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autoethnography1-2

The Art of Autoethnography: Part IV

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Below is a table detailing the assumptions I made of the assumptions I had after my first autoethnographic encounter and what was learnt through further literature research. While not all my assumptions were completely wrong I definitely still had a lot to learn.

What I am also finding is that the more involved I become in this autoethnographic study, the more interested I become in the cultural significance and background of the Bollywood film industry. this has unintentionally caused some of my research to go off in a tangent to some extent, relating less to language acquisition and more to the cultural language study of the Bollywood genre. I am finding that I either need to shift to topic of my auto ethnographic study or attempt to refocus.

Assumptions Reflection
The assumption that was made was in relation to the parameters od the autoethnographic research. Initially I set out that I would use multiple media texts in my methodology to obtain personal experience. I believe that this assumption was a little presumptuous. Even though I knew it would be difficult to learn some aspects of the language I did not realize how difficult it would be. I can to the realisation that little would be gain from this experience if I was to continue in the same fashion viewing multiple types of texts to acquire even the most basic level of language acquisition when starting from scratch. In reflection I believe that the greatest personal experience will come from focusing on one individual text and to absorb this text on a number of occasions and then focus my research around this. A number of factors play a part in the change of the parameters of my methodology. The first is the time period over which this research was conducted and the hours that could be dedicated to it. The most important factor was though the lack of a foundation of understanding of the Hindu language. Due to this I have now watched the same Bollywood film three times and each time I find myself picking up on some new words even if only for a moment and reaffirming the ones I have previously picked up. I also become more aware of different aspects of other communication aspects present in the film.
In my first notes I stated that the Bollywood movie Yeh Jawaani Hai Deewani was produced using the Hindi language and that because it is a contemporary media text it would provide a context for the language that included slang and colloquial language. ‘Bollywood productions are today acknowledged as the generator of and vehicle for contemporary popular culture in India.’ (Goethe Institute, 2016). My assumption while correct was also limited and basic. The language used in Bollywood films is much complex then simply Hindi. English was used in the film not only when on location in an English speaking country but also the occasional modern words which are the same in both English and Hindi, for example the word internet. According to the Goethe Institute (2016) The language used in Bollywood films has a distinctive supra-regional integrative quality. ‘The code switches between sociolects, standard languages and distinct Persian and distinct Persian or Sanscrit features, jargons with regional variants right through to other Indian national languages such as Panjabi, Marathi, Gurarati and not least English’ This is throughout films in the Bollywood genre.
While this assumption is not related to language acquisition I thought it was important to note that when I first watched this Bollywood film something about the premise of this music seemed strange and stupid to me. Upon critical analysis of this observation I was able to gain a better understanding of why they premise of this musical seemed so foreign to me. I am used to watching musicals that are either produced on Broadway or in Hollywood. Musicals made in Hollywood and on Broadway tend to focus around entertainers because they are focused on making the musical aspect of the story seem as realistic as possible. Though according to research ‘Bollywood is not encumbered with adherence to realism’ (The Bollywood Ticket, 2016). This knowledge to make a better understanding as to why this this musical seemed so strange to me. Unconsciously I felt disconnected from the storyline because it lacked that realism that I am used to in musicals.
Never did I have the assumption that I would be able to gain a complete understanding of the Hindi language simply through studying media text produced in this language. Though I did assume that when were hear of people acquiring a language through media that it is all they have used. It is evident through the research conducted that while media texts provide a great tool in the acquisition of a language, it is simply a part of the process and other learning is needed this can take place through classes in a more formal context, though in a less formal one it could simply be researching on the internet. Aiping et. al. (2016) in the article Exploring learner factors in second language (L2) incidental vocabulary acquisition through reading, states that ‘second language incidental vocabulary acquisition through reading usually involves the process of through reading usually involves the process of learners noticing an unknown word, searching for its meaning, and elaborating upon the form meaning connection’. Learning a language through listening in this case is quite similar, it is all part of a process and in most cases further research is conducted to obtain a complete understanding of the language.

 

Resource List

Aiping, Z, Ying, G, Biales, C, & Olszewski, A 2016, ‘Exploring learner factors in second language (L2) incidental vocabulary acquisition through reading’, Reading In A Foreign Language, 28, 2, pp. 224-245, Education Research Complete, EBSCOhost, viewed 29 October 2016.

Goethe Institute (2016). Multilingualism – Languages Without Borders – Projects – Goethe-Institut. [online] Available at: http://www.goethe.de/ges/spa/prj/sog/ver/en5356222.htm [Accessed 12 Oct. 2016].

Thebollywoodticket.com. (2016). Introduction to Bollywood – The Bollywood Ticket. [online] Available at: http://www.thebollywoodticket.com/bollywood/beginner.html [Accessed 11 Oct. 2016].

공동체 (community)

Thinking of a way to turn my research of South Korean culture and Eat Your Kimchi into a Digital Artefact was proving to be quite difficult for me. I wanted to convey my identity as a fan and investigator of EYK, my fascination with South Korean culture, and my autoethnographic experience in a way that I myself could be interested in. My experience with the production and editing of videos, creation of code, and the production and compiling of music is quite limited, so those weren’t viable options for me. I also found it a little difficult to push my mind past the examples that we have seen so far, such as tumblr blogs, Sabato Visconti’s Glitch Artworks, playlists and collations of videos or pictures, or subreddits, as I didn’t feel that any of these fit what I wanted to convey.

It is clear to me that the Eat Your Kimchi fan community has been incredibly important in the success of the blog, as without their fans, Simon and Martina (the couple who make the content for EYK, along with business manager Soo Zee and intern Leigh) may have found it much more difficult to remain in South Korea beyond teaching. The fan community supported their transition to full-time YouTubers in 2 ways

  1. YouTube offered EYK a monetary partnership when their channel surged in popularity as their subscribers/fans grew substantially around 2010
  2. Simon and Martina had their IndieGogo campaign successfully funded by their fan community (a total of approx. $113 000), which allowed them to apply for a South Korean business licence and rent an apartment closer to the centre of Seoul (the capital of South Korea)

Looking at this wave of success that the EYK crew have been riding since they started blogging in 2008, it’s really obvious to me that there’s a lot of love, passion and curiosity coursing through the veins of the EYK fan community. When looking at the EYK community and how it is represented digitally over many different platforms (Tumblr, Facebook, Instagram, YouTube, Reddit and on their blog), I find it equally as worthwhile to mine through the comments sections as consuming original EYK. There so much to learn from these spaces. Not only do they provide added ethnographic context to EYK’s observations on South Korean culture and entertainment, but they also build upon the opinions and ideas offered in the videos. These forums are, to me, a comprehensive representation of the majesty and power of a fan community (already well-represented by their ability to keep EYK going through funding), reflecting the quality and insight of the EYK content.

In order to capture this ecology I have decided to design a blog in which I will reflect on my personal understanding and learning, following my observation of these spaces. I hope to design a Digital Artefact that provides a visual representation of my observations and interpretations, whether it be through a graphic, word visualisation or other performance medium, showcasing various comments, the original EYK content, and my derived autoethnographic experience.

 

Han Han, China’s Most Prolific Blogger

Han Han, or better known as China’s most prolific and popular blogger, is a celebrity both in the world of Chinese social media and China in general. The New Yorker has written a lengthy article titled The Han Dynasty, which details Han’s rise to fame and provides some insight into Han’s choice to be so unique and outspoken, in a country that is anything but. He has become what I would determine as simultaneously famous and infamous, because his popularity is due to him writing about his disagreement with the Chinese government and other political issues-which are popular amongst the masses and not so much with authoritarian leaders. It seems that Han’s visibility is due to both writing these things and gives him the ability to write these things, whilst also being famous for his career in racecar driving. But it seems that this other career rests almost entirely on the popularity of his writing, which has funded this pursuit. However interestingly, this career seems somewhat conflicting ethically with his writing career, amid all the sponsorships, but yet the careers have melded to transform Han Han into one of the most influential celebrities in China.subaru ad

Han’s Weibo account (which I used an online translator to read) has nearly 600 million views and is strangely conflicting when you view it. The first thing you see is an advertisement for Subaru, and its followed by these written accounts about the injustice of the Chinese government system.

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However Han’s influence, popularity and power as a celebrity and voice for the voiceless becomes strikingly evident when I viewed the first post, which if you can’t see it, is just a full stop. The views and comments are astounding for something so simple.

Han has even gone to the lengths of choosing to publish his work at times where it is less likely to get censored. In a way his role is that he gives a voice to the voiceless, but at the same time somewhat prevents others from airing their own views because they will not be heard amid his popularity and outspokenness. In a sense the government almost let Han get away with his radical views because it prevents others from trying to do the same. Freedom of speech to me doesn’t seem that radical living in Australia, where we are relatively free from censorship, but I can understand the impact and celebrity status Han Han has in China.