Cultural Research Department / Cultural Anthropology

Before the widespread diffusion of C-cassette technology, consumers of recorded music had been viewed as a somewhat passive audience. In the early 1970s, however, listeners saw and seized the opportunity to express themselves while creating distinctive compilation tapes for personal use and presents.
This paper analyses C-cassette users’ views on the design and modification of the recorded content, the covers, and the different parts of the tapes themselves. The described practices can often be identified as customizing, and when more advanced, as craft consumption.
‘Compilation communities’ – social relations and networks containing or revolving around home taping practices – carried shared conventions and assumptions about modifying the materials. Friends, lovers etc. also manifested marks of commitment and companionship by preparing and sharing cassette gifts according to certain rules. Partly, this “code of home taping” was music genre specific, but several other factors defined their nature as well.
Using a grounded theory approach, this paper explores two areas in the memories of almost 1000 Finnish cassette users. Firstly, the skilful cultural ‘work’ on the immaterial and material aspects of home taping, and secondly, definitions of the aesthetic principles of mix taping, characterized by Andy Bennett with “qualifying musical meaning through an extra-musical narrative”.

http://www.ennenjanyt.net/2016/02/uuden-aselajin-palveluksessa-aani-ja-musiikki-suomalaisissa-sotapropagandafilmeissa/

Artikkelissa perehdytään suomalaisen elokuvapropagandan äänelliseen sisältöön 1940-luvun alkupuolella. Aineistona ovat Suomen puolustusvoimien katsaukset jatkosodan ajalta.

Tarkastelun kohteina ovat määräävimmät äänelliset elementit suomalaisessa sotapropagandatyössä sekä musiikin suhde sodan äänelliseen todellisuuteen valtion propagandatuotoksissa. Äänellistä toteutusta peilataan katsausten esikuvina käytettyihin kansallissosialistisen Saksan viikkokatsauksiin sekä sota-ajan elokuvayleisön äänelliseen arkeen.

Perehdyn artikkelissa äänellisten elementtien käyttöön työväenliikkeen audiovisuaalisten viestien rakentamisessa. Kiinnostukseni kohdistuu audiovisuaaliseen viestintään etupäässä niissä tapauksissa, joissa elokuvakerronnalta ei odoteta eikä edellytetä näytelmällisyyttä, fiktiivisyyttä. Tarkastelen erityisesti sitä, kuinka suomalaiset työväenelokuvia valmistaneet ja valmistuttaneet tahot käyttivät äänellisiä elementtejä luodessaan imagoa paikalliselle työväenliikkeelle ja rakentaessaan sille otollisia toimintaolosuhteita. Aineistona ovat Kansallisen audiovisuaalisen arkiston kokoelmissa olevat elokuvatallenteet sekä samaan arkistoon talletetut kopiot Teosto ry:n tekijänoikeusraporteista liittyen lyhytelokuvamusiikkiin.

Lähestymistapaani  määrittää tutkimuskohteen sijoittuminen menneisyyden audiovisuaalisen kulttuurin ja musiikkikulttuurin risteyskohtaan. Olen lähtenyt liikkeelle kolmella pääkysymyksellä:
1) Mikä on elokuvissa käytetyn musiikillisen materiaalin suhde ajan av-kulttuuriin, musiikkikäytäntöihin ja arkiseen äänimaisemaan?
2) Mitä elokuvantekijät vaikuttavat tavoitelleen tiettyjen äänellisten elementtien yhdistämisellä kuvallisiin ja verbaalisiin elementteihin?
3) Onko olemassa työväenliikkeelle tunnusomaisia äänellisiä elementtejä ja tapoja tehdä ääniraitaa, vai vaihtuvatko nämä ajan ja audiovisuaalisten konventioiden myötä?

Artikkelissa tarkastellaan c-kasettien käyttöä analysoimalla vuonna 2010 järjestetyn muistitietokyselyn aineistoa. Kyselyvastausten avulla perehdytään kuluttajuuden kehittymiseen suomalaisten muistelemana. Aineistosta seulotaan esiin positiointeja, joiden avulla selvennetään kasettikulutuskäytäntöjen – erityisesti kotiäänittämisen – ja muistetun musiikinkäytön yhteyksiä kuluttajien itseymmärrykseen. Artikkelissa on etnografisen kuluttajatutkimuksen näkökulma ja metodina kyselyvastausten teemoiteltu lähiluku. Analyysin antamat suuntaviivat kootaan kasettikuluttajapositioiksi, joita voidaan soveltaa muidenkin aineellista ja aineetonta kuluttamista yhdistelevien kulutuskäytäntöjen analysoimiseen.

Well-being in background music experiences: views of service sector employees on working with music  Salespeople, waiters, security guards, and hotel workers hear an average of eight hours of music during their workday. In most cases, they do not get to choose the music themselves. According to companies providing and purchasing background music services for service sector workplaces and commercial spaces, the rationale behind its use is to increase sales. However, music is also a spatial element to ”work with”. In this article, we ask what it is like to work with music in service jobs and how employees see the contribution of music to well-being at work. Our material is a ”Background music in the workplace” questionnaire (747 answers) and a form interview material of employees of the Koskikeskus shopping center in Tampere, Finland (66 answers). Respondents report, among other things, whether they feel the music in the workspace is for a particular group of people; who chooses the m...

In the 1970s, compact cassettes ("C-cassettes") were rapidly changing music listening practices. This paper studies the introduction and marketing of compact cassettes to Finns. C-cassettes answered important needs of music consumers: users remember them as essential devices in constructing and conveying one's identity. An active role as mix-tape assembler and recommender of new music was welcomed by Finnish music listeners, especially young people. But were they ready to accept the roles and ways of using cassette technology suggested by advertisers? The material analyzed consists of magazine advertisements from the 1970s and users' memories of C-cassettes.

https://revistaselectronicas.ujaen.es/index.php/rae/article/view/1852 Resumo: Este artigo tem como objetivo iluminar, através da observação etnográfica dos praticantes da capoeira angola na Bahia, aspectos dos processos socioculturais e econômicos na teia atlântica de significados, implementando a metodologia de etnografia multissítio. A aprendizagem dos bahianos e estrangeiros lado a lado faz surgir tensões relacionadas a etnicidade e a desigualdade, por parte mediadas nas experiências de libertação no ritual da roda, e suas reinterpretações das relações coloniais. A participação como uma forma de troca requerida na capoeira fica contextualizada à troca material e à economia da comunidade, revelando nos passos da capoeira algumas correntes alternas ao progresso econômico do sistema mundial. Proponho-me a demostrar como a capoeira angola hoje forma uma comunidade transnacional, onde os significados ficam construídos em relação à sua mundialização: a experiência de capoeira se desenvolve no encontro de diversos pontos de vista na mesma roda.

Palavras-chave: comunidade transnacional, capoeira angola, etnografia multissítio, participação


A TRANSNATIONAL COMMUNITY EXPERIENCED: THE CAPOEIRA ANGOLA OF EUROPEAN AND BAHIAN PRACTITIONERS

Abstract: Through ethnographic observation of capoeira angola practitioners in Salvador da Bahia, this article attempts to illuminates aspects of sociocultural and economic processes in the circum-atlantic web of meanings, implementing the methodology of multi-sited ethnography. The learning together of capoeira skills brings forth tensions connected to ethnicity and unequality between the Bahian and European capoeiristas, mediated by experiences of liberation in the ritual roda and its reinterpretations of colonial relations. Participation as a form of exchange required in the community is contextualized to material exchange and economy in the community, revealing in capoeira angola's movements alternate streams in relation to world economic process. I attempt to demostrate how capoeira angola forms a transnational community, where meanings are constructed in relation to the community's globalization: the capoeira experience is formed in the coming together of different perspectives in the same capoeira ring.

Keywords: transnational community, capoeira angola, multi-sited ethnoraphy, participation

Afro-Brazilian capoeira exemplifies how communal practices connect multilocally. This article investigates how the fight-game-art forms a translocal culture, uniting practitioners in diverse localities, and connects them to a transnationally created Black Atlantic heritage. The multi-sited ethnographic approach focuses mostly on Salvador, Northeastern Brazil, where the purity of Afro-Brazilian traditions raises polemic. Through critical observation of capoeira’s dual development in Brazil, transnationality is asserted as a historical continuity in capoeira communities’ imaginaries. To grasp how globalised capoeira maintains its connection to Afro-Brazilian history, the analysis of capoeira’s traditionalism is complemented by a description of the formation of capoeira practice in the faraway location of Eastern Finland, where capoeira’s creativity and categorization-resistant, holistic nature remain central. Through the densely historicized tradition of capoeira, minoritarian views on transnational connections, on the colonial encounter, and on the effects of transatlantic slavery are shared in multiple locations.