Music in and of disaster?

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AJ Faas

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May 1, 2024, 6:53:36 PM5/1/24
to Risk and Disaster TIG
Dear Friends and Colleagues,
   I have a student who is interested in studying how people use music in disasters and I'm very taken with the idea of such a project, but sadly unfamiliar with any work or case studies on this. I can think of Melinda Gonzalez's excellent work with Puerto Rican poet activists storying disaster experiences, mobilizing informal response, and doing the work of emotional healing. There's also the great Ay Maria! street theater work featured in Bonilla and LeBron's Aftershocks of Disaster. Those are the sort of cases we're interested in collecting and studying. That is, how have people used music for healing, expression, and mobilization in disasters? Anyone have studies or cases to share? I will be happy to share back out to the list and to reciprocate with sharers in any way I can.
Sincerely,
 a.j.
p.s. - as a former musician who came into anthropology to pursue ethnomusicology, I'm personally embarrassed that I don't know more about this beyond old folk songs about disasters.

A.J. Faas, Ph.D.
Professor & Graduate Coordinator
Department of Anthropology
San José State University

Laura Gorbea

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May 2, 2024, 10:42:34 AM5/2/24
to Risk and Disaster TIG

HI AJ and all,

I think this is a very under examined niche.

Back in 2021 through PR PASS Workshop, a nonprofit research organization, I convened a professor/practitioners of music therapy, nonprofit sector leaders working in shelters, and a sociologist from a local university to collaborate on a research proposal that sought to rescue perishable data on the use of music in the shelters (in the aftermath of the 2020 swarm of earthquakes) and apply their findings through their design of a culturally responsive music therapy intervention to reduce the impact of COVID-19 distancing measures on youth who live in shelters.

Our goal was to report of lessons learned and guidelines for using music in disaster response and recovery initiatives. Work in this area has the potential to mitigate trauma and advance culturally responsive decentralized care during and after an natural hazard event.

Our project was positioned in the intersection of emergency sheltering and culturally responsive healthcare. However, looking at the body of research it is also interesting to look at efforts aimed at whole community recovery.

Because I have this on hand, I will share with you few segments of our literature review and bibiographic references in hopes that it might help you counsel your student and to invite anyone in the TIG who might want to get this work done in PR and knows of a funding opportunity to let me know!

About Puerto Rico, healthcare system and disaster research on mental health

"Due to the fragmented medical system (WHO 2015, Mulligan 2014) and outmigration of medical health professionals providing mental health support services is logistical challenge. Emergency shelters and group homes all act with relative autonomy serving vulnerable populations in Puerto Rico after a natural hazard event. Data is scattered and anecdotal. No one field or person has a complete
picture of what worked across the board."

  • Mulligan, Jessica M (2014). Unmanageable care: An ethnography of health care privatization in Puerto Rico. NYU Press.
    Thank you Jessica Mulligan for your thoughtful work on the PR healthcare system, I reference often, wherever I can.

"A recent report on the mental health of school age children three months after Hurricane María (2017) reported over 80% of the children experienced first hand the devastation left behind (Orengo-Aguayo et al,2019). Yet, in the face of widespread exposure to stressors only 7.2% were identified as exhibiting conditions that could lead to a likely diagnosis of Post-traumatic Stress Disorder, PTSD. This is a rate lower than expected Stateside where typical reports estimate 13-30% rates of likely PTSD. This measure stood in stark contrast to post-disaster trends in the US where the rate of PTSD is usually between 13-30% (Orengo-Aguayo et al,2019). The authors of the survey verified their low rate against earlier studies and found that after Hurricane Georges the rate for PTSD was also smaller than average, only 0.8%. In their discussion potential protective factors the Orengo-Aguayo (2019) research suggests family networks. Ironically, the
Orengo-Aguayo (2019) survey provided a grim update on that as well, stating that 58% of participants had relatives leave the Island after Hurricane María. In the face of evidence that family network’s protective effect has been strained, the proposed research sets out to investigate other potential protective effects and trauma mitigation strategies that were used."

  • Orengo-Aguayo, Rosaura et al. (2019). “Disaster exposure and mental health among Puerto Rican youths after Hurricane Maria”. In: JAMA network open 2.4, e192619–e192619.

If you open up the scope of research to efforts in culturally responsive care and creative art therapies that do include music there is more literature to look through (outside of PR):


"Morris and Kadetz (2018) examined the role of music in New Orleans post-Katrina and have argued that music and musicians as a group of people have unique protective"

"Culturally responsive design of therapy has been addressed in music therapy. Research that addresses the intersection of natural disasters, culture and music in Japan (Marutani et al, 2019; Kaneko, 2017; Miller, 2012) China (Gao et al, 2013), New Orleans (Cohen et al, 2010) and Haiti (Brolles 2015; McAlister 2012) have underscored the importance of providing culturally informed sensory experiences that include music as part of post-disaster care. Studies looking at rebuilding communities with resilience tend to narrow the focus on creative or sensory experiences where participants take part in the production or creative expression (Steele, 2016; Brolles, 2015; Bolger,
2015) . Though participant music creation is not new in music therapy, both recent studies referred to Community Music Therapy (Stige & Aarø 2011, Stige, 2015)."

  • Bolger, Lucy (2015). “Being a player: Understanding collaboration in participatory music projects with communities supporting marginalised young people”. In: Qualitative Inquiries in Music Therapy 10, p. 77.
  • Brolles, Lisbeth et al. (2017). “Art workshop with Haitian street children in a post-earthquake context: Resilience, relationship and socialisation”. In: International Journal of Art Therapy 22.1, pp. 2–7.
  • Kaneko, Nana (2017). “Performing Recovery: Music and Disaster Relief in Post-3.11 Japan”. PhD thesis. UC Riverside.
  • Marutani, Miki, Shimpei Kodama, and Nahoko Harada. “Japanese public health nurses’ culturally sensitive disaster nursing for small island communities”. In: ().
  • McAlister, Elizabeth (2012). “Soundscapes of disaster and humanitarianism: Survival singing, relief telethons, and the Haiti earthquake”. In: Small Axe: A Caribbean Journal of Criticism 16.3 39, pp. 22–38.
  • Gao, Tian et al. (2013). “A music therapy educator and undergraduate students’ perceptions of their music project’s relevance for Sichuan earthquake survivors”. In: Nordic Journal of Music Therapy 22.2, pp. 107–130.
  • Giordano, Filippo et al. (2020). “Receptive music therapy to reduce stress and improve wellbeing in Italian clinical staff involved in COVID-19 pandemic: A preliminary study”. In: The Arts in Psychotherapy 70, p. 101688.
  • Stige, Brynjulf (2015). “Community music therapy”. In: Music therapy handbook, pp. 233–245.
  • Stige, Brynjulf and Leif Edvard Aarø (2011). Invitation to community music therapy. Routledge.

In my research I also came across:

There is also some literature on "soundscapes". As with AI... it all depends on the terms and prompts you use :) There is literature but it is scant and scattered.

As a work group we knew music therapies were being used in a systematic fashion in disaster response and emergency care but the gap remains in documenting and sharing more widely what is being done.

I find this is one of the great challenges of living and working as an engaged practitioner (outside of academia). When disaster strikes, we are navigating the disruption and crisis at the same time we are struggling to write it up and pay bills. As most of you know and Mark Schuller as eloquently stated many times, disaster narratives are also more likely to talk up the defects and problems of what ends up being a co-constructed extended disaster. I continue to look for opportunities to document and share knowledge that is co-generated locally. If anybody knows of a funding opportunity for us... let me know!

AJ, I wish your student much success.  I look forward to learning and reading more on the subject matter when they do their research.

Best regards,

Laura

PS.
On a personal note, AJ, I can relate. I have a BFA and fell in love with Anthro along the way. I am not a musician, but musician adjacent :) as a mother of 4 musicians and artists. I am actually on my way to see my son's second graduation recital from Carnegie Mellon, this next Sunday and graduation (in guitar and composition) on Mother's Day. My daughter Olaia O'Malley Gorbea is a music therapist who is active with the Latino Music Therapy Association, la Red de Musicoterapia de Puerto Rico and practitioners in the Northeast and Northern region. If your student wants to reach out to music therapy practitioners that have been active in disaster, let me know.

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Laura M. Gorbea, PhD
Altamente
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Swamy, Raja Harish

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May 2, 2024, 11:48:11 AM5/2/24
to AJ Faas, Risk and Disaster TIG
Dear AJ,

This is a fascinating theme. I'm quite amazed with the proliferation of hip hop relating to Palestine and the ongoing genocide in Gaza, but also the Nakba (historical as well as ongoing). Here are some examples.

Best,

Raja


  		1.
    Listen to the single "Shouting At The Wall". Out now! Stream: https://music.empi.re/shoutingatthewall.oyd #MCAbdul #ShoutingAtTheWall #EMPIRE Official music video by MC Abdul - Shouting At The Wall © 2021 MC Abdul / EMPIRE

  2. Prod. Black Lions Beatz IG @blacklionsbeats تقدرو تسمعوا كل التراكات علي جميع منصات الاستماع #فلسطين #palestine #راب_شارع Owner & Host: @blackb_beatbox Co/owner & Sound Engineer : @omarmado__ Director & 1AD : @omarmado__ Co/Director & 2AD: @abdosalahraw Droon: @mostafalnemrr Art Direction ...

  3. https://www.youtube.com/watch?v=ARUzQocoEPc [another example of solidary music transcending language and cultural worlds]
    Tercer single de mi próximo álbum. El rap no puede ser ajeno ante el sangriento y cruel accionar que el sionismo ha tenido siempre contra el pueblo palestino, aquí una aporte de mi parte dedicado a la valerosa lucha de cada palestino dentro y fuera de su tierra. Beat: Arnache Mezcla y Máster: Naimad B Cámara: Dann Rincón Dirección y ...



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Sent: Wednesday, May 1, 2024 6:52 PM
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Subject: Music in and of disaster?
 

Daniel Starosta

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May 2, 2024, 12:30:54 PM5/2/24
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Hi all,

Longtime listener, first-time caller. A lot of my graduate research looked at how music (and art and literature) produced in the wake of disaster could be used to better understand the communities affected and better inform policies and programs ostensibly designed for them. Definitely a ton of space for music therapy as Laura mentioned (and I might add that music therapy also has a unique power to revive that which we have forgotten or blocked out, even veering into Alzheimer's treatment).

My ethnomusicology-side research probably deserved its own set of unique articles that I didn't get around to, but could feasibly divided into a few different categories: 1) music directly in response to and commemorating a disaster, 2) music as vehicle to re-contextualize or story a disaster, 3) the reverse side, disasters as vehicles or metaphors in music, 4) disasters as validating elements (often of identity or authority) in music, and 5) songs that have lost or been removed from the original disaster-storying context. Admittedly these are more examples than full case studies.

1) Hugo by Hermanos Ayala about 1989's Hurricane Hugo that hit Puerto Rico (and arguably the first major hurricane in 60+ years that residents were pushed to prepare for), in the bomba style that is a historically Afro-Caribbean storytelling tradition. "Cuando Hugo llegó, hasta Loiza temblo"

They was talkin’ bout a storm on the islands

Run, come see Jerusalem

— Blind Blake, Bahamian calypso about the Great Andros Island hurricane of 1929, apocalypse and renewal


The Ballad of Springhill, in response to the Springhill Mining disaster of 1958, which has had many covers (which is noteworthy on its own and becomes doubly relevant in #2) "we’ve no more water or light or bread, so we’ll live on songs and hope instead" 

Louisiana 1927, Randy Neuman's 1974 song about the 1927 floods "Louisiana, Louisiana
They're trying to wash us away"

2) New Orleans musicians reviving Louisiana 1927 as a Katrina anthem, in lieu of having their own new one, or of lacking the emotional energy to create an entirely new one. This is also a special example of continuing the running baseline that connects modern communities and their disasters to their own history, and remember that just because disasters may not come often, doesn't mean we are not perpetually at risk in geological time (thinking how the last major earthquake before Haiti's 2011 was just before its independence in the late 18th century) - "I can’t sing that song too often because it takes too much out of me"

Kinnari Eco-theatre - "stages new plays based on local legends in Southeast Asia to highlight current environmental issues. KETEP creates, rehearses, and presents the plays in the local language. The performances incorporate local songs, dances, puppetry, and traditional theatre styles to address a particular ecological problem chosen by the participants. Rooted in well-known folk stories, the performances present them with a new twist to offer alternative perspectives informed by 21st century science and global conservation efforts."


The Smong tradition in the Indonesian islands was conceived after a 1906 tsunami, around which they have songs, lullabies, and whole festivals where preparedness is disguised as cultural activity. The island of Simeulue was nearly unscatehd in the 2004 tsunami because such songs were so didactic from childhood.

Please always remember

the message and instruction

Smong is your bath

Earthquakes is your swing bed

thunderstorm is your music

thunderlight is your lamp

— Smong song, Simeulue

Sutton, Stephen A., et al. “Nandong Smong and Tsunami Lullabies: Song and Music as an Effective Communication Tool in Disaster Risk Reduction.” International Journal of Disaster Risk Reduction, vol. 65, Nov. 2021, p. 102527. DOI.org (Crossref), https://doi.org/10.1016/j.ijdrr.2021.102527.



3) These sometimes veer into what feels jokey, but I think should be taken seriously as a level of banality and normalcy with which some communities treat disasters


There's white caps on the ocean
And I'm watching for water spouts
It's time to close the shutters
It's time to go inside

— Jimmy Buffet, Trying to Reason with Hurricane Season



Temporal, temporal, allá viene el temporal,
Que sera de mi Borinken cuando
llegue el temporal?
The storm, the storm, here comes the storm,
What will be of my Puerto Rico when the storm arrives?
—Puerto Rican plena song, originally about the 1928 San Felipe hurricane 

4) 

Puerto Rico comes up a lot certainly in crafting identity and authority around talking about hurricanes:

singer Hijo de Boriken says:


Para saber de verdad lo que es sentirse antillano

Tú tienes que sudar aquí...

La tierra caliente, agua fértil pa los volcanes

Donde los tiburones le temen a los caimanes

Aquí el suelo se estremece y se pasean los temporales

Y se protesta en la calle aunque parezcan festivales


To know the truth of what it means to feel Antillean

You have to sweat here…

The hot ground, water fertile enough for volcanoes

Where the sharks are afraid of caymans 

Here the ground shakes and storms pass through

And we protest in the streets, even though it may seem like a party


And 5) what happens when songs becomes decontextualized from their original, visceral form, even if they are being covered and made popular again?

The song When the Levee Breaks was written in 1929 by two Mississippi natives, Memphis Minnie and Kansas Joe McCoy, whose lyrics offer a wrenching account of the Great Mississippi Flood of 1927. For many years it was celebrated as such, a brutal and honest song that was firmly tied to southern folklore and the laments of the blues tradition. 

I worked on the levee, mama, both night and day

I ain't got nobody to keep the water away

Mean old levee taught me to weep and moan

Told me leave my baby and my happy home


—Kansas Joe McCoy, When The Levee Breaks


Led Zeppelin’s 1971 recording of the song is more popular, but several degrees removed from actual commemoration. Google’s first search result for When the Levee Breaks is, decisively, Led Zeppelin’s. Bob Dylan recorded a cover as well in 2006, to some acclaim.


Thanks,
Daniel


To view this discussion on the web visit https://groups.google.com/d/msgid/disasters-and-applied-anthropology/cb23b46fc9afa87c56dd0457876d2e3b%40altamente.com.


--
Daniel Starosta
Disaster Preparedness & Climate Adaptation Researcher
Community Outreach & Strategy at Beamlink.io
Master of Development Studies, UC Berkeley GSPP

AJ Faas

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May 2, 2024, 1:13:30 PM5/2/24
to Daniel Starosta, la...@altamente.com, Risk and Disaster TIG
Holy smokes, Daniel. I knew you were going to come through, but this exceeds all expectations. Thank  you!
Sincerely,
 a.j
A.J. Faas, Ph.D.
Professor & Graduate Coordinator
Department of Anthropology
San José State University


To view this discussion on the web visit https://groups.google.com/d/msgid/disasters-and-applied-anthropology/CAHncu3%3Datwyc1VaQ3%3DjLqCwA1SscF3Bc-OYR-S7rf97viYYbBg%40mail.gmail.com.

Oliver-Smith,Anthony R

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May 2, 2024, 1:25:16 PM5/2/24
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 AJ et al...
    How could I forget??? It was only 54 years ago, but my first venture into the anthropology of disasters.  There were many huaynos written about the 31 of May earthquake avalanche in Peru.
2 versions of La Huaracinita singing Terremoto del 31 de mayo 1970

There were many others...one called 31 de Mayo, Dia Fatal, by La Pastorcita Huaracina (I think).  But these are just 2 of many.
best,
Tony
BASILIA ZAVALA CAMONES.- La Huaracinita con el Conjunto Rondalla Ancashina no pudieron estar al márgen de la tragedia y salieron con sus manifestaciones musicales en los momentos de dolor luego del 31 deMayo de1970 Hacemos también nuestro homenaje y reconocimiento a cada uno de ellos por su difusión de nuestro folklor ancashino, siempre con ...

La Huaracinita grabó este Huayno, al igual que Cataclismo de Ancash, a los pocos meses del terremoto que azotó el departamento de Ancash el 31 de mayo de 1970, dejando algo de 70,000 personas entre fallecidas y desaparecidas (como en el aluvión de yungay). Un testimonio personal en: https://www.youtube.com/watch?v=TYxJRMOGH7M Suscríbete ...


Anthony Oliver-Smith
Independent Scholar and Consultant
Professor Emeritus of Anthropology
University of Florida

1739 NW 11th Road
Gainesville, FL 32605
tel. 352-377-8359
website:anthonyoliver-smith.net
From: 'Daniel Starosta' via Disasters and Applied Anthropology <disasters-and-app...@googlegroups.com>
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Subject: Re: Music in and of disaster?
 
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AJ Faas

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May 2, 2024, 1:34:23 PM5/2/24
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Thanks, Tony! Wow, this list is on fire. Keep 'em coming, everyone.
A.J. Faas, Ph.D.
Professor & Graduate Coordinator
Department of Anthropology
San José State University


Daniel Starosta

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May 2, 2024, 1:40:39 PM5/2/24
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(Un)fortunate side effect of having one's thesis scope span 37 countries and 20,000 years of culture :) 

Two more that I wanted to add:

1) Following the Maui fires last august, there have been a solid handful of commemorative songs by local artists, but the videos produced for them may actually be more worthwhile to analyze: 

Some more popular artists like the Doobie Brothers too: https://www.youtube.com/watch?v=PXdWmNjWFbg&ab_channel=TheDoobieBrothers

2) One of my favorite examples that unfortunately doesn't fit into any category nicely (alas they never do) is the Calais Sessions album, which took musicians from the now-destroyed 'Calais Jungle' migrant encampment in france and had them compose music together. 

"The project started in a weekend in late september 2015 when a group of international musicians, based in the UK, went to see if they could find musicians in the camp to collaborate, rehearse, write, perform and record with. They as musicians wanted to do something in response to the escalating humanitarian crisis unfolding on their doorstep. Our team travel armed with a colourful array of instruments, and on arrival at camp we connect with the local musicians, hear their stories and see where we can collaborate. Meanwhile, a makeshift studio is set up on site in which to capture these tracks by day, as is a venue to host performances by night. Excited news of our arrival travels fast; just under the surface is a deep and heavy yearning for self-expression."

Lori Peek

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May 2, 2024, 4:03:05 PM5/2/24
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Hi A.J., and colleagues.

I’m not sure if this is exactly aligned with your students’ interests but I’ve found this Temp project fascinating: https://drlucyjonescenter.org/tempo/

 

Kind regards,

Lori

 

Lori Peek, Ph.D.

Professor, Department of Sociology

Director, Natural Hazards Center and CONVERGE

Principal Investigator, Social Science Extreme Events Research (SSEER) Network and Interdisciplinary Science and Engineering Extreme Events Research (ISEEER) Network 

University of Colorado Boulder

https://hazards.colorado.edu/biography/lori-peek

 

From: disasters-and-app...@googlegroups.com <disasters-and-app...@googlegroups.com> On Behalf Of AJ Faas
Sent: Wednesday, May 1, 2024 4:53 PM
To: Risk and Disaster TIG <disasters-and-app...@googlegroups.com>
Subject: Music in and of disaster?

 

[External email - use caution]

 

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Erin Eldridge

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May 2, 2024, 4:20:59 PM5/2/24
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Hi all,

 

As many of you likely know, there’s a rich history of coal, labor, and disaster songs in the Appalachian South, including songs by Hazel Dickens, Sara Ogan Gunning, and many others. But here are some more recent examples:

 

Jay Clark and Maggie Longmire (Knoxville, TN) made a musical documentary about the 2008 Tennessee Valley Authority coal ash disaster.  They recorded it live at the Laurel Theater. (This disaster was also the focus of my doctoral work).

 

Here is another recording of Maggie Longmire’s song “Kingston 2008," which is about the cleanup workers following the TVA disaster. 

 

And these examples from wider-known artists from the region come to mind:

 

Tim O’Brian’s “I Brush My Teeth with Coca Cola” was written after the Elk River chemical spill in 2014.

 

Steve Earl’s 2020 album Ghosts of West Virginia was written for a play (Coal Country) about the Upper Big Branch 2010 mine explosion. 


Best,

Erin


Erin R. Eldridge, Ph.D | Assistant Teaching Professor

UNC Charlotte | Department of Anthropology
https://anthropology.charlotte.edu/erin-eldridge

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Steve Kroll-Smith

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May 2, 2024, 4:47:06 PM5/2/24
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AJ, look up "Bury Me In the Ground" (Colin Rink). It highlights the way long-ago disasters still kindle songs.
And Katrina, oh my, from rap to gospel & all the genres in between.

Steve


AJ Faas

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May 2, 2024, 5:45:47 PM5/2/24
to Erin Eldridge, Risk and Disaster TIG
Thanks, Erin! I'm getting direct and all-list replies from folks. This is good fun! Thank you for sharing and keep 'em coming!
A.J. Faas, Ph.D.
Professor & Graduate Coordinator
Department of Anthropology
San José State University


Stephen Maack

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May 2, 2024, 6:28:04 PM5/2/24
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A.J.,

Don't forget the shipwreck songs.  I found many using a simple Google search

https://www.google.com/search?client=firefox-b-1-d&q=shipwreck+songs

 

I had thought of this category remembering "The Wreck of the Edmund Fitzgerald" desribed as "a 1976 hit song written, composed and performed by the Canadian singer-songwriter Gordon Lightfoot to memorialize the sinking of the bulk carrier SS Edmund Fitzgerald in Lake Superior on November 10, 1975. Lightfoot considered this song to be his finest work. Wikipedia." 

 

The quick Google search above picked up many others.  These songs often concern ships that sink during storms at sea or other natural disasters.  Would that be of interest to your student?

 

For example, Leadbelly sang "The Titanic" about the sinking of the Titanic.  Then there is the Irish song "The Irish Rover" about the sinking of the Irish Rover in 1806 and songs about fictional sinking ships.   Some of the songs may exagerate the ships or modify the events and musicologists or others may not even get to what "really" happened (e.g., compare https://americansongwriter.com/the-ill-fated-voyage-behind-the-pogues-and-the-dubliners-the-irish-rover/ to the song lyrics...).  Folklore (which includes ballads) can be like that

 

Also of interest might be hymns for safety at sea sung in churches.  Those might not be for specific disasters but were especially important for general expression of concern or healing during the era of sailing ships when captains and crews would be away from their home ports for months at a time.

 

Best Regards

Steve

 

Stephen C. Maack, Ph.D. (Retired applied anthropologist, singer)

sma...@earthlink.net

(310) 384-9717 (cell)

-----Original Message-----
From: AJ Faas <ajf...@gmail.com>
Sent: May 1, 2024 6:53 PM
To: Risk and Disaster TIG <disasters-and-app...@googlegroups.com>
Subject: Music in and of disaster?

 

Dear Friends and Colleagues,
   I have a student who is interested in studying how people use music in disasters and I'm very taken with the idea of such a project, but sadly unfamiliar with any work or case studies on this. I can think of Melinda Gonzalez's excellent work with Puerto Rican poet activists storying disaster experiences, mobilizing informal response, and doing the work of emotional healing. There's also the great Ay Maria! street theater work featured in Bonilla and LeBron's Aftershocks of Disaster. Those are the sort of cases we're interested in collecting and studying. That is, how have people used music for healing, expression, and mobilization in disasters? Anyone have studies or cases to share? I will be happy to share back out to the list and to reciprocate with sharers in any way I can.
Sincerely,
 a.j.
p.s. - as a former musician who came into anthropology to pursue ethnomusicology, I'm personally embarrassed that I don't know more about this beyond old folk songs about disasters.
 
A.J. Faas, Ph.D.
Professor & Graduate Coordinator
Department of Anthropology
San José State University

Stephen Maack

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May 2, 2024, 7:52:06 PM5/2/24
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I like Daniel Starosts's approach and comments, as well as Laura Gorbea's.  I think A.J.'s student is more likely to find academic articles and examples in the ethnomusicology or folklore literature or possibly in relatively rare studies of the anthropology of music than in anthropological journals. 

 

As the discussion on the list has shown there is no shortage of examples of music and songs about disasters, real, imagined or even mythical (e,g,m hero stories like the Odyssey may include various feats of surviving natural disasters).  As is often the case with a thesis.  A.J.'s student will likely need to narrow down his focus.  Starosis' list of categories might be helpful, perhaps along with looking at particular types of disasters, geographic or cultural areas, and/or time periods or some combination of these.

 

Dear Friends and Colleagues,
   I have a student who is interested in studying how people use music in disasters and I'm very taken with the idea of such a project, but sadly unfamiliar with any work or case studies on this. I can think of Melinda Gonzalez's excellent work with Puerto Rican poet activists storying disaster experiences, mobilizing informal response, and doing the work of emotional healing. There's also the great Ay Maria! street theater work featured in Bonilla and LeBron's Aftershocks of Disaster. Those are the sort of cases we're interested in collecting and studying. That is, how have people used music for healing, expression, and mobilization in disasters? Anyone have studies or cases to share? I will be happy to share back out to the list and to reciprocate with sharers in any way I can.
Sincerely,
 a.j.
p.s. - as a former musician who came into anthropology to pursue ethnomusicology, I'm personally embarrassed that I don't know more about this beyond old folk songs about disasters.
 
A.J. Faas, Ph.D.
Professor & Graduate Coordinator
Department of Anthropology
San José State University

 

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Daniel Starosta
Disaster Preparedness & Climate Adaptation Researcher
Community Outreach & Strategy at Beamlink.io
Master of Development Studies, UC Berkeley GSPP

 

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Melinda Gonzalez

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May 2, 2024, 8:26:58 PM5/2/24
to AJ Faas, Risk and Disaster TIG
Hi AJ and everyone,

Thanks for the shot out on my work. 

If anyone would like to read the article I published on poetry and disasters, here is the citation and link:
González, M. (2022). Colonial Abandonment and Hurricane María: Puerto Rican Material Poetics as Survivance. ETropic: Electronic Journal of Studies in the Tropics, 21(2), 140–161. https://doi.org/10.25120/etropic.21.2.2022.3893 


There's a ton of work on Hip hop and Puerto Rico re: identity and cultural production. Tons of work on bomba. Re: Disasters - the recent work of Puerto Rican Anthropologist, Sarah Bruno, who studied the importance of Puerto Rican bomba comes to mind.

“Yo la bomba no la bailé, la bomba yo la vivé” (I Didn’t Just Dance Bomba, I Lived It): The Pedagogy of Daily Puerto Rican Life, Black Feminist Praxis, and the Batey
Sarah Bruno, 12 October 2022 https://doi.org/10.1111/traa.12242

From my ongoing bibliography, here's some citations on cultural production, music, theatre after Katrina and some work on Haiti as well after the earthquakes. These are a bit dated, and I am sure there's a lot of more recent work, too. Is there a particular region the student is interested in? 

All the best,
Melinda

 

Disaster, Cultural Production, and the Caribbean


Averill, Gage. "Anraje to Angaje: Carnival politics and music in Haiti." Ethnomusicology 38, no. 2: 217, 1994.

Bergan, Renée and Mark Schuller. 2010. Post Earthquake Update on Poto Mitan. Watertown, MA: Documentary Educational Resources. Youtube: https://www.youtube.com/watch?v=Pw2-ifXfK-0&feature=youtu.be

Boisseau, T. J., Kathryn Feltey, Karen Flynn, Laura Gelfand, and Mary Triece. "New Orleans: A Special Issue on the Gender Politics of Place and Displacement." NWSA Journal 20, no. 3 (2008): vii-xvii.

Braziel, Jana Evans. Artists, Performers, and Black Masculinity in the Haitian Diaspora. Blacks in the Diaspora. Bloomington : Indiana University Press, c2008., 2008.

Bruenlin, R.,  Ronald W. Lewis and Helen Regis. 2009. The House of Dance and Feathers: A Museum by Ronald Lewis. UNO Press/Neighborhood Story Project.

Camp, Jordan T. ""We Know This Place": Neoliberal Racial Regimes and the Katrina Circumstance." American Quarterly 61, no. 3 (2009): 693-717.

Chamlee-Wright, Emily, and Virgil Henry Storr. "“There’s No Place Like New Orleans”: Sense of Place and Community Recovery in the Ninth Ward after Hurricane Katrina." Journal of Urban Affairs 31, no. 5 (2016): 615-34.

Clitandre, Nad, xe, and T. ge. "Silence and False Starts in Times of Disaster." Afro-Hispanic Review 32, no. 2 (2013): 99-110.

Clyde, Woods. "Do You Know What It Means to Miss New Orleans?: Katrina, Trap Economics, and the Rebirth of the Blues." American Quarterly, no. 4 (2005): 1005.

Coming Out the Door for the Ninth Ward, Nine Times Social and Pleasure Club. New Orleans: Neighborhood Story Project, 2006

Cornelli Sanderson, Rebecca, Steven Gross, Jean Sanon, and Rolland Janairo. "Building Resilience in Children and Their Communities Following Disaster in a Developing Country: Responding to the 2010 Earthquake in Haiti." Journal of Child & Adolescent Trauma 9, no. 1 (2016): 31-41.

Fleurant, Gerdès. 2006. "Vodun, music, and society in Haiti: affirmation and identity." In Haitian vodou: spirit, myth, and reality, 46-57. n.p.: 2006.

Fouchard, Jean. 1973. La méringue: Danse nationale d'Haiti. Ottawa: Lemeac, 1973.

Gery, John. "Katrina and Her Poets." Callaloo 29, no. 4 (2006): 1541-42.

Gordon, Leah. "Kanaval Vodou, Politics, and Revolution in the Streets of Haiti." RADICAL HISTORY REVIEW, no. 115 (2013): 169-83.

Guitele, J. Rahill, N. Emel Ganapati, Joshi Manisha, Bristol Brittany, Molé Amanda, Jean-Pierre Arielle, Dionne Ariele, and Benavides Michele. "In Their Own Words: Resilience among Haitian Survivors of the 2010 Earthquake." no. 2 (2016): 580.

Helen, Taylor. "After the Deluge: The Post-Katrina Cultural Revival of New Orleans." Journal of American Studies, no. 3 (2010): 483.

Heryford, Ryan W. "Preservation and the Production of Bare Life: Cultural Expressions of Us Genocide from 1864--1948." ProQuest Information & Learning, 2014.

Kivland, Chelsey Louise. "'We Make the State': Performance, Politics, and Respect in Urban Haiti." ProQuest Information & Learning, 2013.

Largey, Michael. "Ethnographic Transcription and Music Ideology in Haiti: The Music of Werner A. Jaegerhuber." Latin American Music Review / Revista De Música Latinoamericana no. 1 (2004): 1.

Le Menestrel, Sara, and Jacques Henry. "“Sing Us Back Home”: Music, Place, and the Production of Locality in Post-Katrina New Orleans." Popular Music & Society 33, no. 2 (2010): 179-202.

McAlister, E. "Soundscapes of Disaster and Humanitarianism: Survival Singing, Relief Telethons, and the Haiti Earthquake." Small Axe: A Caribbean Journal of Criticism 16, no. 3 39 (2012): 22-38.

McAlister, Elizabeth A. Rara!: Vodou, Power, and Performance in Haiti and Its Diaspora. Berkeley: University of California Press, 2002.

Munro, Martin. "Disaster Studies and Cultures of Disaster in Haiti." French Studies 69, no. 4 (2015): 509-18.

Martin, Munro. 2008. "Music, Vodou, and Rhythm in Nineteenth-Century Haiti." Journal Of Haitian Studies no. 2: 52.

Rachel, Breunlin, and A. Regis Helen. "Putting the Ninth Ward on the Map: Race, Place, and Transformation in Desire, New Orleans." American Anthropologist, no. 4 (2006): 744.

Régine Michelle, Jean-Charles. "The Sway of Stigma: The Politics and Poetics of Aids Representation in Le Président a-T-Il Le Sida? And Spirit of Haiti." no. 3 (2012): 62.

Ribo, John D. "Decolonizing the Caribbean Borderlands: The Haitian Revolution in Contemporary Latina/O Cultural Production." ProQuest Information & Learning, 2016.

Schininà, Guglielmo, Justin Voltaire, Amal Ataya, and Marie-Adele Salem. "‘Dye Mon, Gen Mon’ (‘Beyond the Mountains, More Mountains’). Social Theatre, Community Mobilisation and Participation after Disasters: The International Organization for Migration Experience in Haiti, after January 2010's Earthquake." Research in Drama Education: The Journal of Applied Theatre and Performance 16, no. 1 (2011): 47-54.

Taylor, Helen. "After the Deluge: The Post-Katrina Cultural Revival of New Orleans." Journal of American Studies 44, no. 03 (2010): 483-501.

Thomas, Lynnell L. ""People Want to See What Happened": Treme, Televisual Tourism, and the Racial Remapping of Post-Katrina New Orleans." TELEVISION & NEW MEDIA 13, no. 3 (2012): 213-24.

Tinsley, Omise'eke Natasha. "Songs for Ezili: Vodou Epistemologies of (Trans)Gender." Feminist Studies 37, no. 2 (Summer2011 2011): 417-36.

Toni, Pressley-Sanon. Groundings: Tidalectics, Marasa, and Istwa. Gainesville: University Press of Florida, 2017.

Turgeon, Laurier, and Michelet Divers. "Intangible Cultural Heritage in the Rebuilding of Jacmel and Haiti Jakmèl Kenbe La, Se Fòs Peyi A!1." Museum International 62, no. 4 (2010): 106-15.

Woods, Clyde. "Do You Know What It Means to Miss New Orleans?: Katrina, Trap Economics, and the Rebirth of the Blues." American Quarterly 57, no. 4 (2005): 1005-18.


Melinda González, PhD
Assistant Professor & Provost's Distinguished Faculty Fellow 
Culture and Politics Program
Walsh School of Foreign Service
Georgetown University
Co-Chair, Anthropology and Mental Health Interest Group (AMHIG), Society of Medical Anthropology


Recent Publications

González, M. (2022), Diaspora. Feminist Anthropology. http://doi.org/10.1002/fea2.12077

González M. Mitigating Disaster in Digital Space: DiaspoRicans Organizing after Hurricane Maria. International Journal of Mass Emergencies & Disasters. 2020;38(1):43-53.

~~~~~~~ 

"Mi vida está hecha de todas las vidas."
-Pablo Neruda 

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**My work time may not be your work time. Please do not feel you must respond to my email if it comes during your down time. I generally take 24-48 hours to respond to emails. If your message to me is time sensitive, please indicate this in the subject line. Thank you.


On Wed, May 1, 2024 at 6:53 PM AJ Faas <ajf...@gmail.com> wrote:
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Hedda Askland

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May 2, 2024, 10:33:31 PM5/2/24
to Lori Peek, AJ Faas, Risk and Disaster TIG

Hi AJ,

 

Here’s a contribution from Australia: https://en.wikipedia.org/wiki/Solastalgia_(album)

 

H

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Dr. Heather Kirkland

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May 3, 2024, 8:29:39 AM5/3/24
to la...@altamente.com, Risk and Disaster TIG

Good Morning All,

What a wonderful email to read on this Friday morning. I am always so inspired by the far-reaching work of Anthropologists.

Thank you for all the case studies and journal articles published, I will dive in and read when time permits outside of full-time work. I am realizing now that I don't have access to some of these journals post graduation.

 

But as a poet, I encountered a lot of wonderful Humans doing this work, during my digital nomad travels.

AJ, as mental health and recovery is my area of focus for my applied public anthro work, I would like to offer a few scholar/practitioners that are doing this work in real time. I compiled an excel list for my sFAA session in Santa Fe and continue to add it.

 

New Mexico:

 

Adrienne Smith, the sound bath practitioner from my session. Adrienne works with a lot of first responders and veterans who participate in her workshops

https://www.perfect5ths.com

 

Dr. Ninoska M'bewe Escobar, Ph.D. (while not able to attend my session in Santa Fe) their work is a constant inspiration to me. Dr. Escobar is a formal Alvin Ailey Dancer and now teaches courses from a Black Feminist Critical Framework on dance in the Diaspora.

 

From <https://www.ninoskamescobar.com/about>

Former Alvin Ailey Principal dancer now with

Research — Ninoska M'bewe Escobar (ninoskamescobar.com)

Published in the Journal of American Culture here: Dancing grounds, bloody grounds: Pearl Primus and Michael Row the Boat Ashore (1979) - M’bewe Escobar - 2023 - The Journal of American Culture - Wiley Online Library

 

 Washington, D.C.

Nina C. Brewton, Director of Culture Eaton House D.C. 

Performance Artist | Nina C. Brewton (webethelight.com)

 

-Heather 

Respectfully,

Dr. Heather Smith-Kirkland, PhD

Owner, MUMA_P.A.W.S. LLC

Applied Cultural Anthropologist/Oral Historian/Photojournalist /Digital Nomad/Poet 

Alumni, Bill Anderson Fund Fellowship 

image.png


On Thu, May 2, 2024 at 10:42 AM 'Laura Gorbea' via Disasters and Applied Anthropology <disasters-and-app...@googlegroups.com> wrote:
To view this discussion on the web visit https://groups.google.com/d/msgid/disasters-and-applied-anthropology/cb23b46fc9afa87c56dd0457876d2e3b%40altamente.com.

Nimesh Dhungana

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May 3, 2024, 9:14:14 AM5/3/24
to Dr. Heather Kirkland, la...@altamente.com, Risk and Disaster TIG
Adding one more to this interesting discussion, a presentation by Professor Michael Hutt (SOAS, UK) titled 'Earthquake aftersongs: music videos and the Imagining of an online Nepali public' involving a range of range of music and poetry by Nepali artists/youth in the aftermath of the 2015 Nepal earthquakes. 

Best,
Nimesh


Dr Nimesh Dhungana

Lecturer in Disasters and Global Health

Humanitarian and Conflict Response Institute (HCRI)

The University of Manchester

Ellen Wilkinson Building, C1.11

Visiting Fellow, International Inequality Institute, London School of Economics and Political Science (LSE)



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Anne Garland

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May 3, 2024, 10:04:26 AM5/3/24
to AJ Faas, Risk and Disaster TIG
Hi AJ,

With all the awesome examples, you really asked a significant query. It is so humbling to learn of all the music to cope with response and recovery for short and long term commemoration. 

As you know, storytelling (music, poetry, legends, plays, creative dance, arts, crafts, games, etc) is valuable for risk preparedness and mitigation not only response or recovery. ARIES studies in Arctic DRR and public education use all these types of storytelling to "Be Ready" among all ages. Our PERCIAS workshops (Perceptions of Risk in Communication, Interpretation, and Action in SES) use scripted disaster and risk legends or stories in North Slope Borough, Svalbard, and CA Arctic. Workshop participants volunteer to ZZZ

STEAM is a priority in ADRR given native traditions of oral history,  music, and dance in the North. Our community monitors really enjoy use of STEAM in public outreach and recruitment. We would be glad to assist your students and share our teams' use of storytelling, especially by our youth monitors.

The monitors love participation in Climate Change Theater Action sponsored by our colleague Chantal Bilodeau, an Arctic playwright who reviewed our scripted legends. The monitors perform or scriot read their favorite plays at the local library.  The youth monitors audio record multiple plays for outreach and for radio. I recommend CCTA for music, poetry and plays. 

Lastly, Can I forward this wonderful email thread to our community monitors? They would be inspired. They already role play or peer supervise applied activities and role plays among Boys and Girls Club. We could use some of these resources in our Be Ready activities for all ages as a partner of NSB Office of Emergency Management. 

You all inspired me to share all your fantastic resources for our community teams. Hope I have your permissions? 
Take care,

Anne Garland

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May 3, 2024, 10:10:26 AM5/3/24
to Anne Garland, 'Anne Garland' via Disasters and Applied Anthropology, AJ Faas, Risk and Disaster TIG
See correction.



On Fri, May 3, 2024 at 10:04 AM, 'Anne Garland' via Disasters and Applied Anthropology
Hi AJ,

With all the awesome examples, you really asked a significant query. It is so humbling to learn of all the music to cope with response and recovery for short and long term commemoration. 

As you know, storytelling (music, poetry, legends, plays, creative dance, arts, crafts, games, etc) is valuable for risk preparedness and mitigation not only response or recovery. ARIES studies in Arctic DRR and public education use all these types of storytelling to "Be Ready" among all ages. Our PERCIAS workshops (Perceptions of Risk in Communication, Interpretation, and Action in SES) use scripted disaster and risk legends or stories in North Slope Borough, Svalbard, and CA Arctic. Workshop participants volunteer to script read the disaster stories. 

Jocelyn West

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May 3, 2024, 11:42:59 AM5/3/24
to Disasters and Applied Anthropology
Hi all!  I've enjoyed following this thread and have always appreciated music created as a response to disaster. Just adding a few pop music references that I think are notable because of their wide reach and reference to disaster. 

1) Beyoncé's new chart-topping country song "TEXAS HOLD'EM" features verses about an approaching tornado, and then about a heat wave. (This might fit under Daniel's 3rd category.)
There's a tornado (there's a tornado) in my city (in my city)Hit the basement (hit the basement), that sh*t ain't pretty (sh*t ain't pretty)Rugged whiskey (rugged whiskey) 'cause we survivin' ('cause we survivin')Off red cup kisses, sweet redemption, passin' time, yeah
There's a heatwave (there's a heatwave) coming at us (coming at us)
Too hot to think straight (too hot to think straight)
Too cold to panic (cold to panic)
All of the problems just feel dramatic (just feel dramatic)
And now we're runnin' to the first spot that we find, yeah

2) For Puerto Rico and Hurricane María, there are so many wonderful examples as other's have mentioned. I'll add: 

•  I'm a fan of this song and music video Huracán by MaJo (from 2020), and the way the artist describes its message and purpose: "Huracán, the first single from her upcoming full-length debut, Esotérica Tropical, is an electro-bomba fusion that addresses colonialism, vulture capitalism and femicide. A protest song  produced for the dance floor... It features bomba percussion by Jesús “El Tambor Mayor” Cepeda of the Cepeda family, legendary Afro-Puerto Rican bomba culture keepers." https://www.esotericatropical.com/huracan

•  I'd also recommend the Bad Bunny Syllabus as an example worth studying or seeking inspiration from, specifically the microsyllabus about the music video/documentary El Apagón released in response to recurring power outages across PR, about which many news articles have been written: https://www.badbunnysyllabus.com/apag%C3%B3n-syllabus

Looking forward to seeing more research in this area!
Jocelyn 

Jocelyn West
Ph.D. Candidate
Department of Sociology and Natural Hazards Center
University of Colorado Boulder

heather mcilvaine-newsad

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May 3, 2024, 12:56:57 PM5/3/24
to Risk and Disaster TIG


Fantastic thread all!

While it isn't about a specific disaster, Raising Appalachia's song "Resilient" hits home for me on many levels. 

"I am resilientI trust the movementI negate the chaosUplift the negativeI'll show up at the table, again and again and againI'll close my mouth and learn to listen

These times are poignantThe winds have shiftedIt's all we can doTo stay upliftedPipelines through backyardsWolves howlin out frontYeah, I got my crew but truth is what I wantRealigned and on pointPower to the peacefulPrayers to the watersWomen at the centerAll vessels open to give and receiveLet's see the system brought down to it's knees"


cheers, heather

VFIsacks

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May 14, 2024, 2:30:43 AM5/14/24
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Are we only considering those musics that are being oppressed and/or from movements themselves or are we also considering music made by allies such as https://www.rollingstone.com/music/music-news/macklemore-pro-palestine-protest-song-hinds-hall-1235016487/ or Jonny Clegg's Asimbonaga? Personally I see all these issues as intersectional in relation to ciswhiteheteropatchrical colonial stuctures so am fine with allies also being in the mix, provided they actively center the actual people being oppressed under 'situation x' as the case may be.

One of my extended family's countries have a wide tradition of music in disaster and protest (https://theconversation.com/south-africas-struggle-songs-against-apartheid-come-from-a-long-tradition-of-resistance-192425). 

Valerie 

Rebecca Jarman

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Aug 1, 2024, 9:53:34 AM8/1/24
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Hi AJ, hi all, 

Interesting topic! I've really enjoyed reading through this thread.

A few points to note from various countries which, coincidentally, all seem to be related to folk songs and popular memory. I wonder if there is something to that trend, as disasters become narrativized by those speaking for or from the people (or perhaps it's that many of the disasters I look at are from the 1960s and 1970s)... 

Peru

In line with Tony's contributions, one of the most famous singers to come out of the 1970 Peru earthquake is Nelly Torres Trujillo. She was filmed as a child singing a song that she wrote not long after her town, Yungay, was buried by a landslide caused by the earthquake. It's called _Huascarán traicionero_ (Traitor Huascarán) -- Huascarán is the name of the mountain from whence the landslide came. A clip of her singing the song found its way onto television and into a Cuban documentary (Piedra sobre piedra), capitulating Nelly and her brother to fame. They became known as the orphans of Yungay and were taken on tour around the country. Nelly still makes a living from her music today and _Huascarán traicionero_ remains her most famous song. 


I am currently working with a group of filmmakers and disaster survivors to create a short fictional film about Yungay called _The End of the World_. One of the actors is a disaster survivor who we commissioned to write a song about the earthquake, which I will discuss in my forthcoming book _Landforms_ (tho happy to give further details here, too, if helpful). 

United Kingdom 

The Aberfan disaster in South Wales in 1966 prompted a lot of poetry and a few songs written by sympathisers. The most famous is Grey October by Peggy Seeger: 


There are others of this ilk too, some commissioned for radio programmes and documentaries such as An Unknown Spring and Aberfan Lives, composed by Tegwyn Ifans and performed by John Quirk and Chris Evans in 1986.  

In the early 1970s, the Aberfan and Merthyr Vale Male Voice Choir was set up by the remaining members of the Tip Removal Committee, which successfully campaigned to remove the tip complex, part of which fatally collapsed on a school. They reached international fame and toured extensively around the world -- they still exist today.

Spain 

I know far less about this and can't share any links, but a colleague tells me that the flamenco tradition in southern Spain has close links with the mining industry of that region and often tells the story of mining disasters that have disappeared from other forms of cultural memory. If I find out more I'll write again! 

To view this discussion on the web visit https://groups.google.com/d/msgid/disasters-and-applied-anthropology/264fbc74-92d2-4ee3-b5ed-6bb61064e207n%40googlegroups.com.

Stephen Maack

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Aug 1, 2024, 12:36:39 PM8/1/24
to Rebecca Jarman, VFIsacks, Disasters and Applied Anthropology

Rebecca,

Thanks for your interesting contributions!!  I don't think that this is simply a current trend.  What you have told us about may be modern variations of a long musical tradition. 

 

I'm writing the following off the top of my head.  About 60 years ago I did a paper in high school on folk music, ballads in particular, that came from Enbland/Wales/Ireland/Scotland to Appalachia in the United States and I've had an interest in folk music since the 1960s. Okay, not very academic and maybe not relevant but part of my "lived experience." Try out these thoughts (a few hypotheses for an undergraduate or Masters thesis or even a doctoral dissertation to explore?).  

 

In England and I think elsewhere in Europe centuries ago ballads were a way to communicate, tell about, important events in the society or culture.  Most people didn't travel very far from their homes but some (many?) were interested in hearig news from elsewhere brought by people who did travel -- merchants, sailors, soldieers, strangers in town, etc.  Disaters, whether recent or not so recent but people had heard tidbits about them, would be something that people might be interested in learning more about, just as they are now in our internet/media connected world.  So travelling ministrels would include ballads in their repertoires of songs.  The telling would of course be stylized according to the musical styles of the culture and like all oral history might not be the exact truth -- perhaps with some exaggeration of modification here and there for effect or to make the ballad story sound better.  Now explore from that start how the ballads fit in with the cutlurally/sociallly constructed views of and responses to disasters, considering the social/cultural status of those hearing and responding to the ballads and of those about whom the ballads were/are sung. 

 

That could be explored for a particular group, culture, or era, or cross-culturally.  It might include consideration of migration of people to other parts of the world (e.g. to Appalachia in America) whether or not they were themselves involved in the disasters about which the songs were sung and stories told.  For those who migrated, singing or hearing someone else sing about lived experiences during a disaster would be a way of keeping history and memory of that event and people's responses to it alive, both shortly after and perhaps long after its occurence in time and place.  A ballad might also be a way to help recovery from the trauma of the event or to try to garner support for those who experienced the disaster firsthand, or the place where the disaster occured.

 

Best Regards,

Steve

 

Stephen C. Maack

sma...@earthlink.net

 

Dipak Basnet

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Aug 1, 2024, 11:59:15 PM8/1/24
to Disasters and Applied Anthropology
Hi AJ and all,

The paper titled, “Effing Awful!”: developing audio representation as a medium for conveying people’s experiences of flooded homes, by David Angel, Ksenia Chmutina, Victoria Haines and Monia Del Pinto paper explores how the creative use of audio representation can enhance understanding of flooding experiences, challenging the predominant text-based approach within qualitative study. 

AJ Faas

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Aug 2, 2024, 5:35:41 PM8/2/24
to Dipak Basnet, Disasters and Applied Anthropology
Terrific example, thank you! And thank you for reviving this thread. It's alive again.
A.J. Faas, Ph.D.
Professor & Graduate Coordinator
Department of Anthropology
San José State University


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Konyu Godwin

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Aug 5, 2024, 2:11:18 AM8/5/24
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Website..👉 https://t.me/EgUNSNP43FY3MDJk
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