Video as community activism in ethnomusicology

Ethnomusicological video becomes activist with the expansion of goals (socially and ideationally transformative, beyond "knowledge accumulation"), roles (inclusive, beyond trained ethnomusicologists), and habits of academic production (collaborative and egalitarian, beyond the solitary and hierarchical habits of most humanists).

MUSIC as subject or gateway to such Transformative, Inclusive, Collaborative Video:

PAR method: define a community of interest, then strive for openness and collaboration within it.

Result: emergence of new social/semantic networks of connection and awareness

1. Goals: video is used to effect substantive CHANGE
   1. ... materially, on the "local" ground of video representation
   2. ... in awareness about it, locally and globally
2. Roles: video production reaches out to include more people...
   1. ... non-academic artists and intellectuals
   2. ... on the ground of video representation
3. Habits of academic production: work becomes more collaborative and (can become) more egalitarian, thus effecting a collective change in consciousness, locally and beyond, and connecting the two.

PAR -> forging new social networks. The video process is as important as the product. "Molten" video in digital form.

Exx: of Transformative, Inclusive, Collaborative Video

• Shadow video: aim to raise awareness (e.g. Banff)
• Sanitation video & documentary
• SNAR video: connect likeminded activists among ethnomusicologists and artists