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Chapter 11 - Methodologies Dialogue:

Archives and Embodiments

from Part III - Interpreting

Published online by Cambridge University Press:  01 February 2024

By
Adrian Curtin ,
Prarthana Purkayastha  and
meLê yamomo
Edited by
Tracy C. Davis  and
Paul Rae
Tracy C. Davis
Affiliation:
Northwestern University, Illinois
Paul Rae
Affiliation:
University of Melbourne
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Summary

In this conversation, Adrian Curtin, Prarthana Purkayastha, and meLê yamomo highlight how their research on sound and dance engages embodied knowledges and vice versa. They account for how archival work challenges presumptions about the research process as well as what the scholar assumes they are looking for in the archive. The research process demands flexibility because studying performance invites interpretation, adaptation, and cultural understanding as intermediaries in understanding archival materials. Each participant emphasizes how, for them, research processes have incorporated creative endeavours because of the embodied and artistic dimensions of performance and historiographic analysis.

Keywords

embodied knowledgesound studiesdance studiesarchival interpretation
Type
Chapter
Information
The Cambridge Guide to Mixed Methods Research for Theatre and Performance Studies , pp. 217 - 235
Publisher: Cambridge University Press
Print publication year: 2024

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References

Curtin, A. (2014). ‘Hearing Affectively: The Noise of Avant-Garde Performance’. In Curtin, A., Avant-Garde Theatre Sound: Staging Sonic Modernity. New York: Palgrave Macmillan, pp. 177–98.CrossRefGoogle Scholar
Purkayastha, P. (2019). ‘Decolonising Human Exhibits: Dance, Re-Enactment and Historical Fiction’. South Asian Diaspora, 11(2), 1–16.CrossRefGoogle Scholar
yamomo, m. (2019). ‘“Sometimes You Only Have to Listen…”: About the Sonic Entanglements of Our Colonial Past’. Interview by S. Donath. Textures, 10 December. Accessed 11 October 2023. www.textures-platform.com/?p=4975.Google Scholar

References

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