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Acoustic Ethnography with Billy Proctor in the Broughton Archipelago, British Columbia

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Acoustic Ethnography with Billy Proctor in the Broughton Archipelago, British Columbia Listening to a Sense of Place: Acoustic Ethnography with Billy Proctor in the Broughton Archipelago, British Columbia by Jennifer Schine B.A., University of Victoria, 2007 Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the School of Communication Faculty of Communication, Art and Technology © Jennifer Schine 2013 SIMON FRASER UNIVERSITY Spring 2013 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Jennifer Schine Degree: Master of Arts Title of Thesis: Listening to a Sense of Place: Acoustic Ethnography with Billy Proctor in the Broughton Archipelago, British Columbia Examining Committee: Chair: David Murphy, Senior Lecturer Barry Truax Senior Supervisor Professor Kirsten Emiko McAllister Supervisor Associate Professor Hildegard Westerkamp External Examiner Independent Scholar Date Defended/Approved: April 15, 2013 ii Partial Copyright Licence iii Ethics Statement The author, whose name appears on the title page of this work, has obtained, for the research described in this work, either: a. human research ethics approval from the Simon Fraser University Office of Research Ethics, or b. advance approval of the animal care protocol from the University Animal Care Committee of Simon Fraser University; or has conducted the research c. as a co-investigator, collaborator or research assistant in a research project approved in advance, or d. as a member of a course approved in advance for minimal risk human research, by the Office of Research Ethics. A copy of the approval letter has been filed at the Theses Office of the University Library at the time of submission of this thesis or project. The original application for approval and letter of approval are filed with the relevant offices. Inquiries may be directed to those authorities. Simon Fraser University Library Burnaby, British Columbia, Canada update Spring 2010 Abstract The thesis explores soundwalking, memory and aural history through participatory exploration. My ethnographic work involves extensive documentation of a private museum in Echo Bay, a remote fishing and logging community in the Broughton Archipelago, BC. This museum houses artifacts, many of which have acoustic components. The proprietor and elder, Billy Proctor, has many stories to tell about his collection and how it reflects the history and ecology of the area. My work aims to show how approaching history and memory through listening and soundmaking constitutes a unique experiential methodology, different from visual methods of observation. This qualitative study explores the embodied, sensuous, performative, narrative and dialectic aspects of the documentation, recording, and listening process and practice. In addition, the technique of “memory soundwalks” is added to the lexicon of soundscape and memory studies. The utilization of such creative soundscape methodologies and epistemologies enables this ethnographic work to extend into the public sphere via multiple modes, media, and formats for the general public, for example, as an audio- tourism project for the Billy Proctor Museum, and as multi-media documentations and art presentations, such as the award winning short film, “Listening to a Sense of Place” (2012) co-created with Greg Crompton. Keywords: Soundscape studies; storytelling; memory; soundwalking; museum archives; ethnography; aural & oral history, coastal communities iv Dedication For my parents, Jill and David Schine. v Acknowledgements This thesis was written with the support of many people. Below is a listing of those who played an active role in the creation, though not always directly. To them I give my wholehearted thanks. My first thanks must go to Billy Proctor, who has taught me how to appreciate many things: salmon, a south easterly gale, and cold and wet early mornings. More importantly, Billy has taught me how to listen to the coast and to a place that he calls the Mainland. I want to express my gratitude for Billy’s guidance, stories, and friendship. Thank you Billy for teaching me what it means to be a Mainlander. Gratitude to the Salmon Coast Field Station, the community of Echo Bay, and all those who spoke with me about B.C. coastal life during these last few years. In particular, I would like to thank Scott Rogers who invited me to volunteer at the Salmon Coast Field Station and introduced me to her friend and neighbour, Billy Proctor. Scott’s enduring friendship has been instrumental in the creation of this work. A heart filled thanks to the Salmon Coast Crew and the community of Echo Bay, including: Dr. Martin Krkosek, Dr. Alexandra Morton, Dr. Neil Frazer, Pauline Frazer, Zephyr Polk, Coady Webb, Salix, Keta and Fuffy, Megan Adams, Luke Rogers, MJ Gagnon, Amy McConnell, Lauren Portner, Stephanie Peacock, Sean Godwin, and Erica Forssman. Marka and Brent Akins, thank you for the fruitful discussions. Yvonne Maximchuk and Albert, thank you for the garden respite. A special thanks to Nikki Forest Dweller and Wendy Case, both of whom gave me the opportunity to cabin-sit their wonderful homes during the winter seasons so that I could write this thesis. I am incredibly indebted to Barry Truax, my senior supervisor, for his insight, intellectual rigour, and generous kindness. The amount of time and energy that Barry commits to this students astonishes me and I feel fortunate that he is my mentor. I must also thank SFU’s Acoustic Crew for their enthusiasm and feedback. Thank you for the light-hearted laughs Vincent Andrisani, Milena Droumeva, Andrew Czink, Nathan Clarkson, Pietro Sammarco, and Randolph Jordan. I also want to acknowledge David vi Murphy who showed me how to swim downstream and Norbert Ruebsaat for his listening ears. A very special thanks to Kirsten McAllister for her intellectual labour, generosity and sensitivity. Her critical engagement with my work propelled me forward and brought me to places that I had not yet imagined. I must also recognize Ayumi Mathur and Julia Aoki for their ideas, reflexive walks and talks, and friendship. Throughout all, Hildegard Westerkamp has been a continuing source of inspiration. She has asked me to listen to the fundamental richness that is available in each moment and relax to the sound, hearing the simplicity in things as they are without judgement. This thesis was deeply inspired by both Hildegard and the Vancouver Soundwalk Collective. I give gratitude to Hildi and the collective’s members, in particular Tyler Kinnear and Brady Marks. In addition, I acknowledge the support from Vancouver New Music. To my parents, Jill and David Schine, you have given me a sense of belonging in this world. Thank you for your boundless love and support. This thesis is for you. To my siblings, my family and all my good friends, too many to name, I am grateful for your joy. Greg Crompton, I am in awe of your creativity, aesthetics, and dedication. Thank you for your friendship and the countless hours of work you contributed to our film. Finally I would like to thank the School of Communication at Simon Fraser University, the World Soundscape Project (WSP), and the Social Science and Humanities Research Council (SSHRC) who provided much of the financial support for this research. Without them this research would not have been possible. vii Table of Contents Approval.............................................................................................................................ii Partial Copyright Licence.................................................................................................. iii Abstract.............................................................................................................................iv Dedication..........................................................................................................................v Acknowledgements...........................................................................................................vi Table of Contents............................................................................................................ viii 1. Introduction ............................................................................................................ 1 1.1 A Journey from an urban to a rural place in Echo (echo) Bay ................................. 1 1.2 Soundwalking: Listen to where you are ................................................................... 4 1.3 Chapter Summary.................................................................................................... 6 2. Literature Review & Context ................................................................................. 9 2.1 Context: Soundscape and Methodologies ............................................................. 10 2.2 Soundwalking: extending the methodology & practice .......................................... 12 2.3 Memory Studies ..................................................................................................... 17 2.4 Movement and Place ............................................................................................. 19 2.4.1 Emplacement: locating the “living-moving-body”........................................ 19 2.4.2 The Acoustic
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