tag:blogger.com,1999:blog-68942908409339088812023-11-16T13:31:15.052+10:00DIY popular music archives and museumsUnknownnoreply@blogger.comBlogger76125tag:blogger.com,1999:blog-6894290840933908881.post-90859489979919386572016-04-01T14:48:00.000+10:002016-04-01T14:48:01.186+10:00Guest post --- An overview of Baker's work on DIY institutions of popular music heritage<!--[if gte mso 9]><xml>
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<span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">In this
post, guest blogger <a href="https://griffith.academia.edu/ZelmarieCantillon"><span style="color: blue;">Zelmarie
Cantillon</span></a> provides an overview of key ideas emerging from my published work on DIY institutions; research that comes out of the Australian Research Council funded projects 'Popular Music and Cultural Memory' and 'Do-it-Yourself Popular Music Archives'. </span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">***</span></div>
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<div class="MsoNormal" style="line-height: 150%; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Popular music’s material
past has not typically been regarded as heritage in a conventional sense. Not
only is popular music a relatively new part of history, but its material
cultures are driven by commercial logics, and thus characterised by mass
production, global distribution and ephemerality. In addition to audio
recordings, these material cultures include posters, costumes, instruments,
t-shirts, promotional material and band merchandise. Over the past several
decades, there has been increasing interest in the cultural and historical
value of popular music cultures, as marked by the growing number of sites
dedicated to the collection, preservation and display of its heritage.</span><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Popular music heritage institutions vary widely in form, incorporating
archives, museums and halls of fame. Baker and Collins (2015) observe that
these can be grouped into broad, fluid categories of officially authorised,
self-authorised and unauthorised institutions, and further categorised by
whether they are physical or online. Baker’s work focuses particularly on
physical, self-authorised, ‘do-it-yourself’ (DIY) institutions of popular music
heritage. These DIY institutions are usually community-based, founded by
enthusiasts and run largely by volunteers, with limited funding and space. They
operate outside of, but usually parallel to, authorised national institutions,
and may often be seen to lack the symbolic capital and prestige of their
authorised counterparts.</span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">National institutions tend to have selective, representative collections
which reinforce established historical narratives and canons. DIY institutions,
on the other hand, typically have mandates targeted at creating comprehensive,
inclusive, taste-less collections. Within communities of popular music
consumption, there are commonly expressed feelings of fear and anxiety that
artefacts will be deemed as unimportant, discarded as rubbish and forgotten. By
incorporating marginalised materials and narratives, these DIY institutions
work to ensure that popular music cultures are remembered in cultural memory.
At the same time, they contribute to a more complete or complex picture of
popular music’s past.</span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">DIY institutions are usually run by amateurs who possess invaluable
vernacular knowledge, but lack formal training in archiving and curation. </span><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Baker suggests that these volunteers constitute ‘communities of
practice’ in which they learn archival skills collectively as they go, through
first-hand experience and interactions with other volunteers. Many DIY
institutions aim to emulate professional archival standards of preservation and
display, as well as implementing the roles, practices and structures typical of
authorised institutions. In this context, institutionalisation can be enabling
rather than restrictive. </span><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"></span></div>
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<span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Baker and Huber (2013c)
suggest that DIY institutions have cultural, social and affective functions,
all of which are intertwined. Much like national institutions, the DIY
institution’s cultural function is to act as a repository for history – to
collect, preserve, display and provide access to popular music’s heritage.
Through collecting collectively and doing-it-together, DIY institutions can
foster the development of new communities and social bonds. Volunteers, for
instance, can form a sense of collective identity and build friendships based
on these shared interests and practices. This sociality is enabled by the
affective atmosphere of DIY institutions. While national institutions are established
for preservationist and intellectual purposes, DIY institutions are rooted in a
love and respect for the music cultures they document. Volunteers experience
affective connections to the music, the artefacts, the history, the
institution, the work they perform and the other volunteers and visitors they
engage with. Thus, the DIY institution can be a significant source of pleasure
and meaning in their lives, and in turn, their affective investments can enrich
the quality of the DIY institution.</span><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Baker’s work highlights that </span><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">long-term
sustainability is one of the primary concerns for DIY institutions as they face
a range of financial, spatial and human resource issues. Most of these
institutions rely on inconsistent and impermanent funding sources, including
donations, sponsorships, grants, membership fees and sales from gift shops.
Finding or retaining a suitable space to house the collection can also pose
problems, especially as a collection grows. The most significant issue that
Baker identified, however, is the ageing workforce of volunteers and the
difficulties in succession planning. Without interested younger generations to
take over custodianship of the artefacts, they are at risk of being lost and
forgotten.</span><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"></span></div>
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<span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">DIY institutions play an important role in the preservation of popular
music’s heritage. They have the potential to democratise heritage practices,
often showcasing alternative or marginalised historical narratives. In addition
to this, they are significant for their social and affective elements, which
are often absent from national institutions. </span><span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">Volunteers in DIY institutions, with their affective investments and
vernacular expertise, offer valuable contributions to the collective memory of
popular music cultures.</span><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; line-height: 150%; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"></span></div>
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<b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;">References</span></b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU;"></span></div>
<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;">Baker,
Sarah 2015a, ‘Affective Archiving and Collective Collecting in Do-it-Yourself
Popular Music Archives and Museums’, in Sarah Baker<i> </i>(ed), <i>Preserving
Popular Music Heritage: Do-it-Yourself, Do-it-Together</i>, Routledge, New
York, pp. 46–61.</span><b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;"></span></b></div>
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<span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;">Baker,
Sarah 2015b, ‘Do-it-yourself institutions of popular music heritage: the
preservation of music’s material past in community archives, museums and halls
of fame’, <i>Archives and Records</i>, pp. 1–18. </span><b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;"></span></b></div>
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<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;">Baker,
Sarah 2015c, ‘Identifying Do-it-Yourself Places of Popular Music Preservation’,
in Sarah Baker (ed), <i>Preserving Popular Music Heritage: Do-it-Yourself,
Do-it-Together</i>, Routledge, New York, pp. 1–16.</span><b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;"></span></b></div>
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<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;">Baker,
Sarah and Collins, Jez 2015, ‘Sustaining popular music’s material culture in
community archives and museums’, <i>International Journal of Heritage Studies</i>,
vol. 21, no. 10, pp. 983–996.</span><b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;"></span></b></div>
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<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;">Baker,
Sarah, Doyle, Peter and Homan, Shane 2015, ‘Historical Records, National
Constructions: The Contemporary Popular Music Archive’, <i>Popular Music and
Society</i>, pp. 1–20. </span><b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;"></span></b></div>
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<span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;">Baker,
Sarah and Huber, Alison 2015, ‘Saving “Rubbish”: Preserving Popular Music’s
Material Culture in Amateur Archives and Museums’, in Sara Cohen, Robert
Knifton, Marion Leonard and Les Roberts (eds), <i>Sites of Popular Music
Heritage: Memories, Histories, Places</i>, Routledge, New York, pp. 112–124.</span><b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;"></span></b></div>
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<div class="MsoNormal" style="line-height: normal; mso-margin-bottom-alt: auto; mso-margin-top-alt: auto; mso-outline-level: 1;">
<span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;">Baker,
Sarah and Huber, Alison 2013a, ‘Locating the canon in Tamworth: historical
narratives, cultural memory and Australia's “Country Music Capital”’, <i>Popular
Music</i>, vol.<i> </i>32, no. 2, pp. 223–240. </span><b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;"></span></b></div>
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<span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;">Baker,
Sarah and Huber, Alison 2013b, ‘”Masters of our own destiny”: cultures of
preservation at the Victorian Jazz Archive in Melbourne, Australia’, <i>Popular
Music History</i>, vol.<i> </i>7, no. 3, pp. 263–282. </span><b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;"></span></b></div>
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<span lang="EN-US" style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-US; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;">Baker,
Sarah and Huber, Alison 2013c, ‘Notes towards a typology of the DIY
institution: Identifying do-it-yourself places of popular music preservation’, <i>European
Journal of Cultural Studies</i>, vol.<i> </i>16, no. 5, pp. 513–530. </span><b><span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-AU; mso-font-kerning: 18.0pt;"></span></b></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
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<span style="font-family: "Arial",sans-serif;">In this post, guest
blogger Lauren Istvandity provides an overview of a journal article written by
Sarah Baker which was recently published in <a href="http://www.tandfonline.com/doi/abs/10.1080/23257962.2015.1106933#.Vvy0aHqqEY0" target="_blank"><i style="mso-bidi-font-style: normal;">Archives and Records</i></a>. The article, titled ‘Do-it-yourself institutions of popular
music heritage: the preservation of music’s material past in community
archives, museums and halls of fame’, emerges from research undertaken for the
ARC funded project ‘Do-it-yourself archives of popular music’.</span></div>
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<a name='more'></a><br />
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<span style="font-family: "Arial",sans-serif;">*** </span></div>
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<span style="font-family: "Arial",sans-serif;">The idea of
autonomy from larger formalized practices of heritage preservation that
characterises DIY archives, museums and halls of fame may encourage a view of
these places as non-conformist, perhaps disorganised and wide-ranging in their manifestations.
In a new article on DIY music heritage institutions, Sarah Baker demonstrates
that while the subject matter of such places is indeed wide ranging, there are
a great number of similarities that further characterise DIY institutions
world-wide. </span></div>
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<span style="font-family: "Arial",sans-serif;"><span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "Arial",sans-serif;">Baker’s latest
sole-authored article, “</span><span style="font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Do-it-yourself institutions of
popular music heritage: The preservation of music’s material past in community
archives, museums and halls of fame” draws on a database of technical
information regarding places of DIY popular music preservation compiled from
web searches and interviews with curators and volunteers. Data collected
included information about the geographical location, staffing, preservation
missions, funding, and collection focus among other aspects of DIY institutions
around the world. With the limitations of using the English language in
internet search engines, it was found that the majority of DIY museums,
archives, and halls of fame were located predominantly in the United States and
Europe, with an increasing number occurring in Australia and New Zealand. </span></div>
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<br /></div>
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<span style="font-family: "Arial",sans-serif; mso-fareast-font-family: "Times New Roman";">Interestingly, most of the currently active DIY institutions
were established between 2000 and 2014, which also coincides with a global
obsession with nostalgia and tangible pop culture artefacts from recent history
(e.g. vinyl records, 1970s floral print patterns, music genre revivals), a
trend Simon Reynolds calls ‘retromania’. The consistency of DIY institutions
opening over this period of time indicates a commitment to preserving popular
music’s heritage, something that can only be viewed as beneficial to our
culture. </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: "Arial",sans-serif;">As shown in
Baker’s earlier publications, funding, staffing, and housing for artefacts are
among the most problematic aspects for DIY institutions. For those in the
database, it was documented that these institutions can be found in a broad
variety of physical places. Most commonly, collections end up in residential,
historical, or purpose built facilities, however many of these are still not
ideal for the preservation of audio visual materials. About ninety percent of
DIY institutions covered in the database are run by volunteers, with the
remainder comprising a combination of paid staff, interns, and volunteers. The
funding utilised by these places is similarly cobbled together from a number of
sources, including government grants, membership fees, donations, and
merchandise sales, but most of all, DIY institutions rely on in-kind support
from multi-talented volunteers and community members. </span></div>
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<br /></div>
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<span style="font-family: "Arial",sans-serif;">The focus of
DIY music museums, archives and halls of fame vary, though nearly a quarter of
those included in the database have based their collection around just one
artist, the most popular being Elvis Presley. Genres of music have also scored
a majority of these institutions’ attention, with popular, country and jazz
music and their niche sub-genres making up around half of all foci. Practices
of preserving popular music’s material past most commonly comes in the form of
physical artefact collection, with all sites exhibiting tangible ephemera over
any other medium. The ethos behind these collections varies, however the
majority of institutions listed aims akin to the phrases ‘to collect’, ‘to
preserve’, and ‘to archive’. The use of DIY popular music collections is
generally not restricted to a particular type of audience, although around 30
percent of sites were particularly welcoming to researchers.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<span style="font-family: "Arial",sans-serif; font-size: 12.0pt; mso-ansi-language: EN-AU; mso-bidi-language: AR-SA; mso-fareast-font-family: "MS Mincho"; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-fareast;">In compiling this data on
DIY music preservation institutions, Baker has shown that despite detailed
differences, core elements of the management, preservation practices, content
and aims of many such sites are fundamentally similar. Further, an
understanding of these places helps to legitimise their contribution to heritage
preservation alongside highly-funded, and often government-run institutions. </span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-17182480883008043482016-02-10T11:00:00.000+10:002016-02-15T17:08:40.619+10:00Guest blog post --- A review of Eichorn's book 'The Archival Turn in Feminism'<div class="MsoNormal">
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;">
</span></span></span></span><br />
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></span><br />
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</xml><![endif]--><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">In this post, guest blogger </span></span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span lang="EN-US"><a href="https://griffith.academia.edu/ZelmarieCantillon" target="_blank">Zelmarie Cantillon</a></span></span></span></span></span> provides an overview of a book by </span></span></span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span lang="EN-US"><a href="https://newschool.academia.edu/kateeichhorn" target="_blank">Kate Eichorn</a></span></span></span></span></span> called </span></span></span></span></span><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span lang="EN-US">'</span></span></span></span><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span lang="EN-US"><span style="font-size: small;"><a href="https://www.temple.edu/tempress/titles/2242_reg_print.html" target="_blank"><span style="font-size: xx-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><i>The Archival Turn in Feminism: Outrage in Order</i></span></span></span></a></span>'</span></span></span></span></span>. The principal focus of this book is the arc<span style="font-family: "arial" , "helvetica" , sans-serif;">hiving of arte<span style="font-family: "arial" , "helvetica" , sans-serif;">facts, particularly zines, related to the hardcore/punk music culture of Riot Grrrl.</span></span></span></span></span></span></span><br />
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<br />
<a name='more'></a><br />
<div style="text-align: center;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">*** </span></span></span></span></span></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Archives of popular music heritage collect not only audio
recordings, but related artefacts including posters, flyers, magazine clippings,
photographs, fanzines and other ephemera. Zines were of particular importance
to Riot Grrrl, a hardcore/punk music culture and pioneering third wave feminist
movement in North America during the 1990s. In her book, Eichhorn explores how the
significance of Riot Grrrl zines to feminist scholarship and activism has lead
to the establishment and growth of several feminist collection and archives,
including <a href="http://library.duke.edu/rubenstein/findingdb/zines/" target="_blank">The Zine Collections</a> at the Sallie Bingham Center, <a href="http://library.duke.edu/rubenstein/findingdb/zines/" target="_blank">The Riot Grrrl Collection</a> at Fales Library and Special Collections, and the <a href="https://zines.barnard.edu/" target="_blank">Barnard College Zine Library</a>.</span></span></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">DIY methods of cultural production have long been integral to feminist
activism. During the 1960s to 1980s, </span>second wave feminists established their publishing movement in
resistance to the capitalist, patriarchal mainstream publishing industry. As
these initiatives declined due to neoliberal restructuring in the 1990s, a
younger generation of feminists had to find different means for self-publishing
that were quick, cheap and independent. With the rise of Riot Grrrl, and
subsequently third wave feminism, women developed a new form of feminist
cultural production – <span style="color: black;">creating, disseminating
and collecting zines.</span></span></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></span><br />
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<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Due in part to their DIY nature, zines were initially not considered
by older feminists as legitimate or valuable. The younger generation were also
frequently portrayed as disinterested in feminist histories and concerned only
with ephemeral, fleeting tactics and engagements. These assumptions obscure the
ways in which contemporary feminists are invested in the past and the future,
as demonstrated by their practices of collecting and archiving. Indeed,
Eichhorn asserts that archives have become <i>central</i>
to feminist cultural production, activism and knowledge-making.</span></span></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">The ‘archival turn’ refers to the increasing popularity of archival
practices for women born during and after second wave feminism. Archives
function as an ‘authorizing apparatus’, working to legitimise feminist voices,
histories, knowledges and forms of cultural production which may otherwise be
disregarded or marginalised, such as zines and Riot Grrrl. Archives can also be
sites for activism and political intervention – drawing on Foucault’s concept
of genealogy, Eichhorn points to how an examination of the the past can disrupt
and destabilise seemingly ‘natural’ social conditions and structures in the
present. </span></span></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Driven by an ‘archival impulse’, third wave feminists have been
collecting not only their own generation’s documents, but also those from past movements.
That is, through archiving, the younger generation are engaging with feminism’s
‘scrap heap’ – the marginalised stories, forgotten documents or ‘failed’
movements. As Eichhorn puts it, documents and subjects have ‘afterlives’ – they
can be important not only for what they achieve (or fail to achieve) at their
time of creation, but for how they may be used as a resource for thinking and
action later on. Archives, as accumulations of bits from the scrap heap, are
spaces which elucidate the connections and commonalities among feminists and
movements from different generations. In this way, the archive can undo rigid
generational logics, promote new narratives of feminism and cultivate
intergenerational alliances.</span></span></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">As Eichhorn’s case studies highlight, featuring older artefacts
alongside the Riot Grrrl materials can expand their meaning and authorise them
through contexualisation. For example, Sarah Dyer chose to donate her large
collection of zines to the Sallie Bingham Center (a research center housed in
Duke University’s David M. Rubenstein Rare Book, Manuscript and Special
Collections Library) partly because she wanted the collection to be situated
among diverse women’s histories, rather than in an archive focused on any one
particular ideology or movement. In the case of </span>The Riot Grrrl Collection at New York University’s Fales Library and
Special Collections, zines are positioned among other artistic and cultural
artefacts which legitimises them and connects them to a broader avant-garde
movement in North America. </span></span></span></div>
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Eichhorn’s book demonstrates that feminist
archives are simultaneously oriented to the past, present and future. They
function to legitimise and authorise feminist histories while also promoting
and developing contemporary feminist movements. Thus, they are not simply
spaces for preservation and memorialisation, but for education, collaboration
and activism. </span></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><br /></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span lang="EN-US">Reference:</span></b></span></span></span></div>
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span></span><br />
<div class="MsoNormal" style="line-height: 115%; text-align: justify;">
<span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Eichhorn, Kate 2013, <i>The
Archival Turn in Feminism: Outrage in Order</i>, Temple University Press,
Philadelphia.</span></span></span></span></div>
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<![endif]-->Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-77823104775342559292016-01-24T15:24:00.000+10:002016-02-15T17:18:49.435+10:00Guest blog post --- Review of 'Feminism, Digital Culture and the Politics of Transmission', a book about the Women's Liberation Music Archive<div class="MsoNormal">
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</xml><![endif]--><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">In this post, guest blogger<span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span></span></span><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span lang="EN-US"><a href="https://griffith.academia.edu/ZelmarieCantillon" target="_blank">Zelmarie Cantillon</a></span></span></span></span> </span>provides an ove<span style="font-family: "arial" , "helvetica" , sans-serif;">rview of a recently publis<span style="font-family: "arial" , "helvetica" , sans-serif;">hed book by </span></span></span></span></span><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span lang="EN-US"><a href="http://www.debi-rah.net/" target="_blank">Deborah Withers</a></span></span></span></span> called </span></span></span></span></span><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif; font-size: xx-small;"><span lang="EN-US">'<a href="http://www.rowmaninternational.com/books/feminism-digital-culture-and-the-politics-of-transmission" target="_blank">Feminism, Digital Culture and the Politics of Transmission: Theory, Practice and Cultural Heritage</a>'</span></span></span></span>. The principal f<span style="font-family: "arial" , "helvetica" , sans-serif;">ocus of this book is the Women's Liberation Music Archive.</span></span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></span></span></span></span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">*** </span></span></span></span></span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Digital cultures and tools have significantly altered the ways in
which heritage may be constructed, curated, communicated and engaged with.
While it is widely understood that modes of historical preservation such as
archives work to transmit particular values and knowledges, the technical
processes of this transmission are often overlooked. In her book, Withers
considers how transmission of feminist knowledges (what she terms feminism’s
‘already-there’) operates in a digital context, drawing on her experience as
co-founder of the online <a href="http://womensliberationmusicarchive.co.uk/" target="_blank">Women’s Liberation Music Archive</a>.
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Music-making during the UK Women’s Liberation Movement (WLM) was
ephemeral, anti-commercial and practice-based. The women involved produced few
‘finished’ recordings, let alone professionally-recorded tracks, and had garnered
little exposure beyond an audience of feminists who were already directly involved
in the movement in specific places and times. Since popular music heritage is
conventionally thought to be grounded in materiality, Withers suggests that
these more ephemeral practices can be deemed ‘intangible cultural heritage’. Central
to this kind of heritage are performative practices and traditions (for
example, storytelling, dance or music-making) which are passed down
(transmitted) to future generations. Intangible cultural heritage is always
flexible as traditions are continually re-enacted, re-shaped and transformed
through practice.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><u><span lang="EN-US"><span style="text-decoration: none;"><br /></span></span></u></span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">The Women’s Liberation Music Archive (WLMA) is an example of a
digital repository for intangible cultural heritage. Withers explains that she
was compelled to start the archive out of a feeling of frustration with the
inaccessibility and inactivity of WLM artefacts in physical archives. Using
freely available digital tools like Wordpress, SoundCloud and YouTube, Withers
was able to start her own archive with co-founder Frankie Green, a musician from
the WLM era. Choosing a digital medium was especially appropriate for a
repository of this kind – both the content and form of the archive are
processual in that the artefacts are incomplete, rough works-in-process, and
the blog is dynamic and characterised by a temporal ‘liveness’. This is what
Withers calls an ‘archive of process’. </span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">In a broader sense, the digital sphere offers the possibility to
increase visibility of marginalised groups and cultures which have lingered on
the periphery of cultural memory, at risk of being lost and forgotten. A
digital archive can be created by an enthusiast with little to no archival
training or funding, and with a significantly larger potential audience than a
physical archive. Further, and of particular importance to feminism, the grassroots
digital archive allows for self-determination and independence from
institutional constraints. There are, however, limitations to digital archives.
While digitisation may temporarily extend the life of analogue materials, rapid
advances in technology mean tools and file formats can quickly become obsolete.
For example, Withers recalls errors she made as an amateur archivist, such as
making low resolution scans of photographs and digitising audio into low
quality MP3 files.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">In any case, preservation is not the only concern for
community-based archives like the WLMA. By placing the archive in the digital
realm, the archivists are re-circulating and transmitting feminism’s past so
that it can be <i>used. </i>They are making
traditions, practices and knowledges available to be re-interpreted, re-enacted
and transformed in the present and into the future. As Withers argues, this
access and engagement is essential for the continuation of feminist thought and
activism. </span></span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b><span lang="EN-US">Reference:</span></b></span></span></div>
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<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span lang="EN-US">Withers, Deborah M 2015, <i>Feminism,
Digital Culture and the Politics of Transmission: Theory, Practice and Cultural
Heritage</i>, Rowman & Littlefield International, London.</span></span></span></div>
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<![endif]-->Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-43931271203582187922015-11-30T16:03:00.000+10:002016-02-15T16:04:28.406+10:00Visit to the Australian Jazz Museum with Professor Anne Gilliland<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Today I had the pleasure of taking Professor <a href="http://www.dunrunda.co/" target="_blank">Anne Gilliland</a>, Director of the Archival Studies specialization in the Department of Information Studies at the University of California
Los Angeles (UCLA), to the <a href="http://www.ajm.org.au/" target="_blank">Australian Jazz Museum</a> in Melbourne. </span></span><br />
<br />
<a name='more'></a><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The AJM has been the subject of so many posts on this blog, being one of the key sites of this research. It is usually closed on Mondays but we were welcomed by the wonderful Ray Sutton, former general manager of the Museum, who gave a tour of the facility and answered our questions about the work of the AJM and its volunteers. Though I've visited the AJM many times now over the course of my research, this was a very different experience. With Ray being the only volunteer present the space was very quiet - the usual chatter of volunteers was absent, but Ray put on some jazz to accompany our visit.</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Since my last visit in late-September the social media activity of the AJM has increased considerably. If you don't already, follow the AJM on <a href="http://Instagram Photo Gallery. | Australian Jazz Museum" target="_blank">Instagram </a>for photos of many wonders of the archive, including its volunteers.</span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-11376118603267932222015-11-20T20:30:00.000+10:002016-02-15T16:47:28.353+10:00Crumbling investments and the death of the archive: reflections on sustainability<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;">At the </span></span></span><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">"<a href="http://archivefutures.com/2015/11/03/pop-up-workshop-sydney-death-and-life/#more-1642" target="_blank">Death and Life</a>"</span></span><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> workshop that was held at University of Technology, Sydney today, a paper <span style="font-family: "arial" , "helvetica" , sans-serif;">presented by Maryanne Dever included a very memorable line relevant to thinking about sustainability of <span style="font-family: "arial" , "helvetica" , sans-serif;">archives generally, <span style="font-family: "arial" , "helvetica" , sans-serif;">but which resonated with my presentation on the challenge of sustaining community music archives i<span style="font-family: "arial" , "helvetica" , sans-serif;">n the long<span style="font-family: "arial" , "helvetica" , sans-serif;">-</span>term. <span style="font-family: "arial" , "helvetica" , sans-serif;">Dever </span>said<span style="font-family: "arial" , "helvetica" , sans-serif;">, the natu<span style="font-family: "arial" , "helvetica" , sans-serif;">re of investments in the archive are</span></span> "destined to crumble but at least for the present endure".</span></span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"></span></span></span></span></span></span></span><br />
<a name='more'></a><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span></span></span></span> <br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">I'm currently co-authoring a<span style="font-family: "arial" , "helvetica" , sans-serif;">n article with Jez Collins from which my presentation at the Death and Life workshop drew inspiration. In the article we examine the challenge of sustainability for at ris<span style="font-family: "arial" , "helvetica" , sans-serif;">k</span> archives. Our purpose is not to suggest that DIY institutions a<span style="font-family: "arial" , "helvetica" , sans-serif;">t risk of closure should necessarily be rescued from oblivion, though there are clearly implications when community archives close. Some community archivists may understand these to be organisations that have a limited lifespan, but for many other community archives, particularly those that have been long-running initiatives, these are not alwa<span style="font-family: "arial" , "helvetica" , sans-serif;">ys perceived as being time-limited ventures or at least were never intended to be sh<span style="font-family: "arial" , "helvetica" , sans-serif;">ort<span style="font-family: "arial" , "helvetica" , sans-serif;">-term (see the work of Andre<span style="font-family: "arial" , "helvetica" , sans-serif;">w Flinn in this regard<span style="font-family: "arial" , "helvetica" , sans-serif;">)<span style="font-family: "arial" , "helvetica" , sans-serif;">. What Maryanne Dever's words point to is the precarity of this kind of heritage work. To consider the 'crumbling' of c<span style="font-family: "arial" , "helvetica" , sans-serif;">ommunity archives is important in that the 'death' of a community archive places in jeopard<span style="font-family: "arial" , "helvetica" , sans-serif;">y the 'organic relationship between a community and its archives'; a relationsh<span style="font-family: "arial" , "helvetica" , sans-serif;">ip which <a href="http://www.ccnr.infotech.monash.edu.au/assets/.../gilliland_flinn_keynote.pdf" target="_blank">Ann</a><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="http://www.ccnr.infotech.monash.edu.au/assets/.../gilliland_flinn_keynote.pdf" target="_blank">e Gilliland and Andrew Flinn</a> argue to be 'central to community well-being' due to such archives being an important mechanism for supporting the construction<span style="font-family: "arial" , "helvetica" , sans-serif;"> <span style="font-family: "arial" , "helvetica" , sans-serif;">as well as the complexification and pr<span style="font-family: "arial" , "helvetica" , sans-serif;">o<span style="font-family: "arial" , "helvetica" , sans-serif;">blematization of community identity' (2013, pp. 17-18).</span></span></span></span></span></span></span></span> </span></span></span></span></span></span></span></span></span></span><br />
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<![endif]--></span></span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-50654420213505818882015-11-03T13:15:00.000+10:002015-11-03T13:16:10.893+10:00Forthcoming presentation at "Death and Life", a pop-up workshop in Sydney organised by Archive Futures<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Later this month I will be presenting a paper on DIY archiving at a pop-up workshop in Sydney which has been organised by <a href="http://archivefutures.com/" target="_blank">Archive Futures</a> in association with the <a href="http://www.uts.edu.au/research-and-teaching/our-research/australian-centre-public-history" target="_blank">Australian Centre for Public History</a>. The workshop, called "<a href="http://archivefutures.com/2015/11/03/pop-up-workshop-sydney-death-and-life/#more-1642" target="_blank">Death and Life</a>", will be held on Friday 20th November from 2.30-5pm in UTS Building 10 (Jones Street), Level 9, Room 113.</span></span><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> Places at the workshop are limited. If you would like to attend please email: <a href="mailto:samantha.encarnacion@uts.edu.au"><span style="color: blue;"><b>samantha.encarnacion@uts.edu.au</b></span></a></span></span><br />
<span style="font-size: small;"><br /></span>
<a name='more'></a><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The title of my paper is "Making community archives sustainable: safeguarding the long-term future of popular music's material culture". Other presenters at the workshop are Maryanne Dever (UTS) and Sarah Barns (University of Western Sydney).</span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">The abstract of my paper is as follows:</span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<br />
<blockquote class="tr_bq">
<div style="text-align: center;">
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><b>Abstract</b></span></span></div>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">
</span></span><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Case studies of <a href="http://www.bixeibenhamburg.com/" target="_blank">Jazz Museum Bix Eiben Hamburg</a> (closed 2013) and the <a href="http://country-music-archive.com/" target="_blank">British Archive of Country Music</a>
(at risk of closure) highlight the difficulties faced by community
archives in sustaining their ‘do-it-yourself’ popular music heritage
practices. The fragility of these institutions speaks to concerns raised
by critics who believe that the collection and preservation of popular
music’s material heritage is best undertaken by fully trained
professionals in properly funded, authorised institutions. However, the
significance and value of community archives goes beyond the artefacts
being collected. At risk are not merely the artefacts relating to
popular music’s material past but the very communities and accumulated
vernacular knowledges that sustain popular music archiving at the
community level.</span></span></blockquote>
<span style="font-size: small;"><br /></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">If you are unable to make the workshop but want to know more about the issue of sustainable community archiving, you may be interested in reading a recently published article I co-wrote with Jez Collins (Birmingham City University) called "<a href="https://www.academia.edu/15563259/Sustaining_popular_musics_material_culture_in_community_archives_and_museums" target="_blank">Sustaining popular music's material culture in community archives and museums</a>" which appears in the <i><a href="http://www.tandfonline.com/doi/abs/10.1080/13527258.2015.1041414" target="_blank">International Journal of Heritage Studies</a></i>. </span></span><br />
<span style="font-size: x-small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="mailto:samantha.encarnacion@uts.edu.au"><span style="color: blue;"><b></b></span></a> </span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-33069902107404593532015-10-01T16:53:00.001+10:002015-10-02T16:04:54.488+10:00Crowdfunding campaign of the National Jazz Museum in Harlem<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">In an <a href="http://diyarchives.blogspot.com.au/2013/04/crowdfunding-diy-institution-pathway-to.html" target="_blank">earlier post</a> I asked if crowdfunding might be a pathway to financial sustainability for DIY popular music archives, museums and halls of fame. A current crowdfunding campaign by The <a href="http://jazzmuseuminharlem.org/" target="_blank">National Jazz Museum in Harlem</a> on the site <a href="https://www.indiegogo.com/projects/the-national-jazz-museum-in-harlem-is-moving#/story" target="_blank">Indiegogo</a> suggests that some community archives are turning to crowdfunding as a source of much needed cash to keep their operations going.</span></span><br />
<a name='more'></a><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The National Jazz Museum in Harlem's crowdfunding campaign was prompted by the museum's anticipated move from East 126th Street to 58 West 129th Street near Lenox Avenue in Harlem, New York. As they explain on their campaign page:</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<br />
<blockquote class="tr_bq">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">This move is a great opportunity to upgrade our
operations. Our
goal is to raise $10,000 to purchase new computers, stock our exhibit and
office spaces with new furniture and make our new location technologically
cutting-edge. ... If we don't reach our goal of $10,000, the
money that we raise will still go towards technology upgrades for our exhibit and office space.</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="background-color: initial; color: #6a6a6a; letter-spacing: 0px;"></span></span></span>
</blockquote>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">22 days into the campaign the museum has raised $330 USD. While only 3% funded to date, there are still 38 days left for the campaign - plenty of time to gather some momentum? Time will tell. Even if $10,000 proves a little ambitious, every dollar acquired through fundraising efforts such as this is meaningful to organisations which operate with tight budgets but big hearts. This is even the case for Smithsonian Affiliated organisations like the National Jazz Museum in Harlem.</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">As a 501(c)3 Non-profit Arts
Organization with a mission to "preserve,
promote, and present jazz by inspiring knowledge, appreciation and celebration
of jazz locally, nationally, and internationally" even the smallest donation can have a big impact on what the National Jazz Museum in Harlem is setting out to achieve. As they state on the campaign page: </span></span><br />
<br />
<blockquote class="tr_bq">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">Your contribution is vital to the
Museum's long-term goals of preserving knowledge and promoting
appreciation of jazz music, this quintessential American art form, and
ensuring its permanent home in Harlem.</span></span></blockquote>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">I look forward to seeing how this crowdfunding campaign pans out. There will certainly be lessons here for other DIY music archives, museums and halls of fame that are thinking about raising money this way. </span></span><br />
<span style="background-color: initial; color: #6a6a6a; font-family: 'Benton Sans', Helvetica, sans-serif; letter-spacing: 0px;"></span>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-55772331036979587082015-09-28T16:22:00.000+10:002015-10-09T15:39:11.919+10:00Precarity of collections held in DIY Institutions: case of the American Museum of Telephony<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">News that the <a href="http://jklmuseum.com/" target="_blank">American Museum of Telephony</a> (aka JKL Museum of Telephony) has been destroyed by a fire is a reminder of the precarity of collections held in many community heritage institutions. </span></span><br />
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<a name='more'></a><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">The non-profit museum, located near the town of San Andreas in California and dedicated to the preservation of telephone history, lost all its holdings to the Butte Fire which raged through northern California in early September. Founded by an individual and run by a small army of volunteers the telephony museum is very much akin to the DIY popular music institutions of this research. The DIY spirit and commitment of volunteer preservationists is certainly shining through in the news updates being provided on the museum <a href="http://jklmuseum.com/jkl-museum-of-telephony-news-and-updates/" target="_blank">website</a> where it is clear a community is rallying around the re-establishment of the museum collection and have a strong desire to see the museum rise from the ashes. </span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-29214434454802254452015-09-18T16:58:00.000+10:002016-02-15T15:39:57.885+10:00Visit to the Australian Jazz Museum (incorporating the Victorian Jazz Archive) with Dr Andrew Flinn<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">Today I had the pleasure of taking <a href="https://www.ucl.ac.uk/dis/people/andrewflinn" target="_blank">Dr Andrew Flinn</a> from University College London to visit the <a href="http://www.ajm.org.au/" target="_blank">Australian Jazz Museum</a> (incorporating the Victorian Jazz Archive), located in Wantirna, an outer suburb of Melbourne. </span></span><br />
<a name='more'></a><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">It seems incredible to think it has been almost 2 years since I was last at the Museum, when I spent two weeks with the AJM volunteers in <a href="http://diyarchives.blogspot.com.au/2013/10/fieldwork-at-victorian-jazz-archive.html" target="_blank">October 2013</a> as part of this research. Dr Flinn is a world leader in the study of community archives and while he was visiting Melbourne for his public lecture (see earlier <a href="http://diyarchives.blogspot.com.au/2015/09/public-lecture-by-andrew-flinn-and-anne.html" target="_blank">post</a>) I thought it would be a good opportunity to show him the high standards of community archiving taking place by volunteers at the AJM.</span></span><br />
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<tr><td style="text-align: center;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSkrBt4OiV0wF2uzkCuo0nt2h1Voss9OzKNs1O3Jtl2H5U-w_0WrHozrqfQNb9XE6JhyphenhyphencCJEN7gqZg4sn9K5_XAgHeK8uizwyvv7pcQv70qbS5lTykzYSCbhyphenhyphen7REq_37JXMNUmzeVM5-xt/s1600/CPKlwsGUAAAxusP.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSkrBt4OiV0wF2uzkCuo0nt2h1Voss9OzKNs1O3Jtl2H5U-w_0WrHozrqfQNb9XE6JhyphenhyphencCJEN7gqZg4sn9K5_XAgHeK8uizwyvv7pcQv70qbS5lTykzYSCbhyphenhyphen7REq_37JXMNUmzeVM5-xt/s320/CPKlwsGUAAAxusP.jpg" width="320" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;">From L-R: Ray Sutton, Sarah Baker, Mel Blachford and Andrew Flinn</span></span></span></td></tr>
</tbody></table>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">And what a difference two years can make for a community archive! The Australian Jazz Museum (formerly Victorian Jazz Archive, having changed its name late last year to better reflect the breadth and depth of its collection) has grown, with two new shipping containers in the process of being kitted out to accommodate the rapidly expanding collection (the holdings of the disbanded NSW Jazz Archive will now be housed here, for example); new, top-of-the-range digitisation equipment for a project being undertaken for the Mitchell Library (State Library of New South Wales); an expanding social media presence with forays into <a href="https://twitter.com/austjazzmuseum" target="_blank">Twitter</a> (@AustJazzMuseum) and Instagram (@australianjazzmuseum); and many new volunteers. </span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">It is great to see the AJM go from strength-to-strength.</span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">During the visit, I presented the AJM with a copy of my edited collection <a href="https://www.routledge.com/products/9781138781436" target="_blank"><i>Preserving Popular Music Heritage: Do-it-yourself, Do-it-together</i></a>. </span></span><br />
<br />
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<tr><td style="text-align: center;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIIazHvZfBL0X3odOD7kA46J_Yi53SmfQPNrGvpCfbzuRs0lGlzIahm6KNKY5kvCImFG44y-HG3lDsg2QnF7XXBbvnCbCNr4YXwS2v8dN9TWROqtMJHRi1ZrfH7gaoo4B8dPwKrAJJKdyM/s1600/CPKmj2IUwAAiXvz.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIIazHvZfBL0X3odOD7kA46J_Yi53SmfQPNrGvpCfbzuRs0lGlzIahm6KNKY5kvCImFG44y-HG3lDsg2QnF7XXBbvnCbCNr4YXwS2v8dN9TWROqtMJHRi1ZrfH7gaoo4B8dPwKrAJJKdyM/s320/CPKmj2IUwAAiXvz.jpg" width="320" /></a></span></span></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"><span style="font-size: xx-small;">L-R: Ray Sutton (former AJM General Manager) and Sarah Baker</span></span></span></td></tr>
</tbody></table>
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;"> </span></span><br />
<span style="font-size: small;"><span style="font-family: "arial" , "helvetica" , sans-serif;">This copy will be placed in the AJM's library and so will be accessible to the volunteers to read. The copy sent by the publisher to the former General Manager and chapter contributor, Ray Sutton, has been made a preservation copy in the Archive.</span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-39895336157939283682015-09-17T21:00:00.000+10:002015-09-22T16:18:36.136+10:00Public lecture by Andrew Flinn and Anne Gilliland<span style="font-family: Arial,Helvetica,sans-serif;">This evening I was fortunate to attend a public lecture in Melbourne with papers delivered by <a href="https://www.ucl.ac.uk/dis/people/andrewflinn" target="_blank">Dr Andrew Flinn</a> (University College London) and <a href="http://gseis.ucla.edu/directory/anne-gilliland/" target="_blank">Professor Anne Gilliland</a> (UCLA).</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"></span><br />
<a name='more'></a><br /><br />
<span style="font-family: Arial,Helvetica,sans-serif;">The lecture was hosted by the <a href="https://www.recordscontinuum.info/about" target="_blank">Records Continuum Research Group</a> at Monash University in celebration of 25 years of archive and record-keeping teaching and research at Monash. The topic under discussion was "Digital Equality/Equity: the contribution of the archive and record keeper".</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">The first speaker was Andrew Flinn with a talk entitled "Another world is possible". Andrew is involved with the <a href="http://www.communityarchives.org.uk/" target="_blank">Community Archives and Heritage Group</a> in the UK and is the author of many important pieces on community archiving, providing a way of thinking about community archives which very much underpins my research on DIY institutions of popular music heritage. The second half of his lecture focused on "community-based control over the entire archive process and the recognition of the significance of community-based contexts and value within the record-keeping sphere" and so was directly relevant to my current interests.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Andrew noted there has been a community-centric turn in archival thinking of late. Drawing on the work of Kathy Eales writing in the <a href="http://connection.ebscohost.com/c/articles/2721427/community-archives-introduction" target="_blank"><i>South African Archive Journal</i></a>: "A key premise of community archiving is to give substance to a community's right to its own memories..." (Eales, 1998). As this quote suggests, Andrew approaches community archive scholarship with a social justice framing and argues that a community's desire to take responsibility for their records is necessarily a "political step". He called for the archive profession to move beyond the binaries that currently limit our understanding of archiving and record keepers such as mainstream/community and profession/amateur.</span><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">In his talk Andrew also referenced a recent <a href="https://www.academia.edu/15563259/Sustaining_popular_musics_material_culture_in_community_archives_and_museums" target="_blank">article</a> I co-authored with Jez Collins that appears in the <a href="http://connection.ebscohost.com/c/articles/2721427/community-archives-introduction" target="_blank"><i>International Journal of Heritage Studies</i></a>. Andrew referred to the framework we offered in that article as providing "a useful way of thinking about community archives and how they might shift between these categories over time". Here is what Jez and I wrote in our article:</span><br />
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: windowtext; font-family: "Times New Roman",serif;">Physical—Authorised</span></i></b></div>
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<span style="color: windowtext; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">In terms of the
physical collections some archives and museums in the database are classed as ‘authorised’
collections in line with the critical and analytical framework for music
heritage practice put forward by Roberts and Cohen (2014). This framework seeks
to avoid the official/unofficial binary by highlighting three types of
interrelated discourse about popular music heritage: <i style="mso-bidi-font-style: normal;">officially authorised</i>, <i style="mso-bidi-font-style: normal;">self-authorised</i>
and <i style="mso-bidi-font-style: normal;">unauthorised</i>. Authorised popular
music heritage tends to be that which is sanctioned by and/or substantially
sponsored by government bodies. Physical—authorised archives and museums are
those housed in purpose built or adapted buildings, staffed through a paid
workforce and with multiple income streams that aid revenue generation.</span><span style="color: windowtext; font-family: "Times New Roman",serif;"></span></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: windowtext; font-family: "Times New Roman",serif;">Physical—Do-it-yourself (DIY)</span></i></b></div>
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<span style="color: windowtext; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">Other physical
sites are categorised as do-it-yourself (DIY) collections, housed in physical locations
that are often ‘make do and mend’ buildings which are run by volunteers. Such
archives are often in a continual struggle for their ongoing existence, with
issues of sustainability relating to financial, spatial and/or human resources.
These are ‘self-authorised’ archives and museums in Roberts and Cohen’s (2014,
248) terminology in that they have limited government support and an absence of
the ‘gilt-edged symbolic capital’ that is attached to more prominent
institutions. They do, however, often make claims regarding their significance
and status, and many seek to achieve professional standards. Archives and
museums in this category are ‘DIY institutions’, a term coined by Baker and
Huber (2013a) in order to identify collectively a group of popular music
archives, museums, and halls of fame that were founded by enthusiasts, run
largely by volunteers, and existed outside the frame of authorised projects of
national collecting and display. The founders of these heritage sites did,
quite literally, ‘do it themselves,’ by establishing their own self-managed
archival and museum facilities after identifying the need for a repository for
the vast collections of popular music artefacts in their communities. </span><span style="color: windowtext; font-family: "Times New Roman",serif;"></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: windowtext; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">Online—Institutional</span></i></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="color: windowtext; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">The digital and
online collections in the database include institutional collections and
archive holdings that can be understood as authorised practices as we have
described above. As such they can also be conceptualised as ‘intentional’
archives in that they have a systematic and ordered approach to the
preservation, cataloguing and exhibiting of their digitised artefacts. These
organisations will often develop formal policies specifically around their
physical holdings that they seek to digitise in order to make them more
accessible to their users and also to attract new audiences. Others are linked
to the economic activities of record labels or, particularly in the United
States, are housed in the archives or special collections of universities. Core
challenges for online institutional collections concern sustaining and
justifying appropriate levels of funding for digitisation, copyright compliance
and increasing accessibility and interaction for users with their archive
materials. A further key concern facing such archives is that of ‘future’
archiving; that is, ensuring the availability of appropriate hardware and
software to read digital material and contending with rapid advances in
technology and platforms.</span><span style="color: windowtext; font-family: "Times New Roman",serif;"></span></div>
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<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;"><span style="color: windowtext; font-family: "Times New Roman",serif;">Online—Community</span></i></b></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="color: windowtext; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">In contrast to
online—institutional sites, online—community archives are driven by activist
archivists who seek to preserve and share popular music culture. These are
often ad-hoc and either seek to digitise and make available material they
collect or come across, or they deal only in digital items. They are also
characterised by issues of sustainability through lack of finance and human
resources and issues of ownership and copyright. These sites often fall into
the third category in Roberts and Cohen’s (2014) framework – <i style="mso-bidi-font-style: normal;">unauthorised</i>. This is a variant of
heritage practice that does not seek authorisation and in which the emphasis is
on everyday practice, cultural bricolage, anti-heritage, and individual and
collective memory. As such, many sites in this category might be considered to
be unintentional archives, in that they are run by individuals or collectives
who do not conceive of their practice as archiving. This is particularly true
in the case of the thousands of Facebook Group pages that exist which harvest
hundreds of digitised photographs, flyers, posters, fanzines and memories from
group members (Long 2015).<span style="background: white; mso-highlight: white;"> </span></span><span style="color: windowtext; font-family: "Times New Roman",serif;"></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="color: windowtext; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">It is important to
emphasise that we do not conceive of these four categories – physical—authorised,
physical—DIY, online—institutional, online—community – as being rigid in
character, and there are a multitude of examples of physical archives which
have an online component and vice versa. Rather, the categories are suggestive
of a wide spectrum of collecting and preservation activity. The purpose of such
a framework is to move beyond understandings of heritage activity that rest on
familiar binaries such as official/unofficial, expert/amateur,
professional/unprofessional and even physical/online. Rather, we seek to
recognise that the practice of archiving and curating popular music’s material
past in archives and museums can be located on a continuum that registers
levels of intentionality and professionalism, that recognises the role of
vernacular knowledge and skills in the preservation of popular music heritage,
and that accounts for important acts of collection and display that occurs
outside the realm of mainstream heritage institutions. </span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="color: windowtext; font-family: "Times New Roman",serif; mso-fareast-font-family: "Times New Roman";">The fluidity of the
four categories we propose here can be seen in the movement of archives and
museums along the continuum. Archives which were initially characterised as <i style="mso-bidi-font-style: normal;">physical<b style="mso-bidi-font-weight: normal;">—</b>do-it-yourself</i>,
for example, may overtime amass a level of authority and broader public
acceptance which would re-classify them as <i style="mso-bidi-font-style: normal;">physical—authorised</i>.
Our interest here, however is in the capacity of community archives and
museums, that is, those sites that are characterised as <i style="mso-bidi-font-style: normal;">physical<b style="mso-bidi-font-weight: normal;">—</b>do-it-yourself</i>
and <i style="mso-bidi-font-style: normal;">online—community</i>, to remain
sustainable as community archives without being subsumed into already existing
prestigious institutions. (Baker and Collins, 2015)</span><span style="color: windowtext; font-family: "Times New Roman",serif;"></span></div>
</blockquote>
<span style="font-family: Arial,Helvetica,sans-serif;">It was lovely to hear that the work I've been doing with Jez is resonating outside popular music studies.</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">Andrew also touched upon issues of sustainability, proposing three ways in which collaborative approaches could be developed between community archives/archivists and larger heritage institutions. Roughly these three ways encompassed:</span><br />
<ol>
<li><span style="font-family: Arial,Helvetica,sans-serif;">the collection remains in the community but record keepers at larger heritage institutions collaborate with community archivists to best ensure preservation of the collection;</span></li>
<li><span style="font-family: Arial,Helvetica,sans-serif;">the collection is looked after in the larger heritage institution but ownership of the collection is retained by the community (Andrew referred to Michelle's Caswell on 'shared stewardship');</span></li>
<li><span style="font-family: Arial,Helvetica,sans-serif;">record keepers work proactively in the digital space to connect the collections held in community archives with those in larger heritage institutions. </span></li>
</ol>
<span style="font-family: Arial,Helvetica,sans-serif;">I look forward to reading the full account of Andrew's paper once it is published.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">Andrew's talk was followed by a very stirring paper given by Anne Gilliland on "the social and ethical responsibilities of the archive and record keepers toward those individuals least empowered to engage with official records and record keepers". This was a talk firmly and un-apologetically focused on current human rights issues and the ways in which the archive profession is implicated in these. </span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"> </span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-36890222397612995122015-08-03T15:33:00.000+10:002015-10-01T15:35:53.207+10:00Abstract accepted for IASPM ANZ conference, December 2015<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The 2015 conference of the International Association for the Study of Popular Music <a href="http://iaspm.org.au/" target="_blank">Australia-New Zealand branch</a> will be held this December at the School of Music, Australian National University in Canberra, Australia. With
the theme speaking to '<a href="http://music.anu.edu.au/iaspm-anz-2015" target="_blank">Popular Music, Stars and Stardom</a>', the conference will be
a wonderful opportunity to share with popular music studies colleagues some key findings that have emerged from the research.</span></span><br />
<a name='more'></a><br />
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The following paper has been accepted
for inclusion in the conference programme:</span></span><br />
<br />
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<blockquote class="tr_bq">
<div class="Normal1" style="line-height: 150%;">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>Popular Music Heritage, Community Archives and the Challenge
of Sustainability: Is popular music’s material past at risk?</b><span lang="EN-GB"></span></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><i><span style="line-height: 150%;">Sarah Baker</span></i></span></span></div>
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">
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<br /></div>
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 150%;">This paper examines the challenges
of sustainability faced by community archives that are concerned with the
preservation and display of the material culture of popular music’s recent
past. The sustainability of grassroots sites of popular music heritage is of
great concern due to their role in making accessible artefacts that often have
limited representation in the collections of more prestigious institutions. The
limited resources (financial, human, physical, skills, expertise) that are
available to community archives pose a challenge for their long-term futures. A
case study of the British Archive of Country Music, a community archive at-risk
of closure, highlights the difficulties faced by the founders and volunteers of
community archives in sustaining their ‘do-it-yourself’ popular music heritage
practices in the medium- to long-term. The fragility of these heritage
institutions, as evidenced by the closure of other DIY institutions such as
Jazz Museum Bix Eiben Hamburg, speaks to concerns raised by critics who believe
that the collection and preservation of popular music’s material heritage is
best undertaken by fully trained professionals in properly funded, authorised
institutions. However, the significance and value of community archives goes
beyond the artefacts being collected. At-risk in community archives of popular
music heritage are not merely the artefacts relating to popular music’s
material past but the very communities and the accumulated vernacular
knowledges that sustains popular music archiving and related activities at the
community level. Achieving medium- to long-term sustainability for community
archives in ways that are positive, equitable and non-prescriptive will be
important if there is to be a comprehensive record of popular music’s material
past as it was lived and experienced.</span></span></span></div>
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<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="line-height: 150%;">Keywords:</span></b><span style="line-height: 150%;"> popular music; cultural heritage; community archives and
museums; sustainability</span></span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The paper will draw on and extend some of the collaborative work I have been doing this year with <a href="http://www.bcu.ac.uk/research/-centres-of-excellence/centre-for-media-and-culture-studies/our-people/jez-collins" target="_blank">Jez Collins</a> from Birmingham City University, including the article we recently published in <a href="http://www.tandfonline.com/doi/abs/10.1080/13527258.2015.1041414#.VgzEJZeTuIA" target="_blank">International Journal of Heritage Studies</a>.</span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-87742704794277055652015-07-31T10:32:00.000+10:002015-09-10T14:31:10.019+10:00Guest blog post: authorised archives --- overview of the article "Historical records, national constructions: the contemporary popular music archive"<!--[if gte mso 9]><xml>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">In this post, guest blogger <a href="https://griffithuni.academia.edu/LaurenIstvandity" target="_blank">Lauren Istvandity</a> provides an overview of a journal article written by Sarah Baker,
<a href="https://www.mq.edu.au/about_us/faculties_and_departments/faculty_of_arts/department_of_media_music_communication_and_cultural_studies/staff/academic_staff/associate_professor_peter_doyle/" target="_blank">Peter Doyle</a> and <a href="http://profiles.arts.monash.edu.au/shane-homan/" target="_blank">Shane Homan</a> that emerged from the ARC funded project “<a href="http://musicmemoriesproject.blogspot.com.au/p/our-project.html" target="_blank">Popular Music and Cultural Memory</a>” and which was recently published in the journal <a href="http://www.tandfonline.com/doi/abs/10.1080/03007766.2015.1061336#.VfDPsJeTuIA" target="_blank"><i>Popular Music and Society</i></a>.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">The preservation of popular music heritage
is increasingly prevalent, not only in DIY spheres, but also in terms of
national collections. As Sarah Baker has shown through her current research, DIY
preservation faces a host of issues, especially in regards to sustainability.
However, authorized collections of music heritage, which are often seen as more
stable, are under a different kind of pressure when it comes to practices of preservation.
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">In a new article published in <i>Popular Music and Society</i>, titled “Historical
Records, National Constructions: The Contemporary Popular Music Archive”,
Baker, Doyle and Homan compare the practices of national popular music
collections in Australia, United States, United Kingdom, Israel, and Iceland.
Of particular interest to the authors is the ways in which these archives and
museums represent national cultural identity, in light of budgetary or
technological demands.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">The <a href="http://www.nfsa.gov.au/" target="_blank">National Film and Sound Archive</a> (NFSA) in
Australia is used as a case study with which other national collections are
compared. The authors interviewed workers and curators at these institutions to
obtain internal opinions on governance, archival practices, and other issues
impacting on collection and representation, such as copyright, artefact
selection and funding. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">Conceptually, national archival
institutions should strive to acquire a wide range of artefacts in order to
comprehensively narrate the history and identity of the nation. This is
becoming increasingly problematic, however, in a modern age where there is more
historic information to be collected, logged, digitised, and stored, than ever
before. As an additional challenge, the governmental funding allocated to
national archives does not necessarily grow to reflect this change. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">In the case of the NFSA, budgetary
restrictions mean the organization must streamline its collections, whilst
still trying to maintain a balanced representation of national identity. This
leads to a collections policy that advocates for the de-selection of material
that is not deemed significant enough to be housed in the archive.
Internationally, the situation is similar in Britain, although countries with
smaller populations, such as Iceland, are able to maintain more exhaustive
collections policies. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">The issue of copyright within museums and
archives remains a complicated and above all, restrictive, matter in their
governance. In Australia, copyright law prevents sharing of copyrighted
material, such that archives may possess an original item, however in most
cases they are prevented from copying or loaning this material. Further to
this, the employment of peoples well-versed in copyright law within archives is
often countered by budgetary restrictions. Both collection policies and
copyright laws, as affected by budgets, impinge on the degree to which heritage
institutions can house comprehensive collections, and in turn how they fulfill
their role in representing national identity. Funding constraints are also felt
in other national institutions, such as in Israel and Britain, where the
labour-intensive processes of archiving are under-valued and consequently
under-funded.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">Attitudes towards the role of the archive
in narrating identity vary throughout the world. It seems most heavily felt in
Australia, where NFSA workers voiced their feelings of responsibility in
collecting and preserving popular music heritage. A similar sentiment was
echoed by workers at the <a href="http://web.nli.org.il/sites/NLI/English/digitallibrary/audio/Pages/default.aspx" target="_blank">National Library of Israel</a>, who feel their work is of
high significance. This concept was felt somewhat less strongly in the UK,
where the discourses of a ‘national’ archive are not as keenly communicated
through archival institutions. Throughout all of the museums and archives
investigated for this research, it was found that the presence of multiculturalism
complicated ideas of national identity, especially where such discourses were
not properly represented in the archive. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">In a time where there is so much material
of popular music’s past to collect and preserve, there appears to be a dire
need for a renewed approach to archiving within national public memory
institutions. Indeed, if this is an issue for museums and archives in the
present, changes to copyright law, increased funding, and an overhaul of
collection policies in institutions worldwide is required to ensure the
sustainability of future preservation practices.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">Reference:</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">Baker, S., Doyle, P. and Homan, S. (2015).
Historical records, national constructions: The contemporary popular music
archive. Popular Music and Society. doi: </span>10.1080/03007766.2015.1061336</span></div>
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Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-44563491010130677162015-07-30T15:22:00.000+10:002015-10-09T15:32:24.474+10:00"Preserving Popular Music Heritage: Do-it-yourself, Do-it-together" reviewed for Sonograma Magazine <span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">A short write-up about the edited collection "<a href="https://www.routledge.com/products/9781138781436" target="_blank">Preserving Popular Music Heritage: Do-it-yourself, Do-it-together</a>", published in May 2015 by Routledge, has been reviewed in <a href="http://sonograma.org/suplement-de-llibres/" target="_blank">Sonograma Magazine</a>.</span></span><br />
<br />
<a name='more'></a><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">In his review of the book <a href="http://www.neilfrau.com/" target="_blank">Neil Manel Frau-Cortes</a> writes:</span></span><br />
<blockquote class="tr_bq">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">One of the merits of this article
compilation is its reflection on the ethos of DIY, particularly with
regard to practices often politicized. The work of independent heritage
practitioners contains a certain degree of enthusiastic activism that
may be questionable to a casual observer, but is proven to be key in a
time when budget cuts are affecting archives and museums everywhere.</span></span></blockquote>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"> He continues: </span></span><br />
<br />
<blockquote class="tr_bq">
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
<span style="font-size: x-small;">The success of these do-it-together institutions resides in the
formation of ad-hoc communities of practice, groups of people that learn
the necessary archival skills by interacting with their peers and by
participating in groups focused around common points of interest. While
there is an obvious gap between institutional preservation standards and
the community-based practices analyzed in the second part of the book,
the authors examine a trend towards the progressive professionalization
of these DIY projects and initiatives that come to fill a void in
academic and scholarly archives.</span></span></span></blockquote>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The full review can be accessed here: <a href="http://sonograma.org/suplement-de-llibres/preserving-popular-music-heritage-do-it-yourself-do-it-together/">http://sonograma.org/suplement-de-llibres/preserving-popular-music-heritage-do-it-yourself-do-it-together/</a> </span></span><br />
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-82094809027643007762015-07-17T09:00:00.000+10:002015-10-01T15:53:24.367+10:00Abstract accepted for the Cultural Studies Association of Australasia conference, December 2015<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The 2015 conference of the <a href="http://www.csaa.asn.au/index.shtml" target="_blank">Cultural Studies Association of Australasia</a> will be held this December at the University of Melbourne. The conference theme is '<a href="http://culture-communication.unimelb.edu.au/events/minor-culture-conference" target="_blank">Minor Culture</a>', so one of particular relevance to a project that is looking at archival practices occurring outside mainstream heritage institutions. The conference will be
a great opportunity to share some key findings that have emerged from this research and to get feedback from the cultural studies scholarly community.</span></span><br />
<a name='more'></a><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The following paper has been accepted
for inclusion in the conference programme:</span></span><br />
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<blockquote class="tr_bq">
<div class="MsoNoSpacing">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>Do-it-yourself
institutions of popular music heritage: the grassroots preservation of popular music’s
material past in community archives, museums and halls of fame</b></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b><i><span style="line-height: 150%;">Sarah Baker (Griffith
University)</span></i></b></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="line-height: 150%;">Abstract</span></b></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 150%;">World-wide a burgeoning
number of volunteer-run do-it-yourself (DIY) archives and museums are
preserving the vernacular, local and global experiences of popular music's material
past. Little is known about the characteristics of these archives and museums in
a collective sense. This paper summarises the findings of several research
projects that examined the ways in which cultural memory is captured within
community archives. Specifically, this paper details the outcomes of a database
that compiled information gathered on 41 community archives, museums and halls
of fame. This paper discusses such things as geographical location, funding,
staffing, mission statements, and the focus of collections. The analysis of
this information reveals that many DIY institutions have similar
characteristics, such as building types, and preservation aims, and face
recurring challenges including funding issues and an ageing volunteer
workforce. In summarising the properties of a large number of DIY institutions,
the paper highlights the extent and significance of grassroots preservation
activities that exist in parallel to the activities of mainstream heritage
institutions.</span></span></span></div>
<div class="MsoNormal" style="line-height: 150%;">
<br /></div>
<div class="MsoNormal" style="line-height: 150%;">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b><span style="line-height: 150%;">Keywords:
</span></b><span style="line-height: 150%;">do-it-yourself
institutions; community archives; community museums; popular music heritage; volunteers;
halls of fame</span></span></span></div>
</blockquote>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">
</span></span><br />
<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-38112436619938677562015-06-01T14:03:00.000+10:002015-09-10T14:15:24.061+10:00Routledge set to publish book on DIY Archives, Museums and Halls of Fame<span style="font-size: small;"><span><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;">I'm happy to be writing with
confirmation that another book contract with Routledge is signed, sealed and delivered. The book, which I hope
will hit the shelves by late 2016, will be called <i>Popular Music Preservation in Community Archives, Museums and Halls of Fame: A DIY Approach to Heritage</i>
and will be in the <a href="http://www.routledge.com/books/series/RRM/" target="_blank">Routledge Research in Music</a> book series. The manuscript is set to be delivered to the publisher in May 2016.</span></span></span></span><br />
<a href="https://www.blogger.com/null" name="more"></a><span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;"></span></span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-69556873646252597582015-05-19T16:13:00.000+10:002015-10-09T16:13:54.473+10:00Publication of the edited collection "Preserving Popular Music Heritage: Do-it-yourself, Do-it-together"<span style="font-family: Arial,Helvetica,sans-serif;">The edited collection "<a href="https://www.routledge.com/products/9781138781436" target="_blank">Preserving Popular Music Heritage: Do-it-yourself, Do-it-together</a>" is now in print, having been released by the publisher, Routledge, on 18th May 2015. </span><br />
<br />
<a name='more'></a><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYshnjDfxj3WFrpU5-1TqRh2UNp9C6knmDxC9pbbzKBv02KGcu-FJPNb7P6eIFZNXPzhKNz13XJYdyPANX7KL9ZEUFpIjsQHqROoyyrT7CpTKd-XgFN9Aeu6PHDTQHcw4334sLh7hcVOHL/s1600/9781138781436.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYshnjDfxj3WFrpU5-1TqRh2UNp9C6knmDxC9pbbzKBv02KGcu-FJPNb7P6eIFZNXPzhKNz13XJYdyPANX7KL9ZEUFpIjsQHqROoyyrT7CpTKd-XgFN9Aeu6PHDTQHcw4334sLh7hcVOHL/s320/9781138781436.jpg" width="208" /></a></div>
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">This edited collection which appears in the <a href="https://www.routledge.com/series/RRM" target="_blank">Routledge Research in Music series</a> is the first major output from this research on do-it-yourself community music archives. It brings together scholars working at the cutting-edge of popular music heritage studies alongside DIY heritage practitioners who warmly embraced the idea of showcasing their archives, museums and heritage practices in an academic volume.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">The table of contents is as follows:</span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<blockquote class="tr_bq">
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">1. Identifying Do-it-Yourself Places of Popular Music Preservation <i>Sarah Baker </i><b> </b></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>Part I: Unpacking DIY Popular Music Heritage Practice </b></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">2. The Shaping of Heritage: Collaborations between Independent Popular Music Heritage Practitioners and the Museum Sector <i>Marion Leonard </i></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">3.
Valuing Popular Music Heritage: Exploring Amateur and Fan-Based
Preservation Practices in Museums and Archives in the Netherlands <i>Amanda Brandellero, Arno van der Hoeven and Susanne Janssen </i> </span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">4. Affective Archiving and Collective Collecting in Do-it-Yourself Popular Music Archives and Museums <i>Sarah Baker </i></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">5.
"Really Saying Something?" What Do We Talk About When We Talk About
Popular Music Heritage, Memory, Archives and the Digital? <i>Paul Long </i></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">6. Doing-it-Together: Public History-Making and Activist Archiving in Online Popular Music Community Archives <i>Jez Collins </i></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">7. Alternative Histories and Counter-Memories: Feminist Music Archives in Europe <i>Rosa Reitsamer</i></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">8. "When Folk Meets Pop": DIY Archives in the Making of a Punk Rock DIY Community in Western France <i>Gérôme Guibert and Emmanuel Parent </i></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">9. Creating a Comprehensive Archive of Maltese Music on CD <i>Toni Sant </i></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">10. "They’re Not Pirates, They’re Archivists": The Role of Fans as Curators and Archivists of Popular Music Heritage <i>Jez Collins and Oliver Carter </i> </span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">11. Coming Together: DIY Heritage and The Beatles <i>Stephanie Fremaux </i></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">12. Trading Offstage Photos: Take That Fan Culture and the Collaborative Preservation of Popular Music Heritage <i>Mark Duffett and Anja Löbert </i></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;"><b>Part II: Case Studies </b></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">13. Pompey Pop: Documenting Portsmouth’s Popular Music Scenes <i>Dave Allen </i> </span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">14. Ketebul Music: Retracing and Archiving Kenya’s Popular Music <i>William "Tabu" Osusa and Billie Odidi </i> </span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">15.Bokoor African Popular Music Archives Foundation: Ghana’s Highlife Music Institute and the Need for Popular Music Archiving <i>John Collins </i></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">16. Proyecto Caracas Memorabilia: Reconstructing Pop Music History in Venezuela <i>Coromoto Jaraba </i></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">17. The Australian Jazz Museum: All That Aussie Jazz—A Potted History of the Victorian Jazz Archive, 1996–2014 <i>Ray Sutton </i></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">18. The Australian Country Music Hall of Fame: A DIY Museum and Archive in Australia’s "Country Music Capital" <i>Barrie Brennan </i></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">19. Re:Muse-icology: Defining a National Landscape for the Study and Preservation of Rock’n’roll’s Built Heritage in America <i>Sheryl Davis </i></span></span><br />
<span style="font-size: x-small;"><span style="font-family: Arial,Helvetica,sans-serif;">20. Editions of You: A DIY Archive of DIY Practice <i>Lisa Busby</i></span></span></blockquote>
<span style="font-family: Arial,Helvetica,sans-serif;">The opening pages of the book can be accessed on <a href="https://www.book2look.com/embed/9781317670742" target="_blank">Book2look</a> and some sections are also available on <a href="https://books.google.com.au/books?id=vsXlCAAAQBAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false" target="_blank">Google Books</a>.</span><br />
<br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-80069927913398500142015-05-14T10:16:00.000+10:002015-09-10T14:31:32.906+10:00Guest blog post: sustainable archiving --- overview of the article "Sustaining popular music's material culture in community archives and museums"<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
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<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
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<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
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<w:LsdException Locked="false" Priority="19" QFormat="true"
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<w:LsdException Locked="false" Priority="31" QFormat="true"
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<w:LsdException Locked="false" Priority="32" QFormat="true"
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<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
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<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
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<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
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<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
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<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">In this post, guest blogger <a href="https://griffithuni.academia.edu/LaurenIstvandity" target="_blank">Lauren Istvandity</a> provides an overview of a journal article written by Sarah Baker (Griffith University) and
<a href="https://bcu.academia.edu/JezCollins" target="_blank">Jez Collins</a> (Birmingham City University) that emerged from the ARC funded project “Do-it-yourself popular
music archives” and which was recently published in the journal <a href="http://www.tandfonline.com/doi/abs/10.1080/13527258.2015.1041414#.VfDLzpeTuIA" target="_blank"><i>International Journal of Heritage Studies</i></a>.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">***</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">Both online and physical sites of DIY
archives face particular challenges when it comes to maintaining their
collecting and exhibition practices, especially in the long-term. Key factors
affecting these sites include volunteer attrition, copyright and piracy laws,
access to appropriate storage space, motivation, and funding opportunities, all
of which may lead to the closure of archives. While authorized institutions
such as national archives and museums may also face some threats to their
longevity, challenges confronting volunteer-run archives are underscored by a
lack of financial and in-kind support from external sources. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">As Sarah Baker and Jez Collins found, these
DIY sites face closure frequently, as evidenced by the remnants of both
physical and online archives’ websites still residing on the internet. The <a href="http://diyarchives.blogspot.com.au/2013/08/are-diy-archives-sustainable-closure-of.html" target="_blank">Jazz Museum Bix Eiben Hamburg</a>, a physical archive, and the online archives <i>Mutant Sounds</i> and <i>Holy Warbles</i> are three examples of sites recently closed due to
sustainability issues.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">Despite the obvious differences between
physical and online archives, they are both subject to similar problems in that
they run purely on the work of passionate individuals. Both Jazz Museum Bix
Eiben Hamburg and <i>Mutant Sounds</i>
describe the health of founding members as reasons for archive closure. The
ageing workforce that typically fuels DIY archives makes such sites more
vulnerable to closure for such reasons. Without the driving force of a founder
or equally impassioned team, the motivation for others to continue collecting
and displaying artefacts is decreased. As Sarah found in her visits to the
Victorian Jazz Archive in Australia (now the <a href="http://www.ajm.org.au/" target="_blank">Australian Jazz Museum</a>), “passing the baton” of responsibility to
younger generations is at the forefront of the archives’ stability plan. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">Another central aspect that can cripple the
activity of archives is the imposition of copyright laws that prohibit the
unlicensed sharing of copyrighted material. This is particularly damaging for
the practices of music archives, where rare and bootleg recordings hold a level
of cultural, rather than monetary, value for fans. A systematic closure of
websites stemming from a US court ruling in 2012 meant the end for the online
music archive <i>Holy Warbles</i>, the
founder of which was helpless to stop the termination of his site.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">So what can be done to pre-empt these
issues and stem the tide of DIY archives and museums that are reluctantly giving up the
ghost? If these recent closures serve as instructive examples, current and
future archival projects must construct contingency plans that look toward
long-term outcomes. One solution is to consider collection integration, where
one archive is absorbed by another when facing circumstances of insurmountable
challenges. At present, such an idea garners much opposition from archival
managers, who fear for the loss of artefacts and autonomy that would occur
during integration. How might this be
overcome? In the medium-term, managers of DIY archives can look strategically
at aspects such as volunteer up-skilling, archive location, public outreach,
and succession planning, all of which may prolong the ‘shelf-life’ of the
archive. Online archivists should keep on track with new technology trends, and
look to update their archive platform on a regular basis to avoid redundancy. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"><span lang="EN-US">World-wide, DIY archives play an important
role in providing public access to popular music artefacts that are often neglected
by mainstream heritage institutions. As such, it is imperative that all
concerned identify and strategise against the identified challenges to securing
long-term futures for DIY heritage sites. </span></span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-30821110238559120842015-02-24T10:49:00.000+10:002015-09-10T14:31:52.086+10:00Guest blog post: when the trash of popular music culture becomes archival treasures --- overview of the book chapter "Saving Rubbish"<!--[if gte mso 9]><xml>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small;">In this post, guest blogger <a href="https://griffithuni.academia.edu/LaurenIstvandity" target="_blank">Lauren Istvandity</a> provides an overview of a book chapter written by Sarah Baker and
<a href="http://www.readings.com.au/profile/alison-huber" target="_blank">Alison Huber</a> that emerged from the ARC funded project “<a href="http://musicmemoriesproject.blogspot.com.au/p/our-project.html" target="_blank">Popular Music and Cultural Memory</a>” and which was recently published in the edited collection “<a href="https://www.routledge.com/products/9780415824507" target="_blank">Sites of Popular Music Heritage: Memories, Histories, Places</a>”.</span></span><br />
<a name='more'></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small;">***</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small;">The mass-produced nature of popular music
and its accompanying technologies means that personally owned ephemera relating
to pop culture are often looked upon as having little value. As such,
collections of this apparent ‘junk’ is left in damaging conditions or thrown
out, much to the chagrin of DIY archivists, whose collections are often built
around saving and sorting through ‘rubbish’.</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small;">In speaking with archive founders and
volunteer amateur archivists around the world, Baker and Huber found that with
the idea of ‘junk’ or ‘rubbish’ as the basis for archival material comes a
variety of diverse meanings and practices. In saving or receiving collections
otherwise bound for the tip, archives must produce their own value system, based
on vernacular knowledge of contributing volunteers. Indeed, a fear for the loss
of artefacts that contribute to our understanding of popular culture spurred
the creation of a number of archives, including the Victorian Jazz Archive (VJA,
Australia, and recently re-badged as the <a href="http://www.ajm.org.au/" target="_blank">Australian Jazz Museum</a>) and <a href="http://arcmusic.org/" target="_blank">The ARChive of Contemporary Music</a> (USA).<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small;">A deep-seated concern for the preservation
of music heritage leads to a range of collection and appraisal policies amongst
DIY archives. Some sites, such as the <a href="http://www.countrymusichalloffame.com.au/" target="_blank">Australian Country Music Hall of Fame</a>
(ACMHF) in Tamworth, keep just about every item that comes through their doors.
In doing this, the volunteers hope that they will not neglect material of
potential value, despite increasing limitations on storage space. In contrast,
archives like the VJA, sort through excessive amounts of archival material only
to keep those items that are in the best possible condition. </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small;">Both examples highlight the weight of
appraisal decisions upon volunteers: while each team typically equates to a
broad level of vernacular knowledge, their lack of training as formal
archivists or historians leaves them learning from mistakes in collecting
practices on-the-job. This, combined with a “fear of loss” of artefacts,
results in a burgeoning amount of materials that may never be sorted. In those
archives where items do not make it past sorting policies, the artefacts are
often given a new lease on life through fundraising retail sales or
giveaways.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small;">Baker and Huber devise the idea of
“in-between” as a descriptor for the source location of much of the material
that makes up archival donations. Curators and volunteers frequently recounted
stories of material donations that had come from places such as ‘in the shed’,
‘under the bed’, or ‘in a cupboard’. The storage of collections in these places
often signaled the status of the items as somewhere between being personal
belongings and material ready for the tip. Baker and Huber’s use of the terms
“in-between” and “under the bed” are not only literal</span><span lang="EN-US" style="font-size: small;"> but also metaphoric, referring to the
private, tucked away places from which archival materials are gathered. </span></span>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small;">In taking on the responsibility of sorting
the trash from the treasure, archivists of popular music also take on a more
figurative role in society more broadly. Through their collections, DIYers are
making history “accessible” to the public via items that while perhaps not of
high monetary value, can retain significant personal and cultural value for
others.<span style="mso-spacerun: yes;"> </span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br /></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small;">See: </span></span></div>
<div class="MsoNormal">
<span style="font-family: Arial,Helvetica,sans-serif;"><span lang="EN-US" style="font-size: small;">Baker, S. and Huber, A. (2015). Saving
‘rubbish’: Preserving music’s material culture in amateur archives and museums.
In S. Cohen, R. Knifton, M. Leonard, and L. Roberts (Eds.), <i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span>Sites
of Popular Music Heritage: Memories, Histories, Places</i> (pp. 112-124). New
York, NY: Routledge.</span></span></div>
Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-51337900148876169032015-01-30T13:32:00.000+10:002015-09-10T13:51:13.564+10:00Visit to the National Film and Sound Archive<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Last month I travelled to Canberra to accompany South Korean colleagues, Hyunjoon Shin and Keewoong Lee from <span style="line-height: 115%;">Sungkonghoe University, on their fact finding visit to the <a href="http://www.nfsa.gov.au/" target="_blank">National Film and Sound Archive</a>. </span></span></span><br />
<a name='more'></a><br />
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;">I had been contacted earlier this year by Hyunjoon and Keewoong to act as a Project Advisor for the development of the Asian Popular Music Archive, part of the
<a href="http://www.cct.go.kr/english/complex/outline.jsp" target="_blank">Asian Culture Complex</a> being established in Gwangju, South Korea. The development team were looking at different examples of archival practice around the world and in addition to the NFSA their stint in Australia also involved visits to the <a href="http://www.powerhousemuseum.com/collection/database/menu.php" target="_blank">Powerhouse Museum</a> in Sydney and the Victorian Jazz Archive (now <a href="http://www.ajm.org.au/" target="_blank">Australian Jazz Museum</a>) in Melbourne. This month another member of the development team will be visiting the UK to gain further perspectives on archiving music (see this <a href="http://www.archivingmediaculture.org/south-korea-popular-music-archive-and-museum/" target="_blank">blog post</a> from Jez Collins about the UK component).</span></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;"><br /></span></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;">Some very interesting insights were to be gained at the NFSA:</span></span></span><br />
<br />
<ul>
<li><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;">The educational background of curators there tends to be museum/library studies but there are also people without formal qualifications but who have longstanding archival experience as well as people with limited experience who are employed in low level positions. Some curators have music industry experience and often come with technical skills for sound preservation and there are also some specialist conservators on the team.</span></span></span></li>
</ul>
<br />
<ul>
<li><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;">Sound refers to 'recorded sound', published and unpublished. The NFSA's preference is to acquisition the 'highest quality' recordings but it will also accept lesser quality material. However, there are boundaries in that if the recording is preserved elsewhere in another collection that is accessible it is not a good use of NFSA resources to duplicate the recording in the NFSA collection. Acquisition is a careful process because as one of the curators said "disposal [as a result of deselection of artefacts later down the track] is a big task". Approximately 10,000 artefacts are added to the collection each year (physical and digital) and as another curator noted "collections aren't a get and forget thing. They require ongoing care and maintenance". Increasingly, they also require digitisation and one curator observed during the discussion that at present less than ten percent of the sound archive has been digitised.</span></span></span></li>
</ul>
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;"> ***</span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;">Curators from the NFSA were participants in the earlier project "<a href="http://musicmemoriesproject.blogspot.com.au/p/our-project.html" target="_blank">Popular Music and Cultural Memory</a>". More information about the challenges of sound archiving based on those interviews will shortly be published in an <a href="http://diyarchives.blogspot.com.au/2015/07/guest-blog-review-of-article-historical.html" target="_blank">article</a> co-authored with Peter Doyle and Shane Homan which has been accepted for publication in the journal <i>Popular Music and Society</i>. </span></span></span><br />
<br />
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-AU; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span></span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-52755644467407127752014-12-14T15:42:00.000+10:002015-09-14T15:49:04.436+10:00"Locating the canon in Tamworth" winner of the 2014 Rebecca Coyle Prize<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The <span style="line-height: 115%;"><span style="mso-bidi-font-weight: bold;"><span style="line-height: 115%;"><span style="mso-bidi-font-weight: bold;">International Association for the Study of Popular Music Australia-New
Zealand (IASPM-ANZ) Branch Conference was recently held in Dunedin, New Zealand. It was announced during the conference that the 2014 Rebecca Coyle Prize for the best paper on popular music in the Australia-New Zealand region published in 2013 was awarded to my article, co-authored with Alison Huber, called '<a href="http://www98.griffith.edu.au/dspace/bitstream/handle/10072/59185/86758_1.pdf?sequence=1" target="_blank">Locating the canon in Tamworth: Historical narratives, cultural memory and Australia's "Country Music Capital"</a>'.</span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<a name='more'></a><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;"><span style="mso-bidi-font-weight: bold;"><span style="line-height: 115%;"><span style="mso-bidi-font-weight: bold;">This article, published in <a href="http://journals.cambridge.org/action/displayJournal?jid=PMU" target="_blank"><i>Popular Music</i></a> (vol.32, no.2: 223-240), was deemed by the judging panel to make 'an important contribution to discourse around white Australian identities' by way of 'an excellent ethnography' that is 'well written and effective' and with 'good theorisation of canon and memory'.</span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;"><span style="mso-bidi-font-weight: bold;"><span style="line-height: 115%;"><span style="mso-bidi-font-weight: bold;"><br /></span></span></span></span></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;"><span style="mso-bidi-font-weight: bold;"><span style="line-height: 115%;"><span style="mso-bidi-font-weight: bold;">As indicated on the IASPM-ANZ <a href="http://iaspm.org.au/publication-prize/" target="_blank">website</a>, 'The Rebecca Coyle Prize is awarded to the best paper on popular music in the Australia-New Zealand region in a given year. The prize in named in honour of long time IASPM-ANZ member Rebecca Coyle in commemoration of her work advancing popular music studies and mentoring emerging academic talent. ... [The prize is] awarded by a panel of senior IASPM-ANZ members'.</span></span></span></span></span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;"><span style="mso-bidi-font-weight: bold;"><span style="line-height: 115%;"><span style="mso-bidi-font-weight: bold;"><br /></span></span></span></span></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;"><span style="mso-bidi-font-weight: bold;"><span style="line-height: 115%;"><span style="mso-bidi-font-weight: bold;"><br /></span></span></span></span></span></span>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
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<![endif]--><br />Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-74395027126895147562014-11-29T21:30:00.000+10:002015-09-10T12:38:22.053+10:00Rockmuseum Munich - the highest DIY museum in the world?<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Although last month my data collection for the project officially concluded, a brief trip to Munich, Germany, has enabled me to expand my fieldwork sites by one with a visit to Rockmuseum Munich. No interviews were conducted here but it was a delight to discover this little gem tucked away in a famous Munich tourist attraction.</span></span><br />
<a name='more'></a><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
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<![endif]--><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;">Rockmuseum Munich occupies a high profile position on the
viewing deck of the Olympic Tower in <a href="http://www.olympiapark.de/en/olympiapark-munich/" target="_blank">Olympic Park</a>. While there are patrons who visit Olympic Tower with the core purpose of
viewing the museum’s exhibits, Rockmuseum Munich also benefits from passing tourists
who encounter the museum by way of a desire to see the city from on-high.</span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="line-height: 115%;">Rockmuseum Munich opened in December 2004, making my visit almost coincide with the museum's ten year anniversary. The museum was founded by a Munich-based financier and a music journalist. The target audience for the museum are 35-50 year olds with an interest in artists like the Rolling Stones, the Beatles and Elvis. But the duo also have artefacts relating to more recent artists, with items on display relating to Kylie Minogue and Britney Spears, among others. Two jukeboxes enable patrons to hear tracks from those artists who are featured in the displays. </span></span></span><br />
<br />
<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-AU; mso-bidi-language: AR-SA; mso-fareast-font-family: Arial; mso-fareast-language: EN-AU;"><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The exhibition space is very small and according to the <a href="http://www.rockmuseum.de/" target="_blank">website</a> only one percent of the collection is on display here. The founders are seeking bigger premises to more fully showcase their collection. The biggest hurdle to this is funding. As the <a href="http://www.rockmuseum.de/projekt-rockmuseum/" target="_blank">website</a> explains, the lack of significant sponsorship from someone who can provide premises and/or loans is hampering the dreamed expansion to become Europe's biggest rock museum. In the meantime, the founders are supported by their families and friends in this endeavour. </span></span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-67175197190124595782014-10-20T16:05:00.002+10:002014-10-20T16:05:45.821+10:00Data collection concludes<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The fieldwork stage of this research has now come to an end. This blog post gives a brief 'statistical' overview of the fieldwork.</span></span><br />
<br />
<a name='more'></a><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Since February 2013 I have visited 18 DIY Institutions, including archives, museums, halls of fame and combinations of these. My data set also involves five additional research sites from my earlier project, 'Popular Music and Cultural Memory' (2010-2012), taking the total number of sites I am analysing to 23. These fieldwork sites are located in ten countries: Australia (5), Austria (1), Czech Republic (1), Germany (3), Iceland (1), Netherlands (2), New Zealand (3), Switzerland (1), UK (2) and USA (4). </span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">I have interviewed 125 workers in these institutions, the majority of whom are volunteers. In some sites I was able to interview a large number of volunteers (for example, 31 at the Heart of Texas Country Music Museum and 25 at the Victorian Jazz Archive/Australian Jazz Museum), at others only one or two. And of course, some of these DIY Institutions are the labour of love of only one person (such as KD's Elvis Presley Museum in New Zealand). A number of the people I spoke to were the founders of these archives, museums and halls of fame or were involved in the early days of the institution's establishment.</span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">In addition to the genre-specific jazz archives (6) and country music archives, museums and halls of fame (4), the collections of the DIY Institutions of my study concentrate on popular music broadly, with one, the Sarasota Music Archive, being more heavily directed towards Classical Music. Two of the sites were artist-specific (the Ramones Museum and KD's Elvis Presley Museum) and another had an emphasis on recorded sound equipment (the Sound Preservation Association of Tasmania).</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The full list of fieldwork sites involved in the project are as follows:</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- Nederlands Jazz Archief, Netherlands</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- National Jazz Archive, UK</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- British Library Sound Archive, UK</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- Klaus Kuhnke Archiv fur Populare Musik, Germany</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- SwissJazzOrama, Switzerland</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- Australian Jazz Museum (formerly, Victorian Jazz Archive), Australia</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- Lippmann & Rau Music Archive, Germany</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- South Australian Jazz Archive, Australia</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- Taranaki Country Music Hall of Fame, New Zealand</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- KD's Elvis Presley Museum, New Zealand</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- Hector Country Music Heritage Museum, New Zealand</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- Heart of Texas Country Music Museum, USA</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- Queensland Jazz Archive, Australia</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- Sarasota Music Archive, USA</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- Rhode Island Music Hall of Fame, USA</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- Ramones Museum, Germany</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- Sound Preservation Association of Tasmania, Australia</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- PopMuseum, Czech Republic</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- SRA, Austria </span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- ARChive of Contemporary Music, USA</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- Australian Country Music Hall of Fame, Australia</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- Museum RockArt, Netherlands</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">- Tonlistarsafn Islands, Iceland</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The next stage of the research will be coding of the data (interview transcripts as well as photographs, websites and printed materials) using NVivo 10 software.</span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-11081687778457557752014-09-20T12:43:00.000+10:002015-09-10T13:04:07.987+10:00Collaborations with colleagues at Birmingham City University<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">This month should have seen me visiting the UK and Ireland for events co-organised with colleagues from Birmingham City University. Circumstances meant I had to stay in Australia but the events went on in my absence. Accounts of both events have been helpfully blogged by <a href="https://bcu.academia.edu/JezCollins" target="_blank">Jez Collins</a>.</span></span><br />
<a name='more'></a><span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The first event was a panel co-organised with Jez Collins for the conference of the International Association for the Study of Popular Music UK-Ireland Branch which was held in Cork, Ireland, from 12-14 September. The panel, titled "Investigating Popular Music Archives", also featured <a href="http://www.bl.uk/researchregister/1.10/?app_cd=RR&page_cd=RESEARCHER&l_researcher_id=118" target="_blank">Andy Linehan</a>, curator of popular music at the British Library Sound Archive. Jez's <a href="http://www.archivingmediaculture.org/iaspm-conference-cork/" target="_blank">blog post</a> includes an audio recording of the paper Jez and I co-wrote called "Sustaining popular music's material culture".</span></span><br />
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></span>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The second event was held at Birmingham City University and was one cooked up with Professor Paul Long and Jez Collins on a visit to Birmingham earlier this year. Called "The Sounds of History? Preserving Popular Music Heritage" this was an informal round table held on 15th September which brought together academics and practitioners. Jez's <a href="http://www.archivingmediaculture.org/264/" target="_blank">blog post</a> on the event includes a review of the event by Kingsley Harris, founder of the <a href="http://www.musicfromtheeastzone.co.uk/" target="_blank">East Anglian Music Archive</a>. </span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6894290840933908881.post-459364509216727802014-07-12T21:00:00.000+10:002014-08-14T10:38:18.192+10:00Presentation on affective archiving and collective collecting at Edinburgh conference<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The last two days have been spent in Edinburgh at the conference "<a href="https://sites.eca.ed.ac.uk/oncollecting/" target="_blank">On Collecting: Music, Materiality and Ownership</a>" held at the National Museum of Scotland. </span></span><br />
<div>
<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;"></span></span><br />
<a name='more'></a><span style="font-size: small;"><br /></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Organisers Tami Gadar, Arnar Eggert Thoroddsen, Tom Western and Sarah Wordens are to be congratulated on bringing together an eclectic mix of speakers, with presentations on everything from the music books of Georgiana McCrae c. 1827-28 and collecting in light of streaming services to the contemporary appeal of cassettes and the curation of ethnographic sound galleries. </span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Particularly interesting was the roundtable on the Friday afternoon which looked at "Collecting, Listening and Thingness" and brought together Kyle Devine, Marion Leonard, Frederick Moehn, Jenny Nex and Laura Tunbridge as discussants. Being a roundtable, none of the speakers were able to go into much depth about their topics but the Chair of the session, sociologist Professor <a href="http://en.wikipedia.org/wiki/Simon_Frith" target="_blank">Simon Frith</a>, provided an excellent stitching together of the key issues. One question from the floor concerning the disappearance of community was comprehensively rebutted by Frith who believes "the communal aspect of music is flourishing ... and continues in a great number of ways". I would contend that the prevalence of DIY music archives is an example of this. Frith also noted that "collections of music are not really collections of 'music', they are collections of the materials of music".</span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">Within that broad mix of topics and approaches I gave a paper that builds on presentations delivered at conferences in <a href="http://diyarchives.blogspot.com.au/2013/02/conference-paper-archiving-affectively.html" target="_blank">Rotterdam</a> and <a href="http://diyarchives.blogspot.com.au/2013/11/conference-presentation-on-archival.html#more" target="_blank">Brisbane</a> in 2013, further developing ideas around the affective dimensions of DIY institutions by considering the collective form of collecting that takes place in the archives and museums of my research. Titled "Affective archiving and collective collecting in do-it-yourself popular music museums and archives" the paper outlined five of the ways in which collecting is a collective enterprise in volunteer-run DIY institutions.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">The abstract for the paper can be found in an earlier post <a href="http://diyarchives.blogspot.com.au/2014/03/abstract-accepted-for-collecting.html" target="_blank">here</a>.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">In the paper I drew on examples from five institutions that have participated in my research to illustrate how collective collecting can be seen to operate in DIY archives and museums in ways that contribute to the cultural, social and affective dimensions of these places. </span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">(1) I used the <a href="http://diyarchives.blogspot.com.au/2014/06/radios-galore-and-more-at-sound.html#more" target="_blank">Sound Preservation Society of Tasmania</a> (Australia) to demonstrate how DIY archives often begin with enthusiasts bringing together their private collections. </span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">(2) The case of the <a href="http://diyarchives.blogspot.com.au/2014/04/preserving-music-history-of-ocean-state.html#more" target="_blank">Rhode Island Music Hall of Fame</a> (USA) showed how collecting collectively can happen even when there is not yet a central location to hold a collection and so purposefully adding to a private collection is done with the collective in mind. </span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">(3) The story of one interviewee at the <a href="http://diyarchives.blogspot.com.au/2014/04/preserving-traditional-country-music-in.html#more" target="_blank">Heart Of Texas Country Music Museum</a> (USA) illustrated how volunteers sometimes seek out special artefacts to buy with the purpose of donating or loaning it to the place at which they volunteer, thus adding to the collection.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">(4) <a href="http://musicmemoriesproject.blogspot.com.au/2011/09/project-in-netherlands-rotterdam-hoek.html" target="_blank">Museum RockArt</a> (Netherlands) provided a great example of a collective intelligence strategy for building a collection in which a network of people throughout the Netherlands act as something akin to 'outposts for collecting'.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">(5) The <a href="http://diyarchives.blogspot.com.au/2013/10/fieldwork-at-victorian-jazz-archive.html#more" target="_blank">Victorian Jazz Archive</a> (Australia), now known as the <a href="http://vicjazzarchive.org.au/" target="_blank">Australian Jazz Museum</a>, demonstrated how in larger DIY archives collective collecting can be a central part of operations, with volunteers assigned to a collections team in which decisions related to the process of sorting, arranging and organising aspects of the collection are made collectively.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Arial,Helvetica,sans-serif;">My overall argument is that all of these activities around collective collecting contribute to the affective atmosphere and archival ecologies of DIY archives and museums, enabling these to be places where affective archiving flourishes as volunteers work together to create collections of value. This is not just about the value of the objects being collected but about the value of the activity of collecting to individual volunteers and the volunteer community in their role as custodians of music heritage. This point was brought home with the example of the <a href="http://www.countrymusichalloffame.com.au/" target="_blank">Australian Country Music Hall of Fame</a>, an archive and museum which demonstrates how mutual engagement in cooperative labouring activity becomes a significant source of meaning in the lives of volunteers.</span></span></div>
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