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Making Chó Bò*: Troubling Việtspeak Making Chó bò*: Troubling Việtspeak Collaborating, translating, and archiving with family in Australian contemporary art. https://chobotrouble.com/ Hong An James Nguyen A thesis fulfilling the requirements for the degree of Doctor of Philosophy UNSW Art & Design 2020 i * “Chó bò” is the approximate Vietnamese homonym for “trouble.” Literally translated, “chó bò” is a “dog~cow” or “dog~crawl.” Either way, these linguistic slips produce an absurdist assemblage, a troubling word play when spoken. As we try to pronounce the word “trou~ble,” we throw the dog among the cows, forcing it to crawl on its’ belly. “Chó bò,” is a common joke for many Vietnamese people living in English-speaking countries. Often perceived by others as troubling and troublesome, we carry the linguistic and political means to make big epistemic trouble. Twisting our tongues to mimic the normative structures around us, our informal acts of translation, imperfect speech, and language-brokering can articulate the troubles surrounding us, including the most troubling parts of the Vietnamese diaspora itself. ii DISSERTATION SHEET Surname/Family Name : Nguyen Given Names/s. : Hong An James Abbreviation for Degree : PhD Faculty : Art & Design School : Art & Design Thesis Title : Making Chó bò*: Troubling Việtspeak, collaborating, translating, and archiving with family in Australian contemporary art. ABSTRACT * “Chó bò” is the approximate Vietnamese homonym for “trouble.” Bluntly translated, “chó~bò” is a “dog~cow” or “dog~crawl.” This absurdist linguistic joke for many Vietnamese people learning English represents a capacity to make trouble. This PhD thesis comprises original research and artistic work made with my family. As people from the Vietnamese diaspora, our experiences are formed by dispersals and estrangements as settler-colonists in Australia. Our daily encounters in the realms that this thesis is focused – contemporary art, academia, and family enterprise, are folded into distinct systems of colonial power and violence. I often make work with my family in video-performance and the documentary medium. Our inter-generational, political, and language differences add to the conceptual complexity of what it means to collaborate, make art, produce archives, and confront our position as recent settler-colonisers in Australia. This thesis aims to address how our artistic collaborations utilise linguistic and archival approaches to articulate the systemic racism we encounter as people from a refugee background, but who are also embedded in the colonial infrastructures of our new home. Aligning with thinkers including Gloria Anzaldúa and her critique of coloniality, to Gayatri Chakravorty Spivak and Hito Steyerl on minoritarian forms of translation, and Sara Ahmed on racism in the university - this thesis describes how collaborations with my family can trouble the contradictions of colonial power enacted on our human relationships. Reconnecting with individual members of my family through art, I have gained a better understanding of my language and culture, as well as finding important artistic and political connection to my peers. Collaborating with my family has forced me to rub against the researcher-participant/research subject binary, the archival visibility of being invisible, the rhetoric of institutional inclusion, and the weight of being displaced and displacing colonisers on this continent. The work we have produced together methodologically uncovers and critiques the opaque confrontations of institutional power, racism, and colonial violence embedded in the everyday. As a family, we continue to make uncomfortable pronunciations like “chó bò,” producing the epistemic trouble needed to face the colonial realities of our resettlement. ARTWORK WEBSITE: https://chobotrouble.com/ iii DECLARATION RELATION TO DISPOSITION OF PROJECT THESIS/DISSERTATION I hereby grant to the University of New South Wales or its agents a non-exclusive licence to archive and to make available (including to members of the public) my thesis or dissertation in whole or in part in the University libraries in all forms of media, now or here after known. I acknowledge that I retain all intellectual property rights which subsist in my thesis or dissertation, such as copyright and patent rights, subject to applicable law. I also retain the right to use all or part of my thesis or dissertation in future works (such as articles or books). ………………………………………………. ………………………………. Signature Date ORIGINALITY STATEMENT: ‘I hereby declare that this submission is my own work and to the best of my knowledge it contains no materials previously published or written by another person, or substantial proportions of material which have been accepted for the award of any other degree or diploma at UNSW or any other educational institution, except where due acknowledgement is made in the thesis. Any contribution made to the research by others, with whom I have worked at UNSW or elsewhere, is explicitly acknowledged in the thesis. I also declare that the intellectual content of this thesis is the product of my own work, except to the extent that assistance from others in the project's design and conception or in style, presentation and linguistic expression is acknowledged.’ ………………………………………………. ………………………………. Signature Date COPYRIGHT STATEMENT ‘I hereby grant the University of New South Wales or its agents a non-exclusive liscence to archive and to make available (including to members of the public) my thesis or dissertation in whole or part in the University libraries in all forms of media, now or here after known. I acknowledge that I retain all intellectual property rights which subsist in my thesis or dissertation, such as copyright and patent rights, subject to applicable law. I also retain the right to use all or part of my thesis or dissertation in future works (such as articles or books).’ ‘For any substantial portions of copyright material used in this thesis, written permission for use has been obtained, or the copyright material is removed from the final public version of the thesis.’ ………………………………………………. ………………………………. Signature Date iv AUTHENTICITY STATEMENT ‘I certify that the Library deposit digital copy is a direct equivalent of the final officially approved version of my thesis.’ ………………………………………………. ………………………………. Signature Date INCLUSION OF PUBLICATIONS STATEMENT ‘UNSW is supportive of candidates publishing their research results during their candidature as detailed in the UNSW Thesis Examination Procedure. Publications can be used in their thesis in lieu of a Chapter if: - The candidate contributed greater than 50% of the content in the publication and is the “primary author”, i.e. the candidate was responsible primarily for the planning, execution and preparation of the work for publication. - The candidate has approval to include the publication in their thesis in lieu of a Chapter from their supervisor and Postgraduate Coordinator. - The publication is not subject to any obligations or contractual agreements with a third party that would constrain its inclusion in the thesis. Please indicate whether this thesis contains published material or not: ☒ This thesis contains no publications, either published or submitted for publication ☐ Some of the work described in this thesis has been published and it has been documented in the relevant Chapters with acknowledgement ☐ This thesis has publications (either published or submitted for publication) incorporated into it in lieu of a chapter and the details are presented below CANDIDATE’S DECLARATION I declare that: - I have complied with the UNSW Thesis Examination Procedure - Where I have used a publication in lieu if a Chapter, the listed publications(s) below meet(s) the requirements to be included in the thesis ( Not applicable ). ………………………………………………. ………………………..…………. …………………. Candidate’s Name Signature Date v TABLE OF CONTENTS DISSERTATION SHEET iii ABSTRACT iii DECLARATION RELATION TO DISPOSITION OF PROJECT THESIS.DISSERTATION iv ORIGINALITY STATEMENT iv COPYRIGHT STATEMENT iv AUTHENTICITY STATEMENT v INCLUSION OF PUBLICATIONS STATEMENT v TABLE OF CONTENTS vii ACKNOWLEDGEMENTS viii LIST OF FIGURES ix INTRODUCTION: 1 A Troubling Anecdote 2 Primary Research Terms 8 Scope of Research 18 CHAPTER 1: “ TROUBLING TRANSLATIONS ” 26 At the Border of a National Broadband Network 28 What is the Author and why are they Dead? 38 The Third Hand and The Language of Things 41 The House of Artist 45 The House of Slé 46 Family Values 49 Translating Emails, the Traduttore, Traditore 54 Speaking the Langue Vulgaire: Lap-Xuan and Rainbow Chan 62 Translating Chó Bò 69 CHAPTER 2: “ TROUBLING ARCHIVES ” 71 A Documentary Return 73 Missing Documents 82 vi Archival Imposts 84 Archival Necrosis 86 Barriers to HREC approval 91 Pants of Eva 117 Archival Chó Bò 125 CHAPTER 3: “ TROUBLING TONGUES ” 128 Piecework 129 Paris By Night, Bootleg By Day 132 Romper Stomping 135 Asian and Migrant Art in the Settler-Colony 137 Nguyễn Thị Kim Dung’s Poem 142 Mai Nguyen-Long the Chó Bò with Phở Dogs 157 Feminist Poetry of Bà Huyện Thanh Quan and Bà Hồ Xuân Hương 158 Gloria Anzaldúa and Soo-Min Shim 164 Christina Xu Letters For Black lives 168 Nguyễn Thị Kim Nhung and an Acknowledgement of Country 175 CONCLUSION: MAKING CHÓ BÒ: TROUBLING VIỆT-SPEAK 188 BIBLIOGRAPHY 195 APPENDICES 201 vii ACKNOWLEDGEMENTS Cho tôi trân thành cảm ơn người Wurundjeri và người Boon Wurrung của đất nước Kulin, và người Gadigal của đất nước Eora. Tôi thêm cảm ơn những dân tộc đã sống đầu tiên ở Úc Châu và Việt Nam, và các tổ tiên của những người ấy. Tôi đã sáng tạo ra các tác phẩm này trên nơi bị người khách lấy đi, mà chưa bao dờ nhừơng. Trên những đất nước này, tôi đã tới từ nơi khác, đến sống bình an, và may mắn được chia sẻ những công việc này. Và sau, tôi gửi lời cảm ơn đến Ba Mẹ, Dì Cậu, Anh Em trong gia đình của tôi, và hai thày giáo viên Dr. Jennifer Biddle, và Dr. Verónica Tello, tới các bạn nghệ sĩ, các người yêu mến trên quãng đường nhỏ này. I acknowledge the Wurundjeri and Boon Wurrung of the Kulin Nation, and the Gadigal of the Eora Nation.
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