The Sound of Life: The Making of a Soundscape (Part 2)
Type
Publication
Authors
Category
Article
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Publication Year
2017
Publisher
Smithsonian Center for Folklife and Cultural Heritage, United States
URL
[ private ]
Abstract
"The conception of these soundscapes stems from a deep love of history that I have had since childhood. The idea of recreating the sound of the past in a way that was meaningful to modern listeners provided me with a creative challenge. My aim was to tell a story solely through sound while simultaneously presenting an authentic and valid interpretation of a group of people at a specific point in time.
As an artwork, it is possible to take a few liberties with the creation of a historic soundscape. However, it is important to keep in mind that the historical record, the primary research material for any sort of historical soundscape creation, is inherently problematic and fraught with cultural, sexual, educational, and racial bias that cannot be ignored. I wanted to be faithful to my subjects in a way that was fair and, hopefully, emotionally engaging. What I did not anticipate during the creation process of my historic soundscapes was that their relationship to the modern soundscape was far more meaningful than the historic soundscapes were themselves.
The Owens-Thomas House: A Case Study
The Owens-Thomas House is a Regency style house located on a picturesque square in downtown Savannah, Georgia. It is a popular tourist attraction, famous for hosting the Marquis de Lafayette during his visit to the city in 1825. I was initially drawn to the house because it possessed a rare example of nineteenth century internal plumbing, some of which remains intact. Imagining nineteenth century toilets and showers was too compelling to ignore. After taking a tour of the house, I decided that the basement would be the perfect candidate for my historic soundscapes.
This space housed the kitchen, the scullery, a laundry room, an additional bathing space containing the shower, and the primary cistern for the indoor plumbing system. These spaces involved domestic tasks, making this part of the house the domain of slaves and women, including the mistress of the house and her children. I was interested in this socio-cultural layer and the challenges it presented: slaves, women, and children are historically marginalized and less documented classes of people. I wanted to try to give a voice to a story that might not have otherwise been told..."
As an artwork, it is possible to take a few liberties with the creation of a historic soundscape. However, it is important to keep in mind that the historical record, the primary research material for any sort of historical soundscape creation, is inherently problematic and fraught with cultural, sexual, educational, and racial bias that cannot be ignored. I wanted to be faithful to my subjects in a way that was fair and, hopefully, emotionally engaging. What I did not anticipate during the creation process of my historic soundscapes was that their relationship to the modern soundscape was far more meaningful than the historic soundscapes were themselves.
The Owens-Thomas House: A Case Study
The Owens-Thomas House is a Regency style house located on a picturesque square in downtown Savannah, Georgia. It is a popular tourist attraction, famous for hosting the Marquis de Lafayette during his visit to the city in 1825. I was initially drawn to the house because it possessed a rare example of nineteenth century internal plumbing, some of which remains intact. Imagining nineteenth century toilets and showers was too compelling to ignore. After taking a tour of the house, I decided that the basement would be the perfect candidate for my historic soundscapes.
This space housed the kitchen, the scullery, a laundry room, an additional bathing space containing the shower, and the primary cistern for the indoor plumbing system. These spaces involved domestic tasks, making this part of the house the domain of slaves and women, including the mistress of the house and her children. I was interested in this socio-cultural layer and the challenges it presented: slaves, women, and children are historically marginalized and less documented classes of people. I wanted to try to give a voice to a story that might not have otherwise been told..."
Description
https://folklife.si.edu/talkstory/the-sound-of-life-the-making-of-a-soundscape
Number of Copies
1
