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Time to get it out!

Published on October 10, 2012 by cicilie Posted in Cicilie among the Parisians, Music, literature, arts..., Post defence, Slam/Performance poetry

The last entries in this blog will concern what probably ought to be the final part of any research project: getting the material out and beyond a blog like this and the narrow circles of colleagues and the odd conference.

The first media to pick up on my finished thesis its defence was an art and culture program on NRK P2, the Norwegian equivalent to BBC Radio 4 or France Culture (or perhaps somewhere between the latter and France Info, since Norway can never come up with anything as high brow, philosophical and educational as France Culture…). I liked that it was this particular radio channel, and that it was the literary and arts aspect of the work that caught their eye, not the sociological or political. They wanted me to cycle down to their studio and talk about my project, experience, scientific treatment and its conclusions. My very first radio interview went quite well. They even made me spontaneously recite the poem I had performed a couple of times at slam sessions in Paris. I still find it quite touching to do that. The clip starts with an extract of Enfant de la ville by Grand Corps Malade (read interview about the album in French here), which is very typical of the most famous French slam artist, and perhaps also of French slam in general, as it treats the artist’s relationship to the city. At the end of the clip, Grand Corps Malade appears again in A la recherche where he is featured by two grand old men in French rap, Kery James and Oxmo Puccini. This is not very typical of the genre, but I think the journalists thought it worked well on the radio.

Here’s the clip: Kulturhuset, NRK P2, 27.09.12

The day afterwards, another of my favourite Norwegian media, Klassekampen, phoned for an interview. (It’s only accessible through logging in to something). The journalist is probably one of the most familiar with French literature and society here, and I appreciated her headline: “ Accuses the state from the stage”.

10 days intervals for a peaceful but alert diary-keeper’s mind

Published on March 25, 2010 by cicilie Posted in Blogging, Cicilie among the Parisians, Music, literature, arts...

Ethnographic documentation? Art? Anyway: It’s spring! Let not the expulsions blossom – Resist!
When I started blogging again, I gave myself a 10-days interval between blog posts. The interval should be long enough to be realistic and feel comfortable, but not so long that I lose sight of the trains of thought I keep on track here. To blog regularly, sharpens the attention (as I said a long time ago here) to the little tidbits that pop up in the mind which somehow connect to the research process, without being speaking directly to what I’m working on.

There are a couple of blog posts at various stages along the production line, but as I discovered today that I’m three days late for my self-imposed 10 days deadline, I’ll skip the mindfulness and instead just quickly sum up one thing I’ve been working on lately.

At the same time as I read Knausgård and pondered upon anthropological elements in novels, Aleksandra Bartoszko interviewed me (in Norwegian) about some photos I’d taken during my fieldwork in Paris. Inspired by an art exhibition (see the interviews with the artists Lange and Heier), she made a series of interviews on ethnography and art and asked me about how I saw the differences between the two. I’d never thought of my photos neither as ethnography nor as art, and she made me think about the criteria I – until then, unconsciously – confer on the one and the other. The co-occurrence of the interview and my plunge into fiction inspired me to initiate a workshop on Representations of social life (Norw.) at the Norwegian Anthropological Association’s annual meeting, which Aleksandra and I will co-chair.

Ethnographic documentation? Art? Anyway: It's spring! Let not the expulsions blossom - Resist!
When I started blogging again, I gave myself a 10-days interval between blog posts. The interval should be long enough to be realistic and feel comfortable, but not…

Writing and performance

Published on March 12, 2010 by cicilie Posted in Cicilie among the Parisians, Music, literature, arts..., Writing

It was hard picking a photo for this post. So many of my photos evoke memories from my many slam nights in Paris, but how to find a photo that can convey some of theses feelings to the readers of this blog… With this one, I hope to put across the mundaneness of French slam (the greengrocer’s Sharazade in the background), as well as some of it’s diversity of participants.

My thesis takes shape from the margins, and slowly, slowly am I circling in the core chapters. I don’t think this is a particularly good way of composing the general argument of the work, but I have a fairly good idea of why the core content just keep slipping away from me. The final part of this core, the chapter where I give an in depth analysis of the slam sessions, is finally now on its way. Thus on a deeper level, it feels like I’ve always had an idea of what goes on. But to actually describe what happens, is far harder. The first part of what I call the core, is thus just very hard to get a grip on.
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I’ve recently taken up again an excellent book on performance, Utopia in Performance, by Jill Dolan (she even has a blog!). In the introduction, I found a description of exactly what I’ve been struggling with:

How do we write about our own spectatorship in nuanced ways that capture the complicated emotions that the best theater experiences solicit? How do we place our own corporeal bodies in the service of those ineffable moments of insight, understanding, and love that utopian performatives usher into our hearts and minds? How do we theorize such moments, subjecting them to the rigor of our sharpest analysis while preserving the pleasure, the affective gifts that these moments share? (Dolan 2005: 8-9)

I could have quotes several passages on this subject from Dolan’s book. The way she writes about theatre and performance, fits as hand in glove with how I perceived the slam sessions. In some ways, it fits even better for the particular performance French slam poetry constitutes, as the boundary between spectators and performers is by definition blurred (to a far larger extent than in for instance US slam poetry). I’m itching to get deeper into this, but for now I’ll just give the word once more to professor Dolan:

How can we capture, in our discourse, not just the outlines of a performance’s structure and form, its content and the contours of its narrative, but the ineffable emotion it provokes in its moment of presence? How can we evoke, in writing, how its presence grounds us in a present, a moment of life at the theatre, that seems somehow imbued with our past and our future, at once? How can I summon for you here my own experience of the simultaneity of time that infuses my argument, and that I feel during my richest, most memorable visits to the theater… (Dolan 2005: 9).

And finally, as a motto for my further writing in the thesis, particularly since I will claim that French slam poetry upholds an ideal of society as genuinely cosmopolitan and democratic (that is Utopia in performance…):

But part of the challenge of writing about performance as a public practice, one that circulates extensively and has some social impact, is to make it live well beyond itself, to hold it visually in memory, to evoke it with words, and to share it widely, so that its effects and potential might be known (Dolan 2005: 9).

It was hard picking a photo for this post. So many of my photos evoke memories from my many slam nights in Paris, but how to find a photo that can convey some of theses feelings to the readers of…

Anthropologists and novelists, part two

Published on March 2, 2010 by cicilie Posted in Anthropological notes, Cicilie among the Parisians, Music, literature, arts..., Writing

Anthropology is just one way among many fields that try to make sense of and represent social life. A post ago I stated that it probably isn’t even the most superior at it. Funnily, in the days after I wrote that post, I read in the papers several similar comments made by other social scientists.

“The best novelists and playwrights are – almost by definition – those who understand human nature better than others” (the social and political theorist Jon Elster quoted by the ditto theorist Rune Slagstad in Morgenbladet 19-25, 2010. Jon Elster is interested in the role emotions play in relations to knowledge and behaviour. And no social scientist gets as deep into these intricacies as authors.

The gender researcher and novelist Wencke Müleisen has provided some fine social science inspired analyses of Knausgård’s writing earlier, and some days ago in a feminist column in Klassekampen she, too, ended her comment by singing the praise of novels:

A friend told me that while reading volume three [about childhood], she realised for the first time that her mother had behaved similarly [passive] in relation to her father’s aggressive behaviour. … It is hard to understand how this passive feminine violence seeps so invisibly into a kind of cultural gender pattern that one simply just doesn’t see it. In that respect, it is telling that in Knaugsård’s novel, [the mother’s deceit] is staged [“iscenesatt”] as absence and silence. Much seem to indicate that more readers get activated unpleasant memories of fathers’ aggression and mothers’ betrayals. The visibility of masculine violence makes us blind of the feminine passive acceptance. Language at work [“språkarbeid”] is needed. Novels can do that. (KK 22.02.2010, my translation)

Why is that? How do novelists do that? Does it have anything to say that the versimilitude (truthlikeness) of their depiction of the world within and around us resonate with the reader’s experience, rather than hinge on the logics of scientific methodology? Or is it a function of the literary language compared to concise concepts?

An Ariadne’s thread?

Published on February 23, 2010 by cicilie Posted in Anthropological notes, Cicilie among the Parisians, Music, literature, arts..., Politics

Souleymane Diamanka at Café Culturel in Saint Denis in the suburbs outside Paris

Haven’t I claim that French slam poetry can be seen as a commentary on and/or a representation of French society? Yes, certainly I have. From my very first slam session, I’ve felt that there was a strong connection between scene and society. And then, when I was exploring further the relations between anthropology and literature I wrote about in the previous post (and which I’ll come back to soon), I made a giant step forward in getting to grips with the relationship. Suddenly, I saw a clear connection between the slam scene in the years 2006-2007 and the riots in the autumn 2005 and the deepest oppositions in French society. All thanks to the ritual and performance theorist who for a long time has been looming in the background, or rather in the middle of the heaps of books I’m building my project upon. This is not to reduce the artistic element of the slam phenomenon. On the contrary, good ol’ Victor Turner conjoins the two – theatre and social drama – on a deeper level and shows how the two actually feed off each other.

Souleymane Diamanka at Café Culturel in Saint Denis in the suburbs outside Paris

Haven’t I claim that French slam poetry can be seen as a commentary on and/or a representation of French society? Yes, certainly I have. From my very first…