins by looking at the trade relationships surrounding cloth?

The circuit of capital built in the corridor between Africa and China is often portrayed as the new axis of South-South exploitation in Western media and policy discourses. Lurking behind this new axis are often ideological fears about the decline of the West in the world and the appearance of new global empires. Simplistic descriptions of Chinese neo-colonialism fall short in accounting for the complex ways that objects enter into and make social life, history and transnational trade. Looking closely at the materiality of trade and cloth allows moving beyond clichés about new forms of colonialism to ethnographically study what Chinese investment in Africa means for the people who work and live there.

What I try to show in the book is how China-in-Africa or China-in-Togo for that matter is made through complex patterns of coproduction and cross-positioning. Nanettes traveling to China leverage considerable agency with Chinese manufacturers who depend on the women’s deep knowledge about the qualia of cloth and consumer taste. These are intimate encounters, when traders spend weeks at a time on a single factory floor and become producers of their own brands. Which does not mean that traders and consumers view the dominance of Chinese goods on local markets as unproblematic. There are many symbols, metaphors and stories that are associated with Chinese traders who dupe the population with low quality goods in the city. Yet beliefs about the aggressive business practices of Chinese traders are often contradicted by the traders’ actual practices.

I am currently in Togo to work on my new project on Chinese investments in the Lomé port (Harboring the Future) and have had time to reconnect with the China-trading women in the market. While some complain that there is no longer money to be made in Chinese cloth (partially because there is too much of it), others speak of a strengthened partnership with their Chinese manufacturers. Certainly, what this trade relationship surrounding cloth reveals is the patterning of a new phase of global capitalism–whether that is capitalism with “Chinese characteristics” à la Aihwa Ong or a new form of (last) frontier capitalism remains to be seen.

 

Goebel interviews Lauren Zentz on her new book

http://www.multilingual-matters.com/display.asp?K=9781783098460

Interview by Zane Goebel

Briefly, what is this book about?

In this book I explore the history of power and human movement throughout the Indonesian archipelago in order to understand the scaling of language forms that has taken place over centuries, during colonialism and the development of the post-colonial state, and now in an Indonesia coping with the processes of ‘globalization’. I collected my data during a 2 month stay in Central Java in 2008, a 10 month stay in the 2009-10 school year, and another 2 month stay in the summer of 2013. My participants were English majors at a Christian university; I spent the 2009-10 school year teaching courses in their department ranging from Sociolinguistics to introductory speaking for first year majors. I recruited my focal participants in my Fall 2009 Sociolinguistics course. Over the course of our year together I interviewed the participants in individual and group settings, and spent time with them and other students outside of classes over dinner, coffee, church, or at their family homes.

In this book I first discuss the theoretical concepts I used to interpret my data, then I explore the history of power and migration throughout the archipelago. I relate this history then to the development of Indonesian as a national language, and to contemporary use and ‘loss’ of Javanese, the primary local language of Central Java. Finally I discuss the overwhelming presence of English in Indonesia, and how the ‘state project’ generally relies on and resists English and its presence in the country. In all, this is an examination of how these three languages fit within the national project, and how the state continues to try to influence the ways in which they are used and the ways in which they are tied to the national, local, and global identities of their citizens.

Which field(s) do you think your book engages with the most?

This book engages with the fields of Sociolinguistics, Linguistic Anthropology, and Applied Linguistics. I’ve been a lifelong ‘jack of all trades, master of none’, and so I prefer to reach across disciplinary boundaries as much as possible in trying to gain a holistic picture of my research context. It is in this sense that I find it useful to rely on the label of Applied Linguist, as through this title I feel less beholden to any one field, and I feel like I can drive my work toward my long-term end goal of improving societies through education, language learning, and intercultural exchange. I am also not a fully ‘pedigreed’ Linguistic Anthropologist, and so it is possible that a reader from the field of Linguistic Anthropology will find my work ‘not anthropological enough.’ And so again, the application of the Applied Linguist label, I feel, allows me more freedom to take my work in whatever directions I feel interested in for the purposes of the project at hand and for my own long-term goals.

Who have been the main scholars that have inspired you as you have written this book?

I have most strongly latched onto in my work the writings of Jan Blommaert, Alastair Pennycook, and Monica Heller for theory, and onto Anthropologists of Education for my methods, namely through foundational coursework with Perry Gilmore for Discourse Analysis, with Norma González for general field methods, and with Richard Ruíz for Language Policy studies.

Besides the normal suspects of Linguistic Anthropologists, Applied Linguistics folk and Indonesianists, who do you see as your main readership?

This is clearly a book for graduate students and professionals in the field. I hope that readers will take away from this book the importance of situating our work within deeper historical contexts. Part of this importance for me comes from the desire to explain that Indonesia’s current historical context is not the way it is simply because of the development of the nation-state in reaction to European colonialism. Many of Indonesia’s current sociolinguistic facts are due to human currents and power dynamics that have been going on for far longer. Those deeper historical dynamics are possibly much more evident on islands farther away from Indonesia’s political and cultural ‘centers’ like the islands of Java and Sumatra. It is probable that in Java we in fact see some of the consequences of colonialism and statification as much more influential in contemporary life, or at least that we see them quite differently across contexts within this one expansive country.

What do you think were your best strategies to help you get this book completed?

For me the answer was keeping a schedule. I’m no proponent of one size fits all solutions, but for me, having a life outside of my work is a serious key to maintaining sanity. During summer writing periods I would keep a regular 8-5ish work schedule with exercise before or after (or in the middle if I was getting antsy) work time, and I would take regular work breaks consisting of a walk outside (100 degree Fahrenheit heat be damned!). During semesters, I would limit teaching work to teaching days, and I would keep the other days of the week as research-only days. Tasks like grading were reserved for times when I was too tired to do much thought-intensive work.

As you wrote the book and reflected on your research methodologies, did anything strike you as something in need of change?

For me the biggest thing was adding the historical component. As I began writing my book I just felt that this was an empty story without that. So I spent a lot of time during the writing process digging into historical accounts of how Indonesia has come to be. Another important thing to me was taking time to problematize terms that earlier I did not have the time nor the experience to problematize; words such as ‘globalization’ and ‘translanguaging’/’polylanguaging’/etc. For the former I reached across disciplinary boundaries to see how other fields approach this term, and for the latter I took more time to delve into writings on these topics, from across linguistic fields.

Has this book motivated you to start the next book/project? If so, then can you tell us a little about your new work.

I’m not sure if writing a book inspires anyone to write another one! But I will admit that having written a first book makes me feel more confident in having a go at another one. That being said, I am currently reminded daily that having this experience under my belt does not make a second project go any faster or smoother. I have moved on to two new projects – neither in Indonesia – and starting from scratch is simply starting from scratch, no matter whether it’s your first, third, or fifth research project. It all just takes lots of time, reading, data collection (and revision and revision and revision), note taking, and patience.

 

Adam Sargent’s “Building Modern India”

My dissertation explores the politics and semiotics of labor in India’s modernizing construction industry.  I conducted fieldwork on a few key sites in the greater Delhi region where I attended to the ways workers, subcontractors and engineers understood their own and others’ productive activities.  Drawing on linguistic anthropology I treat these understandings of productive activity as what I call ideologies of labor, to highlight the ways in which labor is not a pre-given category of action but rather something that is created through acts of framing productive activity.  By analyzing how actors talked about, remunerated and recorded construction work I argue that production was shaped by tensions and translations between divergent ideologies of labor.

Page 99 falls in a chapter that illustrates one such tension in ideologies of labor based on fieldwork at a construction skill-training center in Faridabad.  As I explain earlier in the chapter students and administrators at the center understood the very same productive activities in divergent ways.  For administrators activities like carrying bricks were part of ‘practical’ training that would help students in their future careers as construction site supervisors. Students had quite a different understanding of this same activity, as for them brick carrying was considered ‘labor work’ and had the potential to transform them in a downwardly mobile direction into a laborer.  Thus while administrators attempted to strip activities like carrying bricks of their associations with labor, students often reframed these activities through humor.  Some students would refer to students who were carrying bricks as “laborers” which, as I point out on page 99, both construed the action of carrying bricks as “labor work” and not “practical” while also expressing an anxiety that engaging in such action would transform the actor into a laborer. The humor expressed a particular ideology of labor that was in opposition to that articulated by administrators. The remainder of the dissertation builds on this approach in analyzing production on a self-described “modern” construction site in Delhi.  I argue that the practices of audit and accounting that marked the site as “modern” depended on the productive translations used by subcontractors and others to articulate divergent ideologies of labor to one another.

Adam Sargent. 2017. “Building Modern India: Transformations of Labor in the Indian Construction Industry.” University of Chicago, Phd.

 

Ieva Jusionyte on her new book, Savage Frontier

Savage Frontier: Making News and Security on the Argentine Border by [Jusionyte, Ieva]

Jusionyte, Ieva. 2015. Savage Frontier: Making News and Security on the Argentine Border. Berkeley: University of California Press.

Interview by Ilana Gershon

What led you to study the conjunction between security and news reporting in this particular town?

I have first heard about the region encompassing parts of Argentina, Brazil, and Paraguay–commonly called “tri-border area” or “triple frontier”–through the media. It was portrayed as a dangerous place, a haven of organized crime, where trafficking of drugs and people, contraband, and money laundering were rampant. Having worked as a news reporter, I was aware that journalists tend to write stories that fit into larger narratives, which media organizations adjust depending on market logic as well as on their relationship with the government. We know that the media can both work as a propaganda machine, serving to uphold state ideologies, and it can be used as a watchdog on the political and economic establishment. My decision to go to the tri-border area was motivated by a wish to understand how local journalists, who live in the town about which they write, maneuver and maintain the boundary that divides illegal activities into two categories: those that can be made into news and those that must remain public secrets. Unlike reporters sent by national or international media, who come to the border looking for sensational stories and often reproduce the narrative of the violent and savage frontier, local journalists are also residents of the area, so they are directly invested in solving existing problems of crime and insecurity in their neighborhoods at the same time that they seek to depict the place as a safe destination for tourists. In the book, I show the day-to-day realities of journalists, as they balance between making news and making security, and argue that media practices in a remote border area must be understood within the historical context of state violence in the region.

How does turning to news-making as a fieldsite illuminate a distinctive connection between national identity and national security?

News-making is a key site in which national identity is produced and through which it is circulated. The idea that the press serves as a vehicle for creating nations as “imagined communities” is attributed to Benedict Anderson, and although his thesis has drawn criticism regarding the historical accuracy of his claims as they apply to Latin America, it continues to illuminate the process and the conditions of nation-building. Perhaps nowhere is this as clear as it is in the borderlands, at the edges of nation-state sovereignty, where the airwaves of one country compete against those of its neighbor’s. In the second half of the 20th century, when Argentina, Brazil, and other states in the region became concerned with national security (this was especially notable during the military regimes), the governments began paying much more attention to media broadcasters in border areas: investing in radio and television infrastructure, as a means to spread political discourses emanating from the state’s capital, was akin to defending the nation against a foreign invasion–one that was not carried out by an army of soldiers but advanced by cultural programming. In the tri-border area, this competition was between Argentine and Paraguayan media, transmitting in Spanish, and Brazilian media, transmitting in Portuguese. This battle over airwaves is still ongoing: complaints that signals from more potent Brazilian antennas were interfering with Argentine radio and television broadcasts were recurrent issues debated in town council meetings during my fieldwork–a proof that in the border region questions of national identity and national security continue to be highly contested to this day.

How do journalists’ symbiotic relationships with security forces such as police and military officers affect how crime is reported?

Security forces have a strong presence in the border area and they provide a substantial amount of news material for the local media, covering a wide range of topics, from routine crime investigations to military ceremonies and parades to large-scale intelligence operations. It is a symbiotic relationship because journalists need stories (reporters are often asked to produce half a dozen news pieces per day), while security forces want good publicity of their work and readily provide the media with interviews and press releases. However, this convenient arrangement means that journalists rarely ask difficult questions, for example, regarding police impunity, corruption, and complicity with criminal actors and organizations. Usually, crime stories are authored and authorized by the security forces, with the media serving merely as the outlet for circulating the official version of events to the public. But not all towns in the tri-border area are alike. Compared to the Argentine border town of Puerto Iguazú, where local news organizations are rather weak, do not have resources or training to do investigative journalism, and cannot protect reporters if they decided to pursue such stories, some media companies in Ciudad del Este, a larger city on the Paraguayan side of the border, have done important investigations into organized crime. Nevertheless, due to corruption that entangles politicians, business owners, law enforcement, and even the media, critical crime reporting remains severely limited in the region.

Often what is illegal is still socially acceptable, and especially in your fieldsite of a border town. How did journalists engage with this tension?  Did the medium the journalist was using – text or video – affect how they negotiated this tension?

Difference between practices that are legal or illegal and legitimate or illegitimate was very important for my attempt to understand how journalists decided what became news and what information was to remain off the record, as a public secret. Socially legitimate, albeit illegal activities, such as food contraband or smuggling of fuel, were rarely covered in the media. Journalists did not report on practices in which they (or their families, or neighbors) frequently participated. Even the tools of media production–cameras, cassettes, computers–were regularly bought in Paraguay and brought across the border into Argentina illegally, avoiding taxes and other import prohibitions. On rare occasions, when illegal and socially legitimate activities became the subject of news stories, the print media had an advantage over television and even over radio. I learnt this while working on an episode about irregular adoptions and child trafficking for an investigative television program “Proximidad”: people were more willing to share what they knew when the interaction between journalists and residents did not entail the use of cameras or voice recorders.

One of the themes in your book is a running comparison between being a journalist and an ethnographer, and you managed to be both in this Argentinean border town.  You also talk a great deal about how difficult it was to move knowledge that was generally known but not openly discussed into the public sphere.   Could you discuss whether it is a different process for a journalist and for an ethnographer, and if so, how?

Anthropologists and journalists both face the challenge of making knowledge that is familiar to few available to others, but it is important to recognize that our work follows professional standards and ethics that may diverge. Journalists must protect their sources, just as ethnographers promise confidentiality and anonymity to their research participants, so from the point of view of those asking the questions and observing behavior the difference is not that obvious. Yet people who agree to disclose sensitive information, to share their private stories, see a difference between a reporter and an ethnographer. On the one hand, people are more familiar with news media as a genre of representation, and this familiarity can help build trust, although it could also undermine it–people are aware that the media sensationalizes issues. Anthropology, on the other hand, is a mystery. When I arrived to start ethnographic fieldwork, people were reluctant to talk to me about anything illegal because they did not understand what the information would be used for: Would I give it to the media, to the police, or to the government? Would the effects of making it public hurt them? With time, as research participants begin to trust the anthropologist, they are more comfortable sharing what they know. But then it is up to the anthropologist to decide what to do with this newly acquired, sometimes dangerous knowledge. Unlike journalists, who publish stories in order to draw attention to an issue, such as drug smuggling or domestic violence, in hopes that public knowledge about it would lead to changing social or political circumstances that make it possible, anthropologists often use the knowledge they gather to engage in internal theoretical debates with other scholars. This scope of our work, limited to circulating the findings within the academe, is not always clear to the people who share their lives with us, sometimes in anticipation that their knowledge could change the status quo. Of course, there are anthropologists–sometimes called engaged anthropologists or public anthropologists–who try to reach out to broader audiences, make their publications part of public debates on current issues, and push for policy changes, but this public engagement is not (or not yet) considered a defining feature of the discipline.

 

Gabriele de Seta’s Postdigital China

Page 99 of my doctoral thesis Dajiangyou: Media practices of vernacular creativity in postdigital China is a messy microcosm that is yet quite representative of the whole dissertation. The page is positioned right at the beginning of the fourth chapter, in which I try to describe “contemporary China’s postdigital media ecologies” through the local tech buzzword weishidai [‘micro-era’], a historical moment

in which the Internet, fragmented, ubiquitous and personalized, disappears in the fabric of everyday life.

Even when read in isolation, this page feels as overbearing as the rest of the thesis, my writing rushing through composite terms and neologisms I deploy in order to pin down glimpses of the sociotechnical reality I thought I witnessed during my sparse months of fieldwork. The first couple of paragraphs are a really bad example of terminological proliferation in social science writing – hardly giving words any room to breathe, I propose a flurry of concepts: “technomorphology”, “weishidai”, “technological imaginary”, “postdigital”, “post-media” and “post-Internet”. Cobbling together my dissertation in a disciplinary context that emphasized ethnographic mystique over theoretical debate, the lexical flourishes offered by barely digested media theory readings made me feel sharper and safer.

My writing then moves to a couple of fieldwork impressions, but only after reframing my whole research project through a disillusioned self-reflection:

I traveled to different locations in Mainland China looking forward to collect the insights of media-savvy and enthusiastic Internet users, expecting to give voice to strong opinions on digital media and their culture. Instead, as time went on, I realized that most people I was talking to deemed my research topic to be extremely vague or not groundbreaking at all: some noticed the importance of an Internet connection only when it didn’t work, to then quickly realize they didn’t even know what they really wanted to use it for (Fig. 35); others were active content creators on different digital media platforms, yet didn’t have much to say about it: “Yes, feel free to use my photos. As for your questions, I would love to help you, but I really don’t have any opinion, I don’t want to disappoint you” (ZuoYou, May 2014, Shanghai).

Eventually, I didn’t use one any of my friend’s photos, and his opinions – even if articulated in small talk rather than formal interviews – kept informing my writing over the years. When I last saw him in Shanghai a few months ago, we spent an entire dinner talking about livestreaming apps.

gabriele.04.boredom

Figure 35, which appears at the bottom of the page, is a composite of screengrabs from social media posts made by another friend over a six-hour span during which her VPN (Virtual Private Network) software stopped working. Unable to access Facebook, she laments “the hopelessness of not being able to connect to the Internet” through a Chinese-language post on her WeChat account. When her VPN comes back online after a few hours, she writes an English-language post on Facebook noting how “have the network the but again don’t know what to do”. Besides the evident design similarities between the two platforms, and her decision to use different languages on each of them, this constructed image evokes the pragmatic use of software to circumvent Chinese Internet censorship while also resonating with a self-aware disenchantment about the feeling of purposelessness resulting from digital media use.

The page ends with the heading of section 4.2.1, “After digital media”. I clearly remember titling this section as a nod to Mark Hobart’s volume After culture: Anthropology as radical metaphysical critique. His use of the term “after”, in turn inspired by Johannes Fabian, is echoed by Florian Kramer’s definition of “post-digital” as

a contemporary disenchantment with digital information systems and media gadgets, or a period in which our fascination with these systems and gadgets has become historical […].

If page 99 of my dissertation manages to make a point about postdigital China, I hope it is the following: after digital media, there is more digital media.

de Seta, Gabriele. 2015. Dajiangyou: Media practices of vernacular creativity in postdigital China. PhD dissertation. The Hong Kong Polytechnic University, Hong Kong, China.

free download of dissertation available here: https://www.academia.edu/25790317/Dajiangyou_Media_practices_of_vernacular_creativity_in_postdigital_China

Mariam Durrani’s A Study on Mobility: Pakistani-origin Muslim Youth in Higher Education

Page 98-99 of my dissertation is the introduction to the fourth chapter of my dissertation. In this chapter, I organize my analysis on specific ‘encounters’, or instantiations of contact zones as part of my method to reframe migration processes as mobility. In so doing, my work broadens anthropological scholarship about how migration as mobility connects with gendered academic aspirations and culture-making for Pakistani Muslim youth, specifically focusing on education-driven migration.

During the first few weeks at the Pakistani college campus, the scholarship students, those moving from rural areas to the posh, manicured college campus in Lahore, experienced numerous moments of culture shock. Similarly, the journey from more conservative and Muslim-practicing home environments in the outer boroughs of New York City to NYPC’s Manhattan college campus entailed a similar kind of culture shock, particularly as students ‘carry’ with them mobility imaginaries from beyond the place-bound context. To ethnographically frame these moments of cultural shock/encounter, I refer to Pratt’s concept of “contact zones” to demarcate “social spaces where disparate cultures meet, clash, and grapple with each other, often in highly asymmetrical relations of domination and subordination” (1992:4). Contact zones are conceptualized to understand unequal relations of power between populations. For the students in Lahore, their geographical locations of origin are positioned on the peripheries of the Pakistani state, often from areas that have experienced the weight of the war against terrorism or from rural villages that do not benefit from the state’s urban development programs and policies. For students in NYC, their immigrant status and Pakistani cultural heritage contrasted with the American public city college they attended. Moreover, as students on financial aid, their material conditions poise them as less economically privileged than their upper middle class peers. Their socioeconomic status also determines their schooling background, their family histories, and several other indices that may heighten a sense of asymmetrical social relations. By considering an ethnography of encounters – here encounters with a cosmopolitan, urban set of imaginaries – we can extend our understanding of how unequal power dynamics interactively shape culture-making across sites of difference (Faier and Rofel 2014).

In this chapter, I discuss an incident of ethnic-based harassment faced by a participant on the Lahore campus. Pashtun freshmen students frequently are seen as minority students and can be identified based on their use of Pashto and/or sartorial choices and mannerisms. In this incident, Zahid’s experience of ethnic- based harassment offers an example of the more problematic encounters that can occur where the ethno-linguistic category of ‘Pashtun’ carries an additional set of identity categories, such as less urban and less cosmopolitan. While these students are physically mobile and have moved to Lahore, the stereotypic social personae of the Pashtun student compared to the Karachi-origin urban student can create social barriers that inhibit interpersonal mobility and communicative exchanges. These kinds of contact zones highlight the rural and urban (imagined) social types that are still very much observable. The more valuable or privileged social persona of Karachi-origin students often raise class-based anxieties for the Pashto-speaking youth, and vice versa Karachi-origin students, who might very well have their own village-to-city migration, are keen to highlight their cosmopolitanism. Similarly in NYC, I track Muslim student narratives about facing racially motivated encounters which have become especially worrisome in the last few years as anti-Muslim racism increased in the America. Other vignettes in this chapter follow such stories of encounter and how the diverse student populations in Lahore and New York City interpret these moments, manage their emerging identities in relation to structural power inequities that often marginalize migrant youth within and post-college, and negotiate difference and community-building in their respective urban locales.

My larger project argues that the rural to urban migration pattern and concomitant social imaginaries remained significant for both intra- and inter-national movements, here focused on the college campus as the primary contact zone. Through student narratives regarding their mobility aspirations, I analyze emergent and locale-specific discursive and embodied practices in relation to transnational, gendered, and piety-based markers of belonging. In this, I found that these practices often reified and critiqued traditional and modern forms of patriarchy. This study shows that how migration is but one part of larger subject-making processes observable among Pakistani-origin Muslim youth, allowing a deeper understanding of how transnational Muslim youth re-fashion their social identities and professional aspirations in the contemporary political and social climate.

Durrani, Mariam. 2016. A Study on Mobility: Pakistani-origin Muslim Youth in Higher Education. Phd dissertation, University of Pennsylvania.

Works Cited

Faier & Rofel. (2014). Ethnographies of Encounter. Annual Review of Anthropology, 43(1), 363–377.

Pratt. (1992). Arts of the Contact Zone. Profession: 33-40

 

 

Laura Bunting-Hudson’s The Art of the Hustle

While traditionally the neoliberal economic system has been characterized as one which militates against poor people and those that are oppressed, my research analyzes how ordinary people are using the political economy combined with resistance politics for their own advantages. This dissertation explores the political economy of rap music in Bogota, Colombia and how groups use diverse transnational business strategies in order to develop a new entertainment industry there. My work explores the social organizational strategies of multi-national rap polities, based in Bogota, as they utilize new forms of digital technology, and their street smart entrepreneurial skills to distribute popular music as well as to start horizontal business firms, in order to challenge the status quo within their communities.

On page 99, my dissertation is describing the ideology of many of the most successful rap groups in Bogota, Colombia. It illustrates the rappers counter-cultural system of values that comes from street codes one often finds in international street gangs. The rappers use these ideas in order to form a group of resistance artistic poets (rap) who believe in using the capitalistic system, forming a strong transnational network of Spanish rap elites and establishing businesses based on the groups ideology, in order to try to create societal change. In this section, I use FG Bailey’s concepts from political anthropology and Bruno Latour’s actor-network theory. Combining these theoretical frameworks allows for the ethnographic data to reveal the way that games are played by the rap polities, to demonstrate how the groups are organized, form networks, maintain those orders and the threats that rap polities encounter, in their aims at garnering fame, money and societal power. The stated goals of many of the rap polities are to challenge the current political and economic elites in Colombia whom they believe are an oligarchical regime, that unjustly take advantage of the people and resources of Colombia. The rap artists believe that by forming their own businesses, being able to create social and political solidarity around the dissemination of their messages contained within their music through mass communications networks and working hard for progressive change, Colombia can become a more equal and just nation. This dissertation showcases the rap artists quest for this kind of greater equity and justice in Bogota, Colombia.
Bunting-Hudson, Laura. 2017. The Art of the Hustle: A Study of the Rap Music Industry in Bogota, Colombia. Ph.d. diss. Teachers College, Columbia University.