Interview Documentation

I started transcribing the interview I had from the beginning and then wished I had started somewhere in the middle. I was unsure of which excerpts to use because I didn't want to keep skipping around the interview to find the more "interesting" parts or cut the responses, but they were all pretty lengthy. I didn't even begin to cover what we got into in the interview. It lasted pretty long, a good 30 or 40 minutes and I learned a lot and got some different answers to my questions than I was expecting. The interviewee has indicated that they would like to be referred to under an alias, and will hereby be referred to as Pocahontas (this was decided at the interview, due to a love for Disney characters and an unrelated "inside joke," if you will).

INTERVIEW EXCERPT:

Me: Starting at the beginning, how many different types of dances do you guys do?

Pocahontas: Umm…I’m not quite sure whether there is a definite answer to that, it changes from year to year. But dances I have seen Badmaash do…let’s see…ok Bhangra Garba Raas Hip Hop Step Bharathanatyam Kathak Lyrical…umm…a little bit of Samba I think

Me: Really?

P: Yeah well we’ve got just a lot of people who have a lot of different talents in the group so that’s 9…there might be more, or variations between them, like mixes of them

Me: Do you generally do them all in an average concert or a mix?

I think our big show, which happens once a year we try and get as many different dance styles as possible. It doesn’t always happen, but we try.

….

Me: How do you pick the songs that you use for the pieces?

P: That’s up to the choreographer’s discretion. But I think a lot of that also has to do with our music people who are right now mostly Shri (sp.?) and Rahul umm I know that Rima and I knew that we wanted to use the background to Love Game and then we went to Shri to be like do you know any Hindi or Bollywood or just any old Indian song that could work with this and he was like “yes I know the perfect song” so like they both have ridiculous data bases either on their computer or in their head and they help out along with song selection and even more with song mixing

Me: Ok. Umm. Does the choreographer have free reign? Like does the group have to approve the dance or do people have the authority to approve or reject them?

P: It’s pretty much if you go to the Co-D’s at some point at the beginning of the semester and you’re like “Yo I want to choreograph this dance” they’ll be like “Sure, go for it,” which is really cool and a lot of times choreographers will kind of weed themselves out if they aren’t feeling it or if they don’t think that they have the time or something but we don’t reject dances from the show or we like don’t audition dances for the show

Me: Do the stories of the dances relate to the words of the songs?

P: It depends. So, for something like Bhangra or Raas I don’t think there’s much storytelling or anything related to the songs but for Bollywood I think they usually try to use songs whose lyrics kind of go along with the story so like the premise of a Bollywood piece the reason that it’s so long and so many different songs is because it’s supposed to like parody a Bollywood movie and like whatever love triangle happens because there’s always a love triangle. So like I know Sima was listening to songs to like fit this kind of blueprint of a story. And in Bharathanatyam I know if you choose to, when you use songs with words you can actually fit your movements to the words because it’s a form of storytelling, it’s like a pantomime. But a lot of times for Badmaash we don’t do that because that style of Bharathanatyam it’s called when you’re telling the story is a) Religious for the most part and b) just really hard to teach if you’re not trained. So for Bharathanatyam I’ve found Badmaash usually sticks to plain old movements that kind of show off the rhythmic and technical aspects without the storytelling in it.

…

Me: What does the music chair do?

P: Music Chair. Right now I think is Shri (sp.?) And last year was Rahul. Their job I think is basically to help out musically wherever possible so if a choreographer goes to them and is like I need music for this piece. Help me. They’ll help. And they do a lot with mixing songs if more htan one song is used in a piece and in terms of the competition piece which I think is probably the biggest group piece the co-directors choreograph it and the music chair does all the music for it, picks the songs according to the choreographers desires and then like makes a really epic, epic mix.

Critical Review #5: Waterman 1952

I find it interesting that Africans at one point considered not “culturally developed” enough to have harmony. To me, music seems to be something so inherently human that I would think even the most underdeveloped culture could potentially have a sophisticated and innovative musical system. I also find it fascinating that while transcribing African music an ethnomusicologist might neglect to transcribe harmony that was actually present, simply because they weren’t expecting to hear it. Understand that apparently something to do with the recording that made it difficult to hear, but I still find that difficult to imagine.

The article discusses the compatibility of Western and African musical styles, and the syncretism that has thus resulted. Apparently some Negro spirituals are even thought to have come solely from Europe due to the Western music style, which I find to be very interesting. Something that many Westerners would attribute to being an authentic African tradition in fact might have been born next to traditional European music.

I also find it interesting that people so often consider Western music to be more sophisticated and complex than African music, when in reality the elements of complexity seem to more or less even out. European songs are typically much more harmonically complex than those from Africa, including the use of modulation, which is virtually non-existent in African music. On the other hand, African music is much more rhythmically complex than European music. Then both of them have similar melodic complexity. Wouldn’t this ultimately put the two on pretty even playing fields in terms of overall musical sophistication?

This article is pretty old. How much has the syncretism of these two music types progressed since it was written? Will there ever be a point in which the syncretism of African and European music reaches a level to which the origin of certain songs won’t be able to be determined? That perhaps someday there will be such a fusion between the two music cultures to include all the varying musical complexities they contribute equally. Rather than being African influenced Western music, or Western influenced African music, there would just be African-Western music. Do examples of this already exist?

Critical Review #4: Wong 2001

Right from the beginning I find this article’s description of African American music and white music to be interesting. Ogawa said he grew up listening to African American music and within a year of UCLA he was listening to “white” music. What does he mean by that? That the composers/performers were African American vs. white, or the audience members, or both? Also the difference in labels between African American and White; How can music be colored? Wong later goes on to comment that the ethnicity of music isn’t any less complicated than the ethnicity of humans…what factors are used to characterize this?

Wong also comments that in this interview she is working in the other direction than she usually does by interviewing someone who was a friend before a subject. She also comments that this gives her an accountability that can only be useful. Is that true? Couldn’t it not be useful, if one is biased in the perspective they choose to view comments made, or the light they shed something in? Yes she will be more careful and maybe more invested in the interview and his personal story, but it might also lead her to not be entirely objective in her methods or conclusions.

She then comments that audiences listen to themselves in performances, and relating that to how Ogawa trying to hear himself through the types of music he listened to. And then later Wong says she thinks it’s never the music itself that attracts or compels. Find my taste doesn’t radically shift depending who I surround myself with. I’m very open about not conforming to popular musical tastes of those around me, and often argue with friends about what I prefer to listen to. How much of one’s taste can be influenced by those around them vs. what they genuinely enjoy listening to?

I also find it interesting that fashion/dialect and style and general are being equated with music. Why were the Beatles a nonevent to him? And that at home he was allowed to listen to this music but not speak in a different dialect- why were these things distinguishable. Did he pick this music because it’s what he enjoyed listening to the most or because it was the more comfortable option as he said the fashion sense and dialect was. Is it because he identified both as a minority and an American, and this was the closest way to resolve that?

As a sidenote, I also thought his comment about how a good Japanese American kid always took music lessons was really funny. I find the image of an army of clarinets to be very amusing. But it is sad that music making was a duty for him.

(My discussion questions are interspersed throughout the critical review…I thought it made more sense to leave them with the paragraphs that they pertain to rather than list them at the bottom of the post)

Fieldnotes

I went back and forth about how to present the fieldnotes I took at Badmaash Rehearsal. At first I thought I might try and edit them and explain context to any readers, but then decided that I'd rather leave them in their original state and then later change or explain any points that might be unclear. The only thing that I did do was go through and make some (minimal) edits for grammar and spelling. These are mostly just my raw thoughts while I was there and more or less taking down a stream of consciousness of any element I thought I might at some point find relevant or useful. I found my brain to be working faster than my fingers would allow me to type at some point, so while at first it felt I was writing a lot, there is still much I didn't begin to delve into because everytime I wrote a note another point would come into my head. Also, I have since found out the answers to some of the questions I wrote from asking Manj or just thinking about it more, but left my initial inquiries.

The rehearsal I attended was for the Bollywood piece, and scheduled from 10pm-12am in Ashamu studio on Wednesday 2/24.

FIELDNOTES DAY 1 2/24/10- BOLLYWOOD dance

-Run into Manj and some of her friends as I walk---relieved because I felt weird about walking in by myself not really knowing everyone for the first time

-She gave a brief intro to some

-Rehearsal is in Ashamu, a big dance studio with mirrors to help them all see the overall formation as they learn and rehearse

-Right from the beginning very clearly a tightknit social group in addition to just dance group…hugs for everyone, asking how the weekend was. It’s Nandu (sp?)’s [This is a nickname Manj call’s her at least] bday

-Some questions from people of what I was doing… “my aunt majored in ethno when she went here! …. Well we’re ethnic…I’m not, but we are”

-Some issues turning on the music at first- lots of loud bursts of noise that people aren’t really noticing

-The dance has clearly been rehearsed for a while already

-The music starts and they dance first in lines, then break into circles and various formation

-Rapid foot movement, seems to be in a dotted rhythm

-The music itself…some “HUH!”s, and a pretty constant beat.

-Sima shouts something I don’t really understand and people get into formation for the next dance

2) Another song is put on, with a beat that’s a little slower but still strong

The whole time I’m taking notes I just keep thinking how cool this all is and how I want the music they’re dancing to, and that I should really go to more Badmaash shows like Manj always wants me to. It also makes me wish that I could dance!! It’s all so Impressive to me. They all look good but they pick up on such small details to improve that I don’t even notice…I’m just impressed that they remember all the moves and where to go, and think about how long it must have taken to conceptualize and organize all the group movements and transitioning between formations.

It’s unclear to me who is in charge…Manj said that Sean is a co-head of the group, but it seems that maybe Sima choreographed this dance? Or has some leadership position because she keeps taking charge and showing some moves to the group?

They all pick up on the new moves so quickly! I would need every millisecond to be broken down for me, as proven by when I’ve had Manj try to teach me parts of their dances as short as 2 bars, but they all are able to intuit the slightest body movements and nuances.

Sean steps up in front with Sima but it still seems that she’s teaching the dance.

I’m SO impressed at how quickly they learn and retain all of this with such little repetition!! They all learn it and go over it once or twice very briefly and then can just put it into context and look good doing it. I’ve tried to learn dances before and know how hard it is (at least for me) so it’s remarkable to me to see people pick up on something so quickly that takes me sooo long to figure out how to do. Also since I’m listening to the same instructions and am clearly not understanding as well as they all are.

I’m liking the dance, as an aside…even just the bit I’m seeing that they’re learning now is a funny little story of the girls trying to play it off cool and then getting really into their girlish movements, and the guys on the side with their arms folded watching.

There’s a very light dynamic to the rehearsal process. Everyone is much better at focusing than my a cappella group is, that is certain. There are very minimal side conversations and commentary for a group of comparative size. There is laughing and some hugging and giggling but for the most part everyone is here to learn and be productive and get through the dance. I wonder if this is partially a consequence of the intense rehearsal process they just went through for Phillyfest (a big dance competition). Sima is so small (I think the shortest and tiniest one in the group from a quick glance around) and yet she’s able to hold their attention and command their respect. If she yells quiet (cute and jokingly) or is stern (generally in a very cute and joking manner) the group listens.

…Is this a 3^rd dance? I lost track…I think it’s still part of the second one. Or at least the second song; I’m having a hard time differentiating between whether this is all one dance with different songs or if the pieces are separate. I also can’t really tell when the songs are changing, and if this is some sort of musical compilation or when the song just has different parts to it.

3) Is this another new dance? When did she tell them which dance to do…

I think this is a new one, because Manj isn’t dancing and I don’t recognize this music/the moves. When did they learn all these pieces? I wonder how long the pieces have been in the group for, if they learn new dances all the time or if they keep ones that they reteach and pass through, as we have alumni songs and songs we rotate/retire/but generally keep in the group for a few years at least. I wonder if after each performance they choreograph new dances or if they ever do the same ones again…like especially the comp piece, since it was so cool and they worked on it for so much time. And if these are all new, did they learn them all this semester so far? We haven’t been here THAT long. I wonder how long it takes to choreograph the pieces vs. learn them. Does Sima choreograph all the Bollywood pieces? Again, is this all just one piece? I don’t think so

A note on outfits- Most people are wearing workout clothes of some variety- the girls mostly spandex but some other varieties of gym pants, and the guys in mostly sweatpants and shorts. However, I see some people in normal shirts rather than just t shirts, and I THOUGHT I saw someone wearing jeans, which seemed odd. But now I can’t find them so maybe I was hallucinating or they left, because I just saw someone walk out.

They opened a window because they’re clearly hot from all the dancing, but it’s cold!!

They’re all in such good physical shape

I’m a little surprised at how well I’m sinking into the background. Whenever we have guests at keys rehearsals for whatever reason I generally try to impress them or my behavior is affected for some reason or another. Here though they’re just having fun amongst themselves and focusing on their dancing. I’m inconsequential, which I’m glad about.

Sima said something about Lady Gaga, or finishing Lady Gaga…I’m not sure what she’s talking about because this music is definitely not Lady Gaga. Maybe it’s part of the dance move? I don’t really know her dances, unlike many of my friends.

This is kind of fun! There’s already so much more to write about than I thought there was going to be. I was worried that I wouldn’t know where to begin not knowing anything about this music or the dances.

Oh someone else started to suggest something, and Sima seemed to shoot it down. They’re explaining things and it’s getting a little confusing. Sima keeps using her notepad to list off lists of people for order in lines and formation, but I wonder how it’s notated so that she can remember what she’s talking about. How can you reduce a dance in your mind onto a piece of paper? Through words describing actions? Through pictures?

They just ran through part of it singing rather than playing the music…Nandu has a really pretty voice! That’s also an added element of complexity that they can memorize the words to the songs along with the melody and instrumental parts while remembering the moves to the dance. And that she knows the language…

That brings me to my next thought. I find the ethnic makeup of Badmaash very interesting. I know Manj has a background in Indian classical dance even though she’s from New Jersey. However having met some of the other members/just listening to them speak, I hear some accents and know that at least one or two of them are from India. I wonder how many of them grew up with some form of South Asian dance as part of their lives. And what the personal meaning of being in Badmaash then is to them. I also wonder how those who didn’t grow up around this type of dance ended up in the group. Does everyone have some sort of trained dance background (I couldn’t imagine possibly being able to keep up if you didn’t)? And what are the various dance training backgrounds of everyone in the group?…These are questions I should remember for the interview portion! How does one resolve being in a South Asian fusion dance group and not identifying ethnically as South Asian? Does it affect anything? Right from the beginning there was the offhanded comment about the group being ethnic even though not everyone is, so clearly it is at least realized and acknowledged to some degree.

What is the story of the dance that’s going on? How does it relate to what the words of the songs are? Does it always correlate? Does it ever?

Note to self…make EXTRA sure battery is fully charged. I think it’s going to run out a few minutes short of the end of the rehearsal. But I have a charger so it’s ok

Now it’s time to crack down in rehearsal, come 11:15- past the halfway point they were like more work less fun!

It’s hard to stay focused this whole time even as an observer…I keep tuning out and thinking about other things. They’ve all been very good and focused this whole time.

I think their rehearsal process is a really great balance of productivity and fun. Of course the dancing itself is suppose to be fun, and maybe that helps contribute to the level of concentration.

They’ve learned a looot of the dance without music, just with the counts. Music hasn’t been played in a while. I find that very interesting how they’re able to apply it all.

Welcoming newcomers!! 3 or 4. Yayy new Badmaashies! I can’t even tell which ones they are, they fit in well already.

I also am concerned with how they’re all perceiving me. I want them to like me! I’m glad I’m having such positive reactions so I don’t have to lie.

This dance already looks so good and a coherent whole. They’ve accomplished A LOT in not that much time. This reminds me more of the focus there would be in choir in high school vs. a cappella here, and reminding me how nice that was. Also this is a lot of work…I now understand why manj is always so out of breath after rehearsal

Business time…who’s free on the 13^th. Also not much time before SASA show…need to practice on Salomon! Sima just said “sorry this is not as great a practice as usual” why wasn’t it? It seemed very productive…is it because they were learning things and not just rehearsing details?

Staying for an extra 5 minutes to block things. By 5 they mean 20ish. Need to do extra work because the show is coming up soon. “now we’re going to garba into the U”…a different language completely haha. Ooh I think they’re doing secret birthday stuff for Nandu! I see people in the doorway. Is that what they’re doing? That’s very cute. They pretended to rehearse extra and then turned the lights off and brought a cake in and started singing to her. Very nicely done, I didn’t realize at first and I was sitting by the door and saw other people were here. What a great day to choose to come to rehearsal! I feel a little awkward being here now that it’s cute social things…