Music review: Muse, The Resistance

The Resistance is one of the most eclectic and technically proficient rock albums released by a major band this decade. There's a song for every taste -- as long as you have a sense of humor. Throughout the album, Matt Bellamy sings the story of a character familiar to Muse fans (and loathed by Muse's detractors): a rebel fighting for personal freedom and enduring love within the confines of a militarized dictatorship. The first track's anthemic lyrics about "Uprising" say it all: "they will not control us, we will be victorious!" If you can get past the idea that the soaring, pop-y "Resistance" is a love song based on Winston and Julia from George Orwell's 1984, I guarantee that there is something on this album that you will enjoy.

The music runs the gamut from Chopin to post-punk, perhaps too often all in the same song (though most Muse fans dig that). Got a yen for Depeche Mode or David Bowie? Try the slinky and darkly romantic "Undisclosed Desires." Wanna get your prog rock on? Check out the keyboards and Dominic Howard's outstanding drumming on "MK Ultra," a song that feels to me like a new Muse classic. Fans of Green Day, Queen and System of a Down will all enjoy shouting along with Matt ("I want the truth!") on "Unnatural Selection." Another song that quotes Queen chapter, line and verse, "The United States of Eurasia," is essentially Muse to the max, taking to new heights the bombast that we Muse fans crave. Another typical keyboard-heavy Muse rocker is "Uprising," which is driven steadily by Chris Wolstenhome's funky bass licks. The only song on this album that I'm not crazy about is "Guiding Light," a merely adequate power ballad that Matt admits in the liner notes "is influenced by 1980's cheesy stadium rock!" The exclamation point is his.

One thing some critics of Muse tend to forget: they're having fun. They make serious music but don't take themselves too seriously, and neither should we (please, just read the liner notes!) I find it hard to believe that anyone could listen to the French-cabaret-inspired "I Belong to You/Mon cœur s'ouvre à toi voix" and not have fun. There's a bass clarinet solo! Matt singing a snippet from the opera Samson and Delilah! The lyrics sliding slyly away on the phrase "you are my mu..." The only way this song could be more fun is if Adam Lambert did a cover of it! Much has been made of the orchestral components of this album and indeed, usually they are used to ramp up Muse's sound even further over the top than usual, as in "The United States of Eurasia." However, the third part of the "Exogenesis: Symphony (Redemption)" is a successful attempt on Matt Bellamy's part to write a beautiful piece of symphonic music, ending the album on an uncharacteristically gentle message: redemption comes from forgiving ourselves.

The Intangible Cultural Heritage of Humanity

In 2003, UNESCO declared Akyns, the bardic storytellers of Kyrgyzstan, a Masterpiece of the Oral and Intangible Cultural Heritage of Humanity.

If this sentence makes you blink in confusion, you are not alone. When I mention UNESCO, people at first think that maybe I'm talking about a cookie company. However, UNESCO is actually an acronym that stands for the United Nations Educational, Scientific and Cultural Organization. UNESCO is unfamiliar to many Americans because the U.S. withdrew its membership between 1984 and 2003 to protest what our government felt was the organization's mismanagement and anti-American bias.

The concept of “intangible cultural heritage” (ICH) is unfamiliar to most people, as well. Intangible heritage refers to the kinds of culture that are usually transmitted directly, without mediation, from members of one generation to the next: music, ritual, local knowledge, and so on. A particular culture or art form must be deemed both valuable and “under threat” in order to be listed on the UNESCO registry of intangible world heritage. Being put on the intangible heritage list raises that culture's international visibility as well as its local esteem, attracting tourism, grants, and increased attention from the national government. In the case of the Akyns of Kyrgyzstan, the action plan supported by UNESCO (with money from the Japanese government) sponsored a conference and singing competitions, and created training centers around the country where traditional methods of teaching the art could be practiced.

But the part of the concept “Masterpiece of the Intangible Cultural Heritage of Humanity” that most intrigued me (and thus the genesis of my current research project) is the phrase “the heritage of humanity.” Heritage is a tricky word, with a variety of meanings, most of which are filled with normative and political implications. Normally, we speak of heritage in relation to a particular subsection of humanity: a family, an ethnic group, a nation, perhaps a profession. Is it possible, then, to conceive of the heritage of humanity as a whole?

With this question in mind, I set out to explore what the term "heritage" means in this context. As I learned from reading Valdimar Hafstein's excellent dissertation on UNESCO and intangible cultural heritage, the concept of heritage has evolved over time in a way that enhances the sovereignty of nation-states as well as creating a framework within international law that helps protect communities' rights to control their own cultural properties.

In the 1966 UNESCO Declaration on the Principles of International Cultural Cooperation, heritage implies human unity, both over time and across cultures. Culture is a human universal, and humanity universally values cultural difference: “In their rich variety and diversity, and in the reciprocal influences they exert on one another, all cultures form part of the common heritage belonging to all mankind [sic].” In the World Heritage Convention of 1972, the language emphasizes that some instances of heritage "are of outstanding interest and therefore need to be preserved as part of the world heritage of mankind as a whole." The point here seems to be that humanity has a common stake in preserving certain aspects of particular cultures. The 1972 convention also recognizes the sovereignty of individual states over the heritage located on their territory and emphasizes the duties, rather than the rights, of humankind towards these cultural forms.

This view of the heritage of humanity as the object of common interest and the bearer of common obligation is present in UNESCO's more recent programs on intangible heritage, as well. The 2003 Convention for the Safeguarding of Intangible Cultural Heritage addressed increasing concerns about globalization and the loss of cultural diversity not just in legal but also in economic terms, recognizing "intangible cultural heritage as a mainspring of cultural diversity and a guarantee of sustainable development." The Convention also reflects a sensitivity to cross-border and sub-national cultures and acknowledges "that communities, in particular indigenous communities, groups and, in some cases, individuals, play an important role in the production, safeguarding, maintenance and re-creation of the intangible cultural heritage." However, as Hafstein argues, since all activities related to the Convention take place through UN member states, in effect, ICH activities can only preserve cultural transmission by bringing traditional practices into the governmental sphere and integrating them into official administrative structures.

In the case of Akyns, who were already part of official nation-building campaigns in Kyrgyzstan before the declaration of their status as Masterpieces, this integration into state structures will probably have little effect. However, in other cases of Masterpieces of ICH that I plan on investigating (such as the Boysun region of Uzbekistan and Maroon culture in Jamaica), regionally distinct groups may find the international prestige and assistance they receive to be a useful counterweight to the pressures brought upon them by increasing integration with the nation-state.

Outsiders and Cultural Heritage

I am currently working on a research project about globalization and intangible culture heritage (what is that? See my post on this concept). In the realm of culture, globalization homogenizes culture by making bland Western pop culture ubiquitous, but it also diversifies by giving people in any part of the world the opportunity to develop a taste for the exotic (which I mean in the literal sense: "from the outside").

However, economic globalization and its predecessor, industrialization, have created structural conditions that threaten cultural diversity. Wage labor draws young people away from traditional culture producing occupations, markets for traditional cultural objects shrink as people aspire to consume foreign-produced goods, local handicrafts cannot compete with cheap plastic imports, and so on. When one generation cannot pass on its knowledge about how to make these objects and its esteem for their value, tradition dies and local communities become more dependent on those from the outside. Choices become more limited, not more diverse.

While reading The Intangible Cultural Heritage of Nepal: Future Directions, I came across this analysis: "Training in traditional craftsmanship or skills is taught through 'learning by doing' within the family and traditional workshops…the skill transfer is inter-family and inter-caste and normally takes place within this closed circle." So far, so good. Then the author goes on to juxtapose the culture as it exists now (integrated into the daily lives of the older generation) and how it might be preserved in the future:

"Having said this, there is still a need for reinterpreting and successfully communicating elements of ICH [intangible cultural heritage] knowledge and skills to younger generations. The modern way of learning and living has to see the value in ICH so that the younger generations continue to practice these precious elements of heritage. Traditional artists are often local farmers, who are heavily involved in their occupations. Hence their folk performances are mainly enacted during seasonal rituals, or spontaneous moments of singing and dancing in the villages. Folk performances are still often not taken seriously as an 'occupation,' and with the breakdown of tradition training models and funding, young artists are often unable to obtain professional opportunities, including scholarships for training. Therefore, many traditional performing arts are not consistently transmitted, nor adequately promoted to younger generations."

Singing as one works and performing rituals as part of special celebrations is the very essence of traditional culture, while folk performance as an "occupation" seems to be a contradiction in terms. Responding to the threat to traditional culture in this way is a bit ironic: the way to save traditional culture is to institutionalize or professionalize it. This can be extreme, resulting in what anthropologists and folklorists have called "frozen cultures" or "the museumification of culture:" preserving tradition for posterity's sake by removing it from its social context. This is a notion that is associated with modernity, with a Western romanticism that has spread along with globalization. It seems to me that viable solutions for the problem of threatened cultural diversity need to be based on models of sustainable economic development, even if those models are also imported "from the outside."

One of the interesting things you find if you do research on globalization is how important international organizations have become in both expanding and mitigating the effects of globalization. For example, a recent story on Fergana.ru features a family who are reviving the art of basket weaving they learned from their parents. When wage labor failed them, they turned to selling these baskets made from cheap, locally available materials. In the interview, Shakhodat Khamidova said that she and her brother "made a promise to our ancestors to keep it up in the family so that it won't be forgotten." But apparently that promise was not easy to keep since there wasn't much demand for the kinds of baskets they knew how to weave, so Khamidova made a global connection:

"I made a trip to Bishkek to learn the art of European weaving from Forgan Sandor of Hungary. The Association NAU from Khujand contacted me on my return. It was with its help that I … toured distant [villages] to meet with girls and young women there and teach them what I had learned. I have more than 300 pupils now. They phone me with words of appreciation almost every day. What really counts is that these people will find their own road in life now and find life itself all the more interesting."

Nau is apparently a non-governmental organization (NGO) funded by international donors to do development projects in northern Tajikistan. It is heartening to see donors supporting economic development through the arts. When I first started to research this topic in 2002-2003, economic development programs in the former Soviet Union were almost exclusively targeted to agriculture, tourism, and infrastructure. Outsiders play a role here mainly behind the scenes. The Khamidovs, using the knowledge and materials they already had, and with a little economic support from outsiders, seem to provide a good example of sustainable traditional craft production, one that integrates the transmission of traditional knowledge and values into the ever-changing reality of daily life.

The Aesthetics of Blind People

The front page of today's Boston Globe featured a picture from the Perkins School's prom. The article began,

WATERTOWN - By 5 o'clock, two hours before prom time, the clouds of hairspray had grown so thick inside Fisher Hall, they'd wafted into a courtyard. Inside the women's residence hall, Leslie Gruette was getting her hair styled and makeup applied before the biggest social event of the school year.

"Something pretty, but simple," requested Gruette, 20, who'll graduate later this month from the Perkins School for the Blind in Watertown. Bronze shimmer? Sure, she said. Lipgloss? Why not.

Thursday evening's prom was the fourth Gruette has attended during her eight years at Perkins, the oldest school in the United States for young people who are blind.

Someone at my kitchen table made a comment about the seeming irony of blind people caring about their appearance, but I started wondering: what are the aesthetics of blind people? If I were blind, would I pick a prom dress because its fabric felt special? Because it made a swishing sound when I walked? Or because my Mother told me it looked good on me? I am aware of a good deal of sociological research on the deaf sub-culture and its subwoofer-heavy aesthetics, but what of blind culture, if such a thing even exists?

It turns out that reviewing research on the aesthetics of blind people was no simple task. I put the search terms "blind people aesthetics" into Google Scholar and got no relevant hits on the first page, so I switched to the catalog of Harvard's library system, Hollis, and searched for "blind aesthetics," which mostly turned up books on metaphorical and literal blindness in literature. One thing that most of the items these searches turned up was that they were either not about actual blind people, or they were studies that viewed blind people as targets for intervention, not as subjects of aesthetic judgments. So far, I had found no research asking blind people, "So, what do you like?"

I went deeper into Hollis, looking for disabilities studies journals, but most of those dealt with developmental disabilities. However, I did find the Journal of Visual Impairment & Blindness, which (with the help of my handy Harvard ID number) led me to a much older article that I couldn't access electronically. This article apparently describes how the aesthetics of blind and sighted children differ in judging sculpture, so it would probably be right up my alley if I could find it, but I can't without diving into the library stacks and answering this question isn't quite worth it to me. However, the Journal of Visual Impairment & Blindness also led me to the American Foundation for the Blind (its parent organization) and to Psychological Abstracts (via PsycInfo), which indexes its articles.

Using PsycInfo, blind + aesthetic turned up 79 articles, most of which were irrelevant because "blind" in psychology often refers to an aspect of experimental design. I discovered some oddities such as a tellingly named Russian journal called Дефектологиа (Defectology). I also came across several studies of how visual art can be translated into tactile art in such a way that blind and sighted people can have aesthetically equivalent experiences, but these were oriented towards aesthetic education of visually impaired students, not to the, so to speak, native aesthetics of blind people.

So, what do you think I'm missing? Perhaps aesthetics was the wrong search term? Perhaps I should look not to research but to memoir? Sadly, in the end, I have no clearer idea of whether or not blind people share a common culturally- or cognitively-derived aesthetics, and I still don't know what a blind girl wants in a prom dress.

Research review summary
Results: unsatisfactory.
Difficulty: difficult.