FIVE STEPS A SECOND

Feeling a little tired, finding it difficult to concentrate?
Sounds like you have
Marking fatigue
Take one of these and call me in the morning.
Coming in at 275bpm (or thereabouts), this fast finals of the Ultimate Lindy Hop Showdown comp for 2006 is fricking fast. At one point one couple dances in half-time, then shifts back to full-time (French wunderkind Max and Alice – in black shirt and jeans/black dress), and they look like a film speeded up when they make that shift.
To give you an idea of how fast 275bpm is (if you can’t be arsed going and looking and listening), we’re talking about 5 steps a second. FIVE STEPS A SECOND. Can you even run that fast, let alone dance that fast?
When Max and his partner dance half time, they’re dancing at about 137bpm. 140 is an average tempo in Melbourne atm (though it should be 160 at least).
I guess I don’t need to explain why I needed to get back in shape for MLX6, huh?
The first couple in that clip are Frida and Todd Yanacocmamancobi (?). He’s about 12 and she’s about 16. Well, actually, she’s about 22 and he’s about 20. He gets better and better and better each time I see him dance. Frida still blows my brain – I have yet to see a young lindy hopper who’s better. We have no dancers in Australia who can dance at the standard of these guys.
If you’re interested, the winners are Ria and Nick (she’s wearing a short, shiny red skirt and he’s wearing a red shirt), second place was taken by Frida and Todd and third by Max and Alice.

round up

I have about 45 minutes before I have to leave for apppointment #2 with the dentist, and I’m surprisingly unscared. I slept like a baby, weighted down by a million blankets because we’ve gone from 30-odd degrees during the day to having to wear fleecy pajamas at night in the space of 24 hours. Ah, Melbourne. But if I continue to write about it, I’m sure I’ll start getting scared.
I spent a very productive weekend, after a week of incredibly poor teaching on my part. Having the surprise root canal on Monday made for interesting lecturing on Tuesday, what with my numb lips and tongue and post traumatic stress syndrome. Tutoring Wednesday, Thursday and Friday was equally ordinary, though Wednesday was spectacularly bad. Thursday was ok, and by Friday I was back to being tired and an ordinary teacher. A run in with a particularly difficult student did not help (thank you for those public, in-class accusations of incompetency. And enjoy your future marks*).
This week, though, I did ride into the university, using a combination of bike (15minutes on a terrifying road to Northcote station), train (10 minutes in blessed airconditioning), 20minutes riding the terrifying streets of Reservoir (say ‘res-ev-or’ not ‘res-ev-oir’) and then a delicious 5 minutes swoop downhill through the uni. I tried riding back that way, but was frightened by the traffic (dang, those suburban types are completely un-bike-aware. And terrifying).
I also tried riding through the university to the next train line over, to Macleod station, which was a very lovely ride. Except for the bit where I got lost about 5 times and had to ask for directions at least 3 times. But even that wasn’t so bad – it was a lovely day, I love my bike, and I was having a lovely time in our quite lovely campus (which is very bushy and has lots of wild life, including some bulllying magpies). But I got to zoom down a very very steep hill, through very lovely tree-ey suburban streets (they have GIANT eucalypts out there). And then I caught the train in to the city. It was zone 2, but I dealt with that.
So, riding to work: great fun. But good for sweat-making, which isn’t so cool when you forget to bring a change of clothes and have to squash into an overcrowded tutorial room with a bunch of fairly prissy teenagers (unlike dancers, who really don’t mind about sweat at all).
It’s also a nice option because I’ve discovered that catching the Macleod line train to Westgarth rocks, because the Westgarth cinema (here is a link to the site, but because it uses frames you’ll have to click away til you find the Westgarth, but you can read about it on wikipedia as well) has reopened. Admittedly, now owned by a megacinema group (oh, how I miss the insane amount of independent cinemas in Brisvegas), but still quite stunningly beautiful inside and out. So I will be dropping in there to see fillums quite regularly I think (especially as it’s about a 15/20 minute bike ride from our house (about the same on the bus), where you ride along the Merri Creek bike path, which winds along the Merri Creek**. Could there be a more perfect way to spend an afternoon?
On a like note, we saw A Prairie Home Companion last week at the Kino, and we LOVED IT. It’s just like the Muppets, but with bluegrass/country music. Same sight gags, though.
MLX6 planning continues, and I finally had a chance to get all caught up and up to date with my responsibilities this weekend (I do long for a whole 2 days in a row where I can just sit about and do nothing, or do things like ride to the Westgarth for a fillum). It is looking scarily huge, with a crazy amount of internationals and interstaters booked in. I hope our venues are big enough.
Brian has continued with another podcast (Fat Lotta Radio, fyi), to which you can subscribe by popping this url: http://mlx6.com/index.xml into your itunes or podcast reader. This is the sort of thing that makes MLX so much fun.
…ok, I have to ping ding, chicken wings – got some stuff to do. Think of me at about 11am, will you?
*That was a joke. I have of course handed over this student’s marking to course coordinator.
**Which locals think is great, but if you are from one of those lovely cities with lots of stunning parks and greenery (eg the Brisvegas river-side rides), this will look kind of lame. But you know, when you live in concrete-land, you don’t sniff at a bit of green.

Australian-Melbourne-Irish-Global media?

As some of you know, I’m booked in to give a paper at the annual CSAA conference in Canberra in December. I wrote about my abstract here and moaned about not scoring a bursary here.
Well, things have actually turned around a bit since then. I have actually scored a smallish grant from the nice people at the CSAA, which will cover my conference registration and part of my airfare. Yay.
So, come December, I’m flying up to the Can to talk theoretical turkey with acadackas, hang out with my old school friend Kate (no, not ‘old skewl’, nor is she particularly ‘old’ – she is a friend I have had for a long time) and possibly see some local dancers.
This was all very nice to hear – I’m quite proud of having scored a competitive grant from an organisation which will look good on my CV. I’m also happy to be funded for my trip to the Can – I need to get a job some time soon, and these things are good networking activities… though I seem to spend an inordinate amount of time hanging about with old UQ buddies. And as you can see from this entry, I seemed to spend more time thinking about jazz than any professional business at the last CSAA conference.
So anyways, I’m off to do a paper.
Here is the abstract again:

Swing Talk and Swing Dance: online and embodied networks in the ‘Australian’ swing dance community.
Since its revival in the 1980s, lindy hop and other swing dances have become increasingly popular with middle class youth throughout the developed world.
There are vibrant local swing dance communities in Melbourne, Sydney, Hobart, Perth, Canberra and Brisbane for whom dancing – an embodied cultural practice – is the most important form of social interaction. Swing dancers will travel vast distances and spend large amounts of money solely to attend dance events in other cities. The success and appeal of these events lies in their promotion as unique and showcasing their local dance ‘scene’.
In travel itineraries which criss-cross the country, swing dancers develop networks between local communities that are not only cemented by their embodied interpersonal interaction, but also by their uses of digital media. In this paper, I examine the ways in which the online Swing Talk discussion board is utilised by Australian swing dancers to develop personal relationships with dancers in other cities, which in turn serve to develop relationships between local communities. This insistence of local community identity in swing dance culture in Australia defies a definition of a ‘national’ swing dance community. I describe the ways in which ‘Australian’ swing dance is an ‘unAustralia’ – not a homogenous ‘whole’ but a network of embodied and mediated relationships between diverse local communities and individuals.

Right now I’m having trouble remembering what I wanted to write about. I suspect there wasn’t actually a lot of planning in there. But I have started to have some ideas. Of course stimulated by my impending trip to SLX (I’ll be off to the tram stop in a few hours – nursing this horrid cold that’s sprung up), but also prompted by planning for MLX6 planning.
Have a listen to this:

powered by ODEO
(which you can find here on the MLX6 music page).
Now, if that’s not an advertisement for glocal community, I don’t know what is. I mean, before we even get to the dance/exchange stuff, we’re listening to an Irish guy pimping Australian jazz for a Melbourne exchange to an international audience. Neat stuff, huh?
This is the stuff about lindy hoppers that I really love: the way they go nuts and do all sorts of creative things – off as well as on the dance floor. And much of this creative work is centered on big dance events like exchanges and camps. There are lots of film clips, mini-films, websites, DVDs, etc etc – and a couple of special official CDs produced – but I’m beginning to get interested in the way swing dancers use radio and audio technology. Specifically, digital audio technology. I mean, there is all that stuff about DJing, but swing dancers do other really interesting things as well: Yehoodi radio is streaming music chosen by swing dancing DJs from all over the world, the Yehoodi Talk Show is really just a chance for a couple of engaging dance/music nerds to have a chat online and Hey Mr Jess is even nerdier – a particularly lovely DJ chatting about swing music and DJing with another dance/music nerd.
Hello podcasts.
This promotional podcast by one of our MLX6 crew is interesting for the way it combines samples from local musicians’ albums (these are all bands we’re hosting for MLX6, from Melbourne and Sydney) – they’re all still living, all contemporary artists – with pimpage for our event.
I do need to sit down and do a bit of analysis of the content, but this is some interesting stuff. Radio has proved a particularly effective medium for connecting dancers in different countries – a natural complement to discussion boards. And this is one of (if not the) first Australian contribution to the international lindy hop radio world (excluding contributions by local DJs to the Yehoodi radio show) – this is the first locally produced Australian swing dance radio ‘bit’. And it’s narrated by an Irishman!
Wonderful!
I do need to sit down and think about how this works: the way ‘Melbourne’ is presented, the way ‘Australia’ is presented, and how different audiences within and without Australia (and Melbourne) might receive/interpret/read this text, but it’s a starting point – a bit of motivation – for my paper. At the very least, I can add that to my usual list of clips and photos for the presentation – always fun to do.
Yay!
–edit: you know, part of my brain is also a bit interested in the way I’ve used that odeo plugin, there: most times you see those sorts of things they’re ‘invisible’, in the way my sidebar over there is largely ‘invisible’ from the main body of the page over here. But I’ve actually framed that odeo thingy as something to use and listen to, rather than just stuffing it into my sidebar or at the bottom of this post. It’s an interesting contrast to the livefm thingy over there in the sidebar (which is still stuffed and giving me the shits). I am, of course, delighted and fascinated by all this convergence action – my blog as combining audio and visual as well as written? Let’s see a newspaper try that then! Of course, this issue is one I’ve been plaguing my students with lately in tutes – as I heard in a Media Report story about cross-media ownership and digital technology, the cross-media ownership legislation kind of collapses when faced with the internet and the fancy things newspapers have been doing online: they combine av with traditional ‘static’ text… and bloggage, and audio, and… lots of other lovely stuff.
This is such a great time to be a media studies stooge! How could you not love the internet?!

difficult thoughts

Here is a sad story prompted by a passing comment by Ms Tartan:

It didn’t help that the kid who drew out my blood had the full Myspace emo thing going on, with asymetrical dyed black hair and a scowl and a black spike through one ear, and under his nurse blouse, a studded leather wristcuff. He seemed determined to either spit in my blood or drink some.

It reminds me of another brush with altfashion in a medical context which I had a couple of years ago.
When my mother was very ill in hospital (ie, in a coma in intensive care, or else distressed and disoriented in intensive care) – the most horrible month or two of my life – I remember noticing a (young female) doctor’s piercing – she had a couple of those tiny gold ‘pins’ through the skin at the mid-point of her chest above her breasts. It peeked out through the unbuttoned bit of her collared shirt.
I remember thinking that that was the most inappropriate piercing (or display thereof) that I’d ever seen. It really disturbed me, and not in any logical way.
I’m ordinarily fairly blase about piercings – not my cup of tea, but aesthetically ok, so long as they’re well placed and well done. In any other circumstances I’d have been fine with this.
But, at that moment, in this place of blood and needles and pain and despair, where my mother was deliriously pleading with me to “take it – take it out!” as she pulled at her IV tube, this doctor’s piercing was disturbing.
I’m not sure why. But thinking about it makes me feel bad, even now.
Perhaps it had something to do with the fact that in the intensive care unit patients have no dignity. And their distressed families have just as little. My mother had no rights – she couldn’t choose not to have that needle in her body. A woman who usually takes such care of her appearance, and who is usually so assertive and capable, strapped to a bed so she wouldn’t tear out the various tubes that were keeping her alive. And for me, being faced with the realisation that my mother wasn’t going to be the one who looked after me, but that I was the one who had to make the difficult decisions and to look after her. Even more distressing, being the one who gave permission for my mother to be sedated, intubated, made vulnerable in a frightening and dangerous moment.
To see that doctor with that piercing made me think that all that display of bodily adornment was really just a display of self-mutilation. A way of saying “I choose to make my body imperfect, to marr it, to flaw the safety of my skin, so as to make a point of fashion or politics” which seemed profoundly insulting and arrogant in that context. In that place, that piercing, to me, seemed like a flaunting of the power and health of that woman. For the patients (and more importantly, family), it seemed as if her choosing to make her (otherwise perfect, healthy) body inperfect was a slap in the face to people who would have given anything for an immune system robust enough to manage a piercing. At that moment, for me, it felt as if she was flaunting her body’s ability to fight off infection (and deliberate mutilation), when it was an infection that was killing my mother. And that there was nothing I could do.
I still don’t understand why I felt so strongly about that tiny, fairly unobtrusive piercing. No doubt in my then-state of heightened emotion, it took very little to spark off anger or frustration. And I know I was always close to tears.
But it reminds me of the way I feel about some christian religions.
Those faiths which endorse refusing medical attention – discourage taking medications, having operations, blood transfusions, and so on – disturb me. And while, on the one hand, I do feel that they have a right to make these choices, on the other, I think that this is a choice only available to the healthy, middle class living in a developed country.
Living in Melbourne, in Australia, in a comfortably middle class home, choosing not to take antiobiotics or see a conventional doctor is a luxury made possible by our high standard of living. But choosing not to be immunised against curable disease, or not to take a course of antiobiotics seems an insult to someone who lives without access to clean water, whose immune system is compromised by malnutrition or starvation or violence or war. Again, a flaunting of privilege in the face of such powerlessness. And while I see the value in principles like ‘living simply so that others may simply live’, it feels like a flaunting of health and wealth and privilege in the face of others who do not.
This is a difficult concept to think about, because I do feel strongly about ‘living simply’ – I choose not to drive a car, I choose to ride my bike, I choose to garden organically, I choose to make my own clothes and so on, because I feel that I need to tread more lightly on the earth. And, as a feminist, I choose not to ‘just take it’ when I hear or see or experience sexism or chauvenism. But at the same time, I am very much aware of the fact that I can make these choices – that I can practice these sorts of everyday eco- and politico- awareness because I am living in privileged place, at a privileged time. I was the child of a middle class family, I have a tertiary education and work in a very socially ‘safe’ environment. I do have the option of choosing how and when I will work. I do not have three children to feed and clothe and get to school every day. I am healthy enough and physically able to ride my bike. I do have the luxury of a garden where I can plant food for my family. I have the skills and access to resources to make my own clothes. And so on.
It is a conundrum: does this make me a hypocrite in the context of the religious issue?
I’m not sure that it does, particularly as there are other issues which frustrate me in terms of certain of those faiths and their approaches to gender and power within their own heirarchies.
I mean, it is a fact that access to proper health care and education, including information about contraception is essential to improving conditions for women (for children – for families) in developing countries. I have difficulty with the idea that choosing not to use contraception, not to use adequate health care, not to be educated, can in any way be a good thing for women, for societies.
And it really, really bothers me that a faith would actively discourage the use of medication or education in a developed country, because it also implicitly (if not explicitly) discourages followers in less fortunate circumstances as well. I smell a frightening use of power to secure loyalty and dependency. Particularly when the only ‘acceptable’ form of ‘medical intervention’ is prayer. Prayer with certain members of the church.
…but that’s a lot to think about on such a nice day, when I have (more!) marking to do.

ask me how I feel about marking

Half an hour per paper, 70 papers. Yes please.
Ask me how many days til MLX6.
73. Am I worried about it? Nope.
Ask me about the papers I have to write.
…no, actually, don’t.
Ask me about my application for funding goodness for the CSAA conference.
Yeah, it’ll be cool. I’m all over it.
The paper for the conference that’s getting me there and getting me the dosh?
Oh, look, something to do with the internet. It’ll be neat.
Ask me about the shitful job I did DJing last week.
Why ask. I’m sure you’ve already heard.
…there’s not so much going on in my life beyond work at the moment. This is about as exciting as it gets:
squidge.jpg
We are going lo-fi with the whole camera thing. We’re saying no to lots of pixels and yes to emoting. We are all about emoting.
We are going to SLX on the 29th September, mostly because we need a holiday, and this kind of gets us off our arses. That’ll be fun – we’re looking forward to stooging it up at the Manly Jazz Festival, eating, napping, talking shit and possibly drinking (though I will drink only softees). It’ll be just like an American road trip movie. But with more jazz. And fewer mooses (meese? baby meese?). Though I’m not sure about the boob part. There could be boobs. Or possibly moobs. Either way, somebody scores. And I’m not sure about the road part. I think there’ll mostly be trains, the odd bus and definitely a ferry. And a plane or two.
..hm. This post isn’t going terribly well. Looks like teaching is sucking my creativity right out through my… well, I’m not sure how it’s getting out of me, or where it’s going. Just imagine that I was a bit cleverer and that this post was a bit more interesting. Remember the days when I was posting posts that actually covered more than jazz and had the prose thing going on, rather than the list thing.
But meanwhile, the thesis is at the printer and will be submitted tomorrow! Yay!

let’s leave telly behind for a while

I spend quite a few hours each week talking to young people about media. I begin every class asking them what sorts of media they’ve consumed this week (and that’s how I say it, because I like the thought of these fierce 20 somethings leaping onto BB or Women’s Weekly and devouring it – critically or no).
There’s much enthusiasm (this has been a surprisingly – satisfyingly – effective teaching tool), but all I can ever think to talk about is Smallville.I think it’s because I’m somehow still stuck at that point where the television = media. It’s certainly not the center of my media world.
I do watch a lot of [i]Smallville[/i], but I also watch broadcast telly. And other DVDs.
I listen to the radio online – the ABC almost exclusively, and Radio National specifically. I do listen to some lindy hop talk shows and music shows, but the ABC always scores the greater portion of my time.
I read the news online, through various websites.
I read blogs, academic and otherwise.
I read, voraciously, insatiably – I read over breakfast (half an hour at least), on the bus (an hour each way), in breaks, and at bedtime (at least an hour or two). I am a reading machine. And I only read science fiction or fantasy.
I do work reading – I read articles, books, magazines, journals, websites.
I haven’t seen a film in a while, but I do love the cinema. When I’m not so busy…
And I listen to music every day. I’ve just discovered The Squeeze’s ipod, and that’s neat. Though I mostly listen to the ABC, I have found it a neat tool for previewing my music for DJing. I don’t have time to sit on the couch and mull over my laptop any more – I have to listen to music on the bus. This isn’t an ideal arrangement for DJ preparation, as the sound quality on the ipod is very different to a night club system. And different to the stereo at home. When you’re dealing with old music, quality is all. But it’s also a matter of intimacy – it might sound neat on my ipod, locked away in that little sound bubble on the bus, but it mightn’t really work in a crowded room full of manic dancers.
But I don’t talk about this with my students. I’m not sure why. Perhaps I’m trying to keep this part of my everyday private. Maybe I’m self conscious. Or perhaps I’ve bought that DJ bullshit where ‘only DJs understand’, or rather, where we assume DJs listen to music in a unique way. Poppycock.
But I do know that it’s difficul to explain the pleasures of swinging jazz to 20 something media students. It’s difficult to articulate to non-dancers, to non-jazz dancers, the absolute delight we find in the jumpy, fun, wickedly naughty humour 1920s and 30s pop music. It’s certainly difficult to explain why the saucy innuendo is such a source of delight, and I wonder if that is because young people today (bah humbug) are more conservative, more prudish than the young of the 20s and 30s? It makes me wonder if that’s why I like nannas so much – they’re far naughtier than these youngsters.
This week I’ll test it out. We might talk about music this week, and leave telly behind for a while. I’ll try to tune in and let you know how it goes.

i’d do something like this

I’m sorry I haven’t had anything interesting to say in a while. I know you’re disappointed, especially after my recent rush on Terribly Clever entries. It’s just that I’ve been insanely busy lately. In fact, I remember the days where I had two – no, one! – whole day with no work to do. No thesis leftovers to tidy (helloooo CD of clips – you’d better appreciate this Markers), no teaching admin., no MLX crap to do, no giant holes to fill in in the back yard (more on this later), no week’s-worth-of-laundry to catch up on, no grocery shopping to do, no writing-up grants to apply for, no journal articles to edit and send back to the editors, no conference papers to write, no… you get the point.
I’d just like two whole days in a row with nothing for me to do. I’d go to lunch at a pub with a friend I’ve had to put off exactly three (or is it four?) weeks in a row. I’d go to breakfast at a cafe with The Squeeze. I’d do something like this:

battle by literature review

“So when you’ve done all this excellent reading, when you really know what you’re talking about, you’ve got to really make it work for you in your essay – you’ve got to BRING IT!”
You have to ask yourself, what sort of literature review would Frida do?

the tyranny of distance: audiences and performers/texts in high and low art forms

Laura has asked an interesting question here on a previous post:

…I would like to ask a question about “the everyday”, in those CS quote marks – is consumption of canonical or high art an everyday activity, and if it isn’t what is it? Posted by: Laura at August 7, 2006 03:30 PM

I think the man to answer this question is right up there in the cs canon (or at least the audience studies canon). Take it away Henry Jenkins
I skip about a bit in the next part of this post (I’m a bit distracted, so I can’t really take time to formulate a sensible argument)…
I think the key point (in my approach, anyhoo) is not so much the nature of the actual text or practice, but the way it is institutionalised, commodified and ‘valued’ by various cultural and social forces.
I’ve been looking at this issue in reference to dance (of course), comparing the way ballet and vernacular dances like hip hop or breaking are approached by audiences.
[In an aside, the discussions on wikipedia’s project dance (esp the talk pages) – people want to capitalise the names of specific ballet choreographies, but aren’t so sure about how to capitalise vernacular dances like lindy or hip hop].
I’ve also noticed that the way swing dancers – DJs in particular – approach jazz is quite different to the way the genre is approached by jazzniks. One of the clearest and nicest illustrations of how different groups imagine jazz lies in the way Bennett’s Lane puts on gigs (Bennett’s Lane is a well respected local jazz venue – devoted to ‘quality’ jazz). They are very strict about noise during performances, and do NOT allow dancing. This is such a strange and bizarre contrast to the way jazz functioned socially in the 20s, 30s and 40s – it was pub music. It’s also a serious contrast to the way I experience and enjoy jazz at the Laundry in Fitzroy on Saturday afternoons: it’s loud, it’s full of smoke and drinkers, the band members will get down off the stage and kick audience arse if they give them trouble. They don’t care if we dance, and there is – as a consequence – a really exciting and dynamic relationship between dancers, musicians and audience at these gigs.
But at Bennett’s Lane (and other venues around the place), there’s a definite positioning of jazz as ‘art’, which must be ‘appreciated’ from a distance, rather than enjoyed with the body, up close and personal. There are quite culturally specific ways of demonstrating appreciation going on. Just as Jenkins noted that Checkhov fans used different language to describe their interest in theatre, there are clear differences in the way certain groups approach jazz and music.
Here’s a quote from chapter one of my thesis about the relationship between audiences and performers, audiences and texts in dance:

Considering dance, whether vernacular dance or performance dance, as a public discourse, allows us to analyse it for ideological content, for the ways in which identity markers such as class, gender, sexuality, race, ethnicity, age and so on are represented and valued by a particular community of people. Reading vernacular dance as everyday discourse encourages us to see social dance as an exchange of ideas, and as a site for the negotiation of identity and social relations between individuals and groups within a community. I draw clear distinctions between vernacular dance traditions, where dance occurs in everyday spaces, between ordinary people, and concert or performance dance traditions, where dance is relegated to particular ‘dance spaces’ which are separate from the everyday spaces of a community. Ward makes this distinction: “there is a categorical divide between dancers and the audience in performance dance …that does not exist between dancers and spectators in social dance, where those roles are interchangeable” (18). I read this dynamic relationship between the roles of ‘spectator’ and ‘dancer’ in social or vernacular dance as a clear example not only of call-and-response, but also of the ways in which readers participate in the making of meaning in textual interpretation. (pg5)

Later on I add this:

The word ‘vernacular’ in a discussion of dance refers to the everyday or ordinary, common dance of a particular group or culture. Vernacular dance is distinguished from concert or theatre dance through its positioning in everyday spaces, rather than existing only as a formalised, and usually choreographed, performance of a particular dance on a concert stage. Vernacular dance is intrinsically participatory and happens in all sorts of spaces, both public and private. It is also necessarily mutable and reflexive, responding to the cultural needs of its performers. (pg9)

I wonder if one of the key differences between ‘low’ and ‘high’ cultural forms and practices is this issue of distance – there is (in Western culture …?) a divide between the audience and text/practice in high art forms, whereas the ‘low’ forms encourage close proximity between audiences and texts – you have only to consider the Big Brother website and voting system to see how particular industries and textual forms encourage audiences to get close to texts. If only so that they can be more easily targetted by advertisers.
It can’t be an accident that high art forms like ballet and opera have trouble keeping audience numbers up, and that various marketing strategies that aim to make these sorts of forms more approachable to wider audiences are at once endorsed, yet also regarded with some suspicion by those sections of our community which have a vested interest in maintaining social heirarchies.
…there’s a good article by Joann Kealiinohomoku on reading ballet as an ‘ethnic’ dance that examines how race and class work in high and low art form (and in anthropological approaches to ‘culture’ and ‘society’): Kealiinohomoku, Joann. “An Anthropologist Looks at Ballet as a Form of Ethnic Dance.” What Is Dance? Readings in Theory and Criticism. Eds. Roger Copeland and Marshall Cohen. Oxford: Oxford University Press, 1983. 533 – 49.

the researcher in their work: natural passions

I really need to get on and do some work, but I did want to write a tiny bit about how our own interests and passions motivate our research. So, for example, I’m a keen lindy hopper, and this lead (eventually) to my writing about lindy hoppers.
This point was brought to my attention in class last week when a student blushed and declared embarassment for his passion for an ‘uncool’ film star. I took this as a neat opportunity to talk about people like Matt Hills and Jenkins and other fan studies doods, pointing out the idea that much of audience studies research – fan studies in particular – begins with the author’s own interets. In the simplest terms, our attention is caught because we give a shit about the topic. And is kept because we’re passionate about the things and people we are writing about. So being dismissive of someone’s interests simply because they’re ‘low brow’ isn’t terribly productive.
But I do think it’s a strength to write from what you know, or rather, from what you care about. Whether you’re writing about a favourite telly program or about women and capitalism. I feel that bias is a strength, if only because it serves as sufficient motivation to get us through a massive research project like a PhD or a book.
I don’t have time to go on into detail about this, but there’s a chunk of lit talking about the ethical and methodological issues which attend writing from ‘inside’ the community you’re studying.
Some of the most interesting is from dance studies. Check out this nice quote:

I am an anthropologist, but I am also a dancer and I begin my investigation of gender in ballet by using my dance experiences as a case study… I adopt this approach because it allows me to shift between my memories and comments as a dancer and my analysis as an anthropologist, in a sense using autobiography as fieldwork data.
The researcher…is an essential component of all research. …It is important to take account of the fact that I (the researchers/interviewer) was an active agent in the research setting, attempting to make sense of and contributing to the dancers’ discussions about an activity that is not bound by verbal language. I would contend that my intervention in the … process was enabling rather than, as an objectivist approach would argue, a hindrance to the research. … the idea inherent in an objectivist framework that the researcher is an invisible being who drops into and reveals the practices and ways of others (the researched) becomes redundant, in favour of a reflexivity of accounts. …this does not mean that the project should be full of ‘soul searching’ or ‘navel gazing’. It entails, rather, that the researcher reveal or uncover his/her grounds for speaking; that he/she should be reflexive on the context, methods and procedures adopted and at the same time, enable the voices of the researched to speak (35 – 76).

(Novack, Cynthia J. “Ballet, Gender and Cultural Power.” Dance, Gender and Culture. Ed. Helen Thomas. London: Macmillan, 1993. 34-48).
I’ve written in greater detail about this in my thesis, combining fan studies stuff and dance studies stuff, with an emphasis on feminist and African American writers in the latter. In fact, a significant portion of my argument throughout my work is devoted to the notion of participation in discourse, where dance is discourse, and participation is not only important, but non-verbal.
…ok, I have to run. I’ll see if I can write more later…