Darrik Cheney and Dr. Charles W. Nuckolls Anthropology
This project was aimed at gathering ethnographic data by identifying trends in popular music preferences among youth in Visakhapatnam (Vizag), Andhra Pradesh, specifically with western influences in mind. In addition to this, this study was paired with a study of footwear production and repair was undertaken. Analyzing these two different cross sections of the cultural climate of youth in Visakhapatnam yielded results suggestive of overall trends.
A couple different methods were utilized while attempting to study music in Visakhapatnam. If I heard an instrument being played in the neighborhood, I would follow the sound until I was at their house. I would introduce myself, and tell them that I was a student from the U.S. doing research. I found some of my best contacts this way, as most if not all Indians I worked with were ecstatic about the idea of someone researching Indian culture, as well as being a source of information for that research. This purpose was viewed so noble to most that I was afforded special privelages, and was allowed back stage. I also was granted time to speak with virtuoso Karnatka singers, who taught at Andhra Pradesh University, as well as expert traditional dancers. I recorded interviews when I could, on an MP3 recorder, but in some cases like after performances by renowned Karnatka musicians, I had to quickly scribble interview notes in a notebook. In some cases I was invited to play guitar with musicians who played western instruments, in hotel restaurants with the house band, or in a musician’s home. These experiences yielded episodic data that was recorded immediately following. As well, I visited several music stores and interviewed the owners and clerks about about the demographics of their clientele and their interests, and the popularity of each instrument. Through these venues I was directed to smaller music schools aimed at teaching young musicians, or people with a casual interest. In studying popular music, I approached several people at random to ask questions about how much they like Indian traditional music, music from Telugu films, and American or Western Popular music. Places such as movie theatres or parks had many people who were more than willing to offer up information on their tastes and sensibilities. Sometimes I would ask someone if they knew anything about the western artist who was on a t-shirt they were wearing. I recorded these answers quickly in a notebook.
While studying the amazingly rich subject of Indian music was often viewed as prestigious, my desires to study the material culture of shoemakers was not. Indian Traditional music represents an overwhelming amount of material to study. The study of cobblers does not. To study about cobblers, or shoe repair men, there were really only two sources: cobblers, and non-cobblers. I spoke to non-cobblers mostly about the ways they relate to and interact with cobblers. I was looking for how often
they take footwear to them and what they thought of the occupation in general. I looked for other evidences as suggested by trends in general footwear preference. To interview cobblers, I almost always had to have a translator. I would approach them and sit down by them to start asking questions. Many times I would have a specific material related question. I would ask about their techniques, the raw materials, the glue, and their tools. For many of the techniques I would ask them to demonstrate on something I had brought them. I also asked them where they learned their craft, and about their family. Giving these men attention almost always caused a scene so notes were scribbled down in my notebook afterwards. I took pictures and video when I could. I also acquired many of their old tools, and shoes they had made and repaired. I also attempted to do some of the repairs that I had learned from them on several items of footwear.
These discussions, interviews, and observations, when considered together yielded some clear trends. Among the youth in Vizag, there are largely two mindsets represented by their tastes and preferences. Many youth are enamored by anything with connotations of western culture. Many times, the styles perpetuated by western brands and artists are considered to be the right or preferred way to do things. At the same time, there is an almost apologetic sense of nationalism and Indian pride. The most popular pop artists in Vizag are most usually stars from Tollywood films; however, most pop culture enthusiasts have more than a working knowledge of American pop artists such as Michael Jackson and Akon. The most preferential musical styles for youth in Vizag, therefore are when Indian artists play music with western influences, instrumentation, and sensibilities. One such example is Gabbar Singh, whose title track is sung mostly in Telugu but has English introductions, and utilizes American pop arrangements and production methods. Indian pride seemingly becomes more acceptable the more it adopts western sensibilities, and is delivered via western mediums.
Likewise, it was extremely preferred to be able to by new branded items of footwear. Whether authentic or not, sandals with printed western brands were highly sought out. Traditional Indian footwear was almost never worn by anyone of any age group, and it was considered more fashionable to purchase new, than to have them repaired. After months of looking I found only two shops that sold traditional footwear, and the intent was more ceremonial than practical. Other branded, western style items of footwear were sold by the thousands, in shops literally on every street corner.
The clash between Indian nationalism and western aspirations is thrown into relief when looking at popular music, and traditional vs. modern footwear among youth in Vizag. While more research could certainly be done to corroborate this, it could be that these trends are results of India’s growing economy and world trade. As well, I am finalizing data analysis from ethnography done on the same cultural aspects in the U.S, and have found corresponding trends suggesting a contrapuntal trend from India, towards the traditional and hand made.