Beruflich Dokumente
Kultur Dokumente
for example), they have attempted to stay with terms already used to describe
qualities and of sound such as echo or mask as the start point for defining
their own terms.
Unlike Schafers concepts, their sonic effects are essentially open ended; the
survey of objects that sonic effect refers to can be constantly added to, and
each definition should be flexible, giving some indication of the nature and
status of sound phenomena rather than trying to fix them. I will later refer to
their concept of sharawadji, a sound phenomena borrowed from Chinese
culture.
Steve Goodman (2010) describes the result of their work as an interaction
between the physical sound environment, the sound milieu of a social-cultural
community and the internal soundscape of every individual which results in
the revision of the notion of the sonic city as instrument as merely
possessing passive acoustic properties, replacing it with a sonic
instrumentarium of urban environments (p.46).
One of the main struggles within the movement has happened on the
battleground between subjective and objective models of researching the
sound environment and the effect on its inhabitants, with battle lines
constantly being drawn and redrawn: The drastic shift taken by the WSP and
its difficulty to cope with the growing presence of technological systems raises
questions concerning its capacity to deal with complex, urban situations in
which for instance too much subjectivity may present tremendous
methodological, or even legislative problems (Paquette, 2004). Within these
ideological debates, I make no claim to having chosen the right methodology
for the areas I visited: as a novice in the field, my research methods were
largely dictated by what was convenient and easy for me to carry out.
Schafers ideas have not been impervious to criticism, however. David
Paquette notes that the way that the ideal soundscape is defined may result
in a biased, or distorted reading of the sounds around us and their
signification. Sound artist David Dunn has developed his own idiosyncratic
interpretation of the relationship between animals and sound in nature with
much inspiration from bioacoustics. In an article entitled Wilderness As
Reentrant Form: Thoughts on the Future of Electronic Art and Nature (1988),
he presents arguments which reveal him to be highly suspicious of back to
nature trends, both within society and issues relating to sound and sees them
as potentially destructive. He advocates greater interaction with technology
and believes we have reached a state where we are part of dynamic living
processes from which we can never extricate ourselves and to which we owe
our continued survival (p 2).
In another article (1997), though he maintains respect for the World
Soundscape Movement, he is critical of the vogue for recordings of natural
acoustic environments that has sprung up in its wake (p.7).
Several recordists market their recordings as purist audio documentation of
pristine natural environments with particular appeal to the armchair
environmental movement. Personally I find something perverse about many of
Silence
The other major discourse in acoustic ecology, which is traceable to
Soundscapes and beyond to the work of John Cage, itself inspired by
eastern philosophy, is that of the importance and sanctity of silence or
quietness in the soundscape. Without the sudden arrival of the new noise
makers it is unlikely that in the West we would have developed the
appreciation of silence that exists now one necessitated the other.
Perhaps the key event in Cages career (he is quoted in many articles as
saying he considered it his most important work) was his composition 433.
The origin of the piece was Cages idea for a silent prayer, an uninterrupted
piece of silence to be sold to the Musak company. The eventual flowering of
this idea was a concert piece which, in its instruction for the performer not to
play their instrument during the piece, allowed the audience to hear and
concentrate on sounds coming from and around the environment it is
performed in. 433 is perhaps the major artistic step towards what Schafer
calls ear cleaning (a series of exercices he uses to improve sonological
competence i.e. being able to hear ones environment better: one simple
exercise of his is not to speak for a whole day (1977, p.181).
and returned to the region which originally inspired some of the ideas, via
acoustic ecology.
The 100 Soundscapes of Japan project, instigated by the Japanese
Environmental Protection Agency (EPA), is a continuation of the World
Soundscape Project. The soundscapes chosen were largely natural
environments such as wind blowing through pine forests, creaking pack ice
etc.). As Tadahiko Imada notes, a large variety of soundscape activities have
been developed within many fields such as environmental education, social
education, and so on, which most recently also includes music education.
While working closely with Schafer, he recognizes that a critical analysis of
the concept of soundscape, with reference to structuralism and poststructuralism is urgently needed to make a space in music education that
incorporates the notion of sound as a cultural phenomenon, indicating yet
further dissent with Schafers universally applied ideals.
In an article about sound culture in Japan, Imada (1994) states that: The
decision of whether some sounds are regarded as music or not rests with the
cultural background of the listener. In other words, cultures do not share the
same methods of listening; there are as many ways of listening as there are
cultures and ears. (p.16)
To exemplify how radically different these listening approaches can be, he
describes how in the early Showa period (1925-1989) people would gather to
listen to the sound of the bloom of a lotus flower. As the frequency of this
sound is approximately 9-16 Hz and the lower threshold for human hearing is
20Hz, people were actually physically incapable of perceiving the sound but
they loved and wanted to listen to that phantom sound. The experience was a
kind of communal auditory hallucination. He goes on to summarize that it
seems the ancient Japanese people considered various sounds as the total
scenery, and being more imaginative than us, there was no border between
sound and music in the ancient Japanese sound culture. The Japanese
people regarded sound as an abstract image rather than as a pragmatic
acoustic event, (ibid., p.14)
Although my research is primarily about India, not Japan, I believe the
presence of a unique sound culture in Japan, which many Japanese
musicians, soundscape artists and academics are consciously engaging with,
could give inspiration for other countries looking to address issues relating to
sound and the environment, such as India which also has the ability to
investigate its own sound culture. Scholars from Japan have also,
interestingly, been the first to raise concerns of post-colonial misinterpretation
and misrepresentation of other cultures within acoustic ecology. Imada
(2005) asks the question Can we simply abstract a (universal) sound
structure of which Western people may make sense from non-Western sound
cultures? and sees what acoustic ecology supposes is a universal structure
as a European and North American cultural product (p.13).
Beyond
My Methods of Investigation
As I already had a trip to India booked, I decided to conduct my own
investigation into the Indian soundscape and to try and combine my own
insight as a foreigner arriving with hopefully fresh ears with the testimonies of
local people, and other tourists. The stages of my research were as follows:
Firstly, I recorded sounds using a Zoom H4n portable digital recorder. These
recordings include short recordings made opportunistically when interesting
sounds presented themselves and longer soundwalks as well as, where it was
possible to record, interviews with local people. For many of my field
interviews (as it was rarely possible to record) I wrote notes, often later on,
and paraphrased reactions.
As detailed in the previous chapter, various methods for research exist. The
main problem encountered by soundscape researchers is that when they are
interviewed people find it difficult to talk about issues that concern their
everyday, contemporary sonic environment (Paquette, 2004). I was aware
that, compounded with this problem, I would be dealing with cultural and
linguistic barriers. Though many Indians are capable of holding a
conversation in English, their ability to express themselves in the complex
language needed to describe sounds and feelings is often very limited.
As both time and the technical resources I would need to carry out detailed
research were limited, I resolved to keep my methods very simple. Peter
Cusacks Your Favourite London Sounds project, which has since been
extended to other cities worldwide involving many researchers, relies on the
simple concept of asking the question what is your favourite sound and why?
to elicit responses with a surprising depth of feeling. This approach was not
suitable for my research, as I was making sound recordings I wanted to play
to people. I was also aware that I would have limited space to present my
findings, so limited my questions to the following:
1) Do you recognize this sound/place? What is it?
2) What does it make you think/feel?
3) Do you like this sound? Why/why not?
My field recordings were as rich as I had hoped for and gave me material with
plenty of contrast to work with between dichotomies of urban and rural, noisy
and quiet, religious and secular etc. Firstly, they provided me with the material
I needed to be able to question other people about their opinions of the
sounds. Secondly, the process of recording made me experience the sounds
of India in a more intimate and intense way, colouring my insights into the
project. On returning home, though the high fidelity of my recordings
remained intact, the removal from their source geographically, culturally and
temporally created a displacement of sound, sometimes referred to as
schizophonia, another term coined by Schafer in his book The New
Soundscape (1969). Here, I saw new opportunities to exploit by playing
sounds first to expatriate Indians to see if there were any dimensions of
memory and nostalgia to explore. I could also then play to those who had
little or no connection to the sounds, (who were also likely not to recognize
their sources) so that I could try and draw some conclusions from the differing
reactions I might encounter.
My travels began in Mumbai, currently the city with the second largest
population in the world and still fast growing. It also has one of the most
pronounced divides between rich and poor sharing urban space in the world
and proved to be rich in urban soundscapes unfamiliar to me. Then, I
travelled southwards into Kerala, by far the most literate state in India. It has
an enticing mix of rural/agricultural landscapes, smaller urban centres with
interesting histories and culture and is now starting to become developed for a
fast growing tourist industry. With Hindus, Muslims and, more uniquely for
India, Christians well represented there was be a diversity of religious sites to
visit.
My Findings
Sounds and Responses
Firdaus Kanga (2010) reflects in his recollection of living in Bombay that in
India, sounds are never discrete as there will always be so many things going
on in the street at the same timesomeone performing magic tricks over
here, a mongoose fighting with a snake over there, and always people trying
to sell things. Its the merging itself thats fascinating. And you cant select
where you want to be at any time, unless you are wealthy and just go to the
theatre, which is the only time you will ever experience anything like silence.
However, I have isolated my sounds and grouped them into 4 rough
categories: animal/bird sounds, religious sounds, commercial activity and
vehicle sounds, though other sounds are not so easily grouped. The original
distinction I wanted to make between urban and rural sounds proved to be
somewhat of a blind alley. I soon realised that where there are people, there
is noise, and in India there are huge numbers of people. I am not claiming
that quiet, traditional villages do not exist, but as a tourist, despite a wide
range of travel experiences, I never saw one. Indias national parks, however,
are very accessible for tourists and as they are largely protected from the
incursions of human activity are by far the easiest places to get away from
sounds typical of urban areas, such as traffic and House Crow sounds.
I will use the term keynote sounds throughout this essay to describe such
sounds: it is an appropriation of the musical term keynote by Schafer, in
soundscape theory it acquires the new meaning of ubiquitous sounds which
suggest the possibility of a deep and pervasive influence on our behaviour
and moods, though they may not always be heard consciously. He considers
them particularly important as they help to outline of the character of men
living among them. (Schafer p.9)
Animal/bird sounds
Animals are to be found, and heard, everywhere in India. With far greater
biodiversity than is to be found in modern Europe, the natural soundscape is
richer. Another important contrast between Europe and India is that in urban
environments, whereas Europeans have driven out many wild animals by
persecuting them or removing suitable habitats, in India reverence and
tolerance for both wild and domesticated animals has allowed them to survive
and even flourish. A more uncontrolled approach to the built environment
contributes to this as it often provides opportunities and spaces for animals to
breed. Goats, chickens and cows can be found wandering even the largest
and most modern cities. Black kites, vultures and fruit bats roam the skies.
Cats battle with rats in city streets during daytime.
The most omnipresent keynote, which struck me the minute I first left the
airport, was that of the House Crow (a species similar in look, sound and
behaviour to the European Carrion Crow) (CD Track 1). Present in great
numbers everywhere you go in India, its incessant cawing has a tendency to
permeate almost all daytime recording. When I asked Bombay residents what
they felt about the sound, reactions were generally neither positive nor
negative. Some people described it as simply everywhere, as if I was asking
them to say what they felt about the presence of air. Sorab Shroff, who has
relocated from Bombay and been living in London for 10 years, recalled
hearing an old cassette of conversation from his childhood and being
surprised at how the crow sounds dominated the recording, as if he was
noticing their presence for the first time (Shroff 2010). As the range of this
species doesnt extend far beyond the Subcontinent, perhaps it is the
characteristic keynote sound for the region.
I developed the habit of walking around late at night to allow me to capture
some more unusual urban sounds such as frogs (CD Track 2) and fruit bats
feeding on a fig tree (and urinating under it) in hi-fi sound quality (CD Track 3).
I discovered what felt like a secret sound world: many of these sounds go
unnoticed by many urban dwellers, who are usually in their homes at these
times. Only one highly educated man with an interest in natural history was
able to identify the fruit bats.
Hiking in the national parks such as Periyar Wildlife Sanctuary gave me some
excellent opportunities to record birdsong in the natural arena of the forest
and the variety of species such as Common Hill Myna, White Cheeked barbet
and jungle fowl form a tapestry of sound which is beautiful and very different
to that found in European forests (CD Tracks 4-5). Of the Europeans I played
this to, all enjoyed the sound. The ones who reacted most enthusiastically to
it were those, again, with an interest in natural history that could clearly
perceive the difference between European and Indian birdsong tapestries and
were therefore appreciative of its exotic nature. Of the Indians, several more
educated urban Indians from Mumbai spoke about how lucky they were to
even be able to hear birdsong (other than crows or pigeons) from their
relatively privileged (and traffic noise free) dwellings.
There are many allusions in Schafers writing to the natural world being the
ultimate in healthy sound environments. In many parts of the world, birdsong is rich and varied, without being imperialistically dominating (p.29). The
ecological model is an antidote in his eyes to the destructive forces of
mankind, which have become increasingly out of tune with the natural
environment.
Although urban and rural animal sounds can have distinct characteristics (as
different species can be present or absent in both), my interviewees were
often not able to distinguish between the two. Mumbai has a surprisingly rich
biodiversity with almost 400 species of birds recorded. Local birdwatcher
Sunjoy Monga (2009) attributes the high number to the warmth of the urban
world and variety of food sources available from rubbish on the street and in
landfills, as well as the many fruiting and flowering trees that have been
introduced (p.123). The location where I personally saw and heard by far the
most bird species was the Zoological Gardens of Trivandrum, a city with
nearly 1 million inhabitants (CD Track 6).
What are usually heard in recordings of natural environment where man is
largely absent are animals, although there are always other elements present.
Religious sounds
The abundance of temples and religious activity in India means that even if
you never enter a place of worship, a variety of sounds will reach you. The
sound most invasive in the general soundscape is the Muslim call to prayer as
it is amplified (CD Track 7), but Hindu, and also Jain temple bells and
chanting, can be heard if passing (and there are so many temples in India that
this is likely to happen at least once a day). Conversely, although there are a
large number of Christian churches in South India, they almost always remain
silent, where in Europe their sounds would still be central to many
communities. One exception to this are the bells of the chapel of the
University of Mumbai, which are extremely incongruous when heard (CD
Track 8). Entering a Hindu temple is not always possible, as access to many
is restricted for non-Hindus, though in Madurai I captured temple music (CD
Track 9). Questioning people about these sounds is a sensitive issue as
Hindus can hardly be expected to react positively to the call to prayer, and
vice versa for Muslims, so I was careful not to isolate these too much.
However, several sound recordings contain sounds from more than one
religion. One expatriate listener remarked at how remarkable it is that these
sounds can co-exist without religious tension (though Kerala, in particular, is
well known for the peaceable coexistence of Hinduism, Islam and
Christianity).
There is plenty of evidence that religious sounds can, and do, cause offence
however. Compare these testimonials about Islamic and Hindu festival,
respectively (Karmayog website):
It is 11 pm now and the mosques in Bhandup/mulund are blaring away just
now without any let up. Is there not any time limit and loudness limit and
unpleasantness limit? Is raucousness religion?
A procession of about 30 people with 7 large drums, 5 small drums and
metallic clangers. The five small drums were the bigger problem by the way.
Does it bother - Yes it does loud noise at 10.00 p.m. for 15 minutes is not
welcome. And this is only the second visarjan night.
While these may or may not indicate hostility of one religious group towards
another (and possibly reflect preference for one group of sounds over
another), the next testimonial reveals that willingness to tackle the problem of
all religious noises exists:
I do appreciate that all laws are equally applicable to all. With this in mind, I
have recorded noise levels at several religious places including masjids,
temples, gurdwaras etc. and have filed a Notice of Motion in Writ Petition No
2053 of 2003 (in which I am a Petitioner) praying for loudspeaker use at
religious places to be regulated in accordance with law.
Commercial activity
India has an abundance of street hawkers (wallahs) who have developed
unique calls for different products. I expected to get some strong local
reactions to the sounds. Most advertising sounds I encountered were
produced by the voice (CD Track 10) but I also heard whistles, bells and
metal rattles (CD Track 11) being used. Here, reactions to the sounds were
polarized: Indians (depending on the product being sold) often found them
annoying, Europeans tended to enjoy them and non-Europeans from other
cultures which still have many street sellers reacted more neutrally. In
Europe, the ubiquity of street selling is a thing of the past. Plenty of written
reports remain as evidence of how people often regarded street cries as a
nuisance: violently and hideously cacophonous, lacerating the ears and
feelings of ears and feelings of all sensitive spectators are just two such
reports that Schafer (1977) discovers in his research (p.64). He goes on to
speculate that one possible explanation for Southern Europeans having
louder voices and more boisterous street criers than their Northern European
neighbours is that they have to spend more time outdoors, where ambient
noise levels are higher. An important tenet of acoustic ecology is that it is
beneficial to protect certain sounds in the environment to keep them for future
generations. Schafer also finds evidence of how the French were lamenting
the disappearance of street criers in the 1930s, less than 50 years after the
first legislation to try and ban them was introduced. By the same token, is it
possible that we will become nostalgic about traffic noise in the future and try
to preserve some of its sound elements?
Technology has brought the inevitable recorded announcements blared out
through speaker systems, although I found them to be generally less invasive
than in Brazil, for example. A train announcement I recorded in south Kerala
included a short musical prelude before the announcement itself (CD Track
12). Everyone I played this to, both Indian and non-Indian were surprised
about how pleasant it was, and enjoyed the musical aspect, suggesting that
this is not the norm in India and more likely a regional idiosyncrasy.
There will always be disagreement about what is worth preserving and what is
not. Many Indians reacted positively to a recording of the tapping sounds the
shoeshine boys make on their boxes to attract customers in the Victoria
Terminus railway station. They were regarded as characteristic sounds of a
charismatic building and environment, which is held in much affection by
many citizens of Mumbai. However, this testimony from a Bombay local
Vehicle sounds
Arriving from London, where in my urban soundwalks I had already remarked
on the omnipresence and polluting nature of car noise, I was not prepared for
the sheer volume of car horns in India and how they would disrupt my sound
recordings (CD Track 13).
While I and many other travellers were appalled at the volume and
inescapable presence of traffic sounds, locals were far more tolerant. The
responses of many interviewees could be summed up as its just there. One
response from an Indian expatriate was even positive: as well as an element
of nostalgia for his hometown, he recognised that people need these sounds
to tell them where they are (Shroff, 2010). I will reflect here on my own
perceptions of traffic after doing my first soundwalk through central London.
Hearing the traffic for the first time as I fully appreciated the almost complete
destructive effect it had on the hi-fi soundscape, I realised how adept our
brains really are at filtering it out. One myth challenged by the acoustic
ecology movement is that human beings have a natural ability to get used to
and accept higher levels of sound, and are therefore not being damaged by
them (the habituation syndrome). Truax (2001) argues that this is not
habituation, but desensitization (p.99). How much people are really affected
by the ravages of desensitization may depend on other sociological and
geographical factors, such as the nature of their work, and whether they have
an opportunity to escape from high sound levels.
Quieter Environments
The biggest surprise was when I played a recording of a canoe paddling
through a very quiet backwater in Kerala, with sounds of human activity
coming from the few houses that stood on its banks (CD Track 14). During
this stretch of my backwater journey, there was a complete absence of
technological sounds, the calls of many birds could be heard clearly and
children are heard playing and clearly having fun. Though there are sounds
of people working: women beating washing on rocks and men using a
hammer (heard in the background), these sounds are periodic, rather than
continuous, and have a lazy rhythm, which I personally found most relaxing.
In fact, if I had to choose one soundscape which reflected the most tranquil
environment, it would undoubtedly be this one (I remember musing with many
other tourists about how nice it would be to rent a house for a few months
there to do some writing). The Indians I played this to all smiled and were
most curious about the human activity they could not completely identify in it,
asking me many questions. However, the non-Indian listeners stated that
they would never want to live in such an environment, as it was much too
noisy.
There are frequent examples of expectations of responses to supposedly
quiet environments being confounded within research in this domain. A
study of the soundscape of Madrid by Isabel Lpez Barrio and Jos Carles
(1995) threw up repeated negative responses to a recorded park sequence as
excessively rowdy and did not fit the normal acoustic image parks
engender (p.3). However, my guess is that if they had actually been present
on the same canoe journey, they would have had similar feelings about it to
me (one of the main reasons people visit backwaters in Kerala is to
experience such tranquility). Listening to a recording of an environment and
being there can be two very different experiences.
Another possible explanation for this comes from Francisco Lopez (2003),
who notes how Quiet sounds are also "extreme". At least that's my finding
with the reactions of a lot of people to very quiet or subtle sonic material.
Since we live in a world overwhelmingly filled with noise and music-as-noise,
subtle things produce more flabbergasted reactions - even aggressive onesthan harsh loud sound (p.3).
Focus on only sounds can be misleading and that recordings can fail to
transmit vital information about other aspects of the environment when visual
(and other) references are omitted. On realizing this, I began to question the
validity of my research approach in playing my recordings to people and
wondered to what extend my findings would actually be able to reveal
anything useful about India at all.
In a more recent article (2009), Lopez outlines the problems with recorded
sound itself, which stem from the fact that microphones we use are not only
our basic interfaces, they are non-neutral interfaces. He advocates further
tampering with microphone recordings to construct our own, necessarily
subjective, realities (as well as using devices such as surround sound
systems), which he calls hyperreality to represent and advocate
soundscapes (p 84). In the case of soundscape recordings with further
listener-based research aims, altering these recordings is clearly a very
dangerous game and it is probably better to accept the limitations of basic
recordings and perhaps calculate these limitations into our findings somehow.
Local Responses
However, the local people who have to endure (or enjoy) these sounds on a
daily basis with no escape unless they are fortunate enough to be able to
afford travel. Perhaps they can offer their own insights: I asked friends in
Mumbai whether it was a relief to be travel to Europe and escape the more
extreme noise levels in India:
Well, I suppose so, but there are so many other things that you notice as
being different when you arrive in London like, you know, the people and the
culture and so on. (Bhiwandiwala, 2010)
Another very common sound frequently complained about is broadband noise
coming from air conditioners, cooling systems for mobile phone antennae
and, perhaps the worst of all, generators. I noticed these while walking
around Mumbai, and my recordings reveal their constant presence there.
However, many people I interviewed in Mumbai were surprised at this and
stated that they did not notice this on a daily basis, suggesting that broadband
noise does not affect people in such an obvious way (though this is not to say
that it cannot have negative effects). The majority of European tourists I spoke
to had a distinct aversion to using air-conditioning systems as they dislike cold
temperatures inside and consider the units unhealthy and drying for the skin.
In Mumbai, however, people attach huge importance to them. They are a
basic symbol of status for middle class families, who become distraught if they
break down. Aside from the obvious benefits of temperature control, I would
go as far as suggesting that the drone of air-conditioners and ceiling fans acts
has a very important role in providing white-noise masking in peoples homes,
filtering out the sounds from the outside environment. They may well also
demarcate the limits of personal acoustic space; setting out an important
boundary in a cramped urban environment, where the culture also allows
what in the West would be felt as serious invasion of personal space.
Firdaus Kanga (2010) believes that in India, traditionally personal space is not
nearly as much of a priority in the West as India is a communal culture:
leaving doors open so that friends and neighbours can pass in and out freely
all through the day is very common. However, with many urban Indians being
increasingly influenced by Western culture. Globalisation means that more
Indians are able to both work and travel abroad, just as Westerners can in
India. Those most likely to have such contact (the upper middle classes and
the rich) are also the ones most likely to be able to afford good air
conditioning and the luckiest can spend the day moving from one air
conditioned environment to another (home to car to work to gym to restaurant
etc.). Kangas personal experience is that these people become increasingly
intolerant of life going on outside their air-conditioned soundproofed bubbles,
of which sound is perhaps the most affective element.
Augoyard and Torgue (2005) discuss the complexity of masking sound in the
urban environment where different levels of masking can occur
simultaneously. The urban drone (consisting largely of traffic noise but which
may contain other elements such as construction noise and commercial
activity) is omnipresent and can be undesirable. However, the drone in itself
has the ability to mask other more discrete sounds, which may be more
personal, such as activity from neighbouring properties, and therefore
annoying or distressing. They note that acoustic screens, which may be there
to suppress the traffic mask, can paradoxically remove the cover that the
drone provides and reveal the neighbouring sounds. They draw a distinction
between two types of mask: favourable (where undesirable sounds are
reduced) and parasitic (where pleasant and desired sounds in a quiet or
natural environment are reduced) (p.40-46).
The MP3 player, though it certainly has a presence in India, is not yet nearly
as ubiquitous as it has become in countries with a higher average standard of
living. My experience, even in the most international neighbourhoods of
Mumbai contradicts Truaxs assertion (2001) that the proliferation of
background music internationally means that every soundscape starts to
resemble every other; local cultural influences are subsumed or emasculated
into a bland, universal style (p 211). India has so far largely resisted this
homogenization, which may be partly due to economic factors but may also
be explained by the existence of a strong national culture, exemplified by the
ubiquitous presence of Indian film industry, which perhaps Indians prefer as
the soundtrack to their lives than imported American or European culture
because it is more relevant.
exists with buses and big trucks at the top, moving down through cars, autorickshaws and bicycles to pedestrians. Anyone in the way is likely to be
mown down and the horn averts what would otherwise be serious accidents.
In fact, smaller vehicles such as the rickshaw commonly have the words
Sound Horn painted on the back as an instruction to encourage horn use.
With Indian driving culture as it is, the horn is clearly not going away and the
Silent City an impossible fantasy though, as I will argue later it is the
presence (and diversity) of sound which makes Indian cities so special and a
silent city is not something actually desirable.
Other examples abound of the futility of the present system. The press has
run stories of the flaunting or regulations put in place to deal with the problem
of violation of the regulations about firecrackers. They are banned near
hospitals and nursing homes, as they have been known to cause patients
intense agony:
The police routinely issue lists of banned types of firecrackers. However
neither the public, the police or the explosives department can state, by
looking at a cracker, that it is illegal (karmayog website).
With the public machinery described as lethargic (a huge understatement if
the opinions of people I spoke to in Mumbai are to believed), complaining via
one of the NGOs which deal with environmental problems and forming antinoise committees are recommended on the karmayog website.
Concern about noise in this site is still largely concerned with traditional
measures for noise reduction: lowering decibels and trying to implement bans
on certain sound producers, indicating that the agendas of the World
Soundscape Project model of acoustic ecology (the positive approach,
emphasizing wanted or important sounds in the soundscape) have yet to have
an impact in India.
discussion about the intrinsic values and virtues of each one, also shaping the
careers of many sound artists. Labelle later goes as far as to argue that the
dislocation inherent in Westerkamps transformations of her recorded sounds
in soundscape compositions inadvertently makes noise of them. Her (and
our) attraction to the distant, the foreign, the strange, the spooky, the
haunting and the mysterious forces the sounds into abstraction (p.214).
I discovered one location in Mumbai where an astonishing variety of sounds
can be heard relatively discretely, the Banganga Tank. It is an area of
temples (both Hindu and Jain) and housing centred around a washing/bathing
pool, which is considered extremely sacred. It lies at the tip of a peninsula
close to downtown Mumbai but the lack of access for cars means that all daily
activity, both religious and otherwise can be heard and recorded discretely. I
have included a long soundwalk I carried out here where sounds of temple
activity, cooking, sports, construction and both wild and captive animals can
be heard clearly, but what is most interesting about the recording is how
unrepresentative it is of the urban Indian soundscape (CD Track 15).
One sound term I find more relevant that the CRESSON team have co-opted
from traditional Chinese aesthetic culture is Sharawadji: an aesthetic effect
that characterizes the feeling of plenitude that is sometimes created by the
contemplation of a sound motif or a complex soundscape of inexplicable
beauty (Augoyard/Torgue 2005). It is the perceptive confusion one
experiences while walking around the urban soundscape in all its disordered
cacophony that best exemplifies sharawadji. Sharawadji is defined as being a
pleasurable feeling, but necessarily dynamic rather than passive (p.118).
I frequently experienced sensations which could perhaps be identified with
this concept in India, particularly when walking around Mumbais bazaar and
metalworking districts (CD Track 16). The act of soundwalking (more focused
and intense when actively recording sound) certainly brought me closer to this
state of mind as my desire to hear and experience all sound brought me into a
transcendent state where I no longer judged sound as good or bad, but simply
experienced it. Whether this is sharawadji as Augoyard and Torgue define it
I am not convinced about, as I feel I went beyond the pleasurable feelings
they associate with it. However, being dynamic experience, accessing
sharawadji is a skill which must be taught within culture and which does not
happen spontaneously in the majority of people. An internal tension
maintains the contradictory poles of this beauty in the consciousness of their
limits and in the surpassing of these limits. And this tension, the sustained
and contained attention to what is presently taking place, to the emerging
sonic form, is mixed with pleasure and animates it. (ibid. p.119)
Sharawadji is not dependent on hearing aesthetically beautiful things, is
without splendour or theatricality and can most often be experienced in
through the embracing of the everyday, the ordinary, though it can occur while
listening to the tumult of nature as well. Though many parameters are set out
defining what sharawadji is and how it is experienced, no mention is made of,
or evidence given for, who is likely to experience it, or where. Though the
concept originates in China, it is not suggested that the Chinese have any
natural cultural tendency to do this. The concept of Sharawadji as it relates to
Conclusion
Ultimately, though I have sought to uncover ways of dealing with the sound
environment that are more uniquely matched to the socio-cultural and socioeconomical conditions in India, all the theories and work on the subject are