narrative

Alternate Tunings

With school coming back into session, I’m reminded that it’s time to get back into the grind of my thesis.

The tail-end of the summer and these first few weeks of school have brought my mind back to focusing on my work, and also questioning some of the ideas I’ve had about the final form my project will take.

A quick TL;DR of my life: my band released an album, I played a lobster festival in Chicago, and I’ve been accepted as an Andrew Carnegie Society Scholar, which I hope will fund a trip to SXSW to meet industry executives and leaders in March.

krishna-alt-tunings-1

All of these experiences have led me to question what the final form of my thesis project will take.

Initially, I wanted my project to be presented as a film, more specifically a documentary. This film would be 30-45 minutes, and more or less be a traditional linear narrative that puts forth my argument about the Pittsburgh music scene.

However, I find myself now questioning myself. After finishing my research this past summer and limiting my scope, I now worry about almost being too argumentative and having tunnel vision with my film.

My music experiences and interactions with individuals have taught me that, if anything, the developments in the music scene are inextricably tied to huge other cultural factors locally, nationally and regionally. It’s no surprise that with huge amounts of money coming in from the tech boom and with younger, more affluent people moving into the city there has been a shift in the live music scene.

Also, I’m quickly realizing that the notion of making a large film has a learning curve, and even with a team to help, could lead to us getting mired in production aspects rather than focusing on content.

As a result, I’ve been debating using an online, interactive method of conveying my narrative as opposed to a traditional film.

Businessman pressing virtual icons

This narrative would be less “linear” and act more as a timeline that displays information with firsthand videos and documents accessed by the reader. As a result, the reader can move around more and create their own personalized experience in learning about changes in the music scene. Also, as the music scene continues to develop and change, more people could post and add to this narrative.

The one weakness of this change would be that my ability to convey an argument would be weakened. My ability to control how the narrative functions and is followed is hindered by the increased interactivity and responsibility of the user/reader.

Ultimately, I think that this hurdle of deciding the final form of my project is the next challenge for me to tackle (and fast!)

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Learning From Refugee Youth

Student example from Story Exchange

Student example from Story Exchange

“There were questions, of course. But they were casual in nature; the kind you would ask while having a drink with someone; the kind he would ask you. In short, it was conversation.”

– Studs Terkel

As I continue to prepare to conduct interviews (which will likely begin around the same time as fall semester), I’ve been working with PRYSE Academy, which stands for Pittsburgh Refugee Youth Summer Enrichment. At PRYSE, we encourage the students to tell stories through a variety of media. The story doesn’t have to be their own, however, it usually ends up being their own, and it usually begins with “I like…” The PRYSE Academy students have given me some ideas about narrative inquiry before I’ve even begun the interviews.

The students, who are in middle and high school, love talking about themselves. Last week, we had educators teach a workshop on storytelling. Rather than giving each of the students lined paper, the students were given a large piece of white construction paper. The instructions were simple: At the top of the paper, write “I am…” and fill the rest of the paper with words, pictures, or drawings of your own. They were asked to answer the question, “Who are you?” through words and pictures creatively. As expected, many of them began with their name. The educators encouraged them to use adjectives to finish the sentence as well. However, very few chose to complete the sentence, “I am…” Rather, the students completed the question, “I like…”

Using a variety of craft supplies including markers, colored pencils, crayons, scissors, glue and glitter, the students made collages covered in soccer balls, music artists and food – posters of what they liked. When they are asked to talk about themselves and who they are, the first things that come to their minds are what they like and what they are passionate about.

From the combination of words and drawings on the students’ posters, the students were asked to share a narrative that showed a little bit about who they were. This was the most difficult part for the students, but their poster boards served as an outline for their narrative. One student had drawn himself playing soccer and basketball. He had his arms crossed unsure of what was being asked of him.

He said, “I don’t have a story to tell.”

I asked, “Why do you like soccer?”

He clasped his hands together, placed them under his chin and said, “I tried out for my middle school team and got in. That’s it.”

“Tell me more about the team. Do you like playing with your team?”

“Yes! We won our first game by 20 points! That felt great.”

“That’s great!”

“But then we lost our last game of the season…”

“Aww.”

“But that’s not important, because I had fun.”

We had a story. We spent a little more time piecing together more details for the presentation. His narrative shows his peers his favorite sport as well as a glimpse into who he is – a team player. It took a bit of time for him to find the pieces of his story to tell.

The narrative process is not an easy one that will simply come to my interviewees. They won’t be middle and high school students; however, the Bhutanese-Nepali adults will also need time to piece together their own narratives. Narratology and narrative inquiry researchers agree that the interviewee should get the opportunity to express himself about the things that matter to him. This is often called “nondirection.” The interviewer should not always try to steer the interviewee into one direction. However, the interviewer should never lose control of the interview.

Just as I let the PRYSE Academy students navigate their own stories through creative processes on the topic of identity, it may be beneficial for my interviews to prepare example narratives on the topic of economic self-sufficiency, which will give them time to think about how to begin forming their narratives around this topic. This will hopefully keep what researchers call “specificity” in play during the interviews. For me, this means listening for what the interviewees want to talk about and ask follow-up questions about specifics when appropriate. Interviewing is a skill that I am working on and hope to develop through this research. I’m learning to do this with the students where they often make it very clear to us when something does or does not matter to them.

Learn more about my project.