Natalie M. Underberg, Ph.D.; Elayne Zorn, Ph.D.
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Natalie M. Underberg, Ph.D.; Elayne Zorn, Ph.D. University of Central Florida. PeruVine/PeruDigital Goal to present Peruvian festivals on the Internet Multilingual, interactive, and immersive

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Natalie M. Underberg, Ph.D.; Elayne Zorn, Ph.D. University of Central Florida

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Natalie M. Underberg, Ph.D.; Elayne Zorn, Ph.D.

University of Central Florida

  • PeruVine/PeruDigital

    • Goal to present Peruvian festivals on the Internet

    • Multilingual, interactive, and immersive

    • Uses ethnographic data from the Instituto de Etnomusicología, Pontificia Universidad Católica del Perú-Lima

    • Collaboration between anthropologists and digital media scholars

    • Uses hypertext and digital environments to address how linguistic communities view and interpret the world

  • Developed from shared interests of Drs. Natalie Underberg and Elayne Zorn in Peruvian culture and digital ethnography

  • Iterative consultation process with scholars and members of thepublic in U.S. and Peru

  • Support from University of Central Florida has made foundation of project possible

  • “Opening up” the conceptual process to make interpretation process more transparent

  • Reflexive Anthropology and Hypertext Theory

    • Adaptation of materials from one medium to another

    • Distinctive features of digital environments

    • Reflexive, narrative, and collaborative developments inanthropology

  • Participatory Design (PD) (Watkins 2007)

    • “Due diligence”: partnership-building trips; research designand wiki creation; team of scholarly and cultural consultants

    • Prototyping: begun through Directed Research and archivematerial duplication to design walkthrough for site

    • Evaluation and feedback: iterative process

  • Digital Heritage and Anthropology

    • Silence of the Lands (SOL) (Giaccardi and Palen 2008)

    • Technical and social infrastructure

      • Reflexivity and decolonization of knowledge

      • Using interactivity and immersion to enable multiple interpretive frames

  • Public Anthropology in Digital Environments

    • Series of linked, navigable festival-related environments

    • Central anthropology themes form basis of interpretive approach

    • Developed in consultation with IDE, anthropology scholars, andcommunity consultants

  • Interpreting components of festival by role-playing andinteracting with objects

  • Adapting game design techniques to virtual heritageenvironments (Champion 2006)

    • To facilitate “cultural learning”

  • Splash page designed as bus station: go north, south, visit“ethnographer’s office” or “travel agency”

  • Explore through one of three perspectives:

    • Ethnographer, participant, or sponsor

    • The Festivals

    • Festival #1: Festival from Northern Coastal Peru

    • Señor de la Agonía (Lord of Agony) in Piura, Peru

    • Navigable festival plaza environment with participants

      • Attendees of the Lord of Agony capilla

      • Angel with capatáz

      • Tamalera

      • Serrano

      • Sarahuas

    • Festival #2: Festival from Southern Highland Peru

    • Virgen de la Candelaria (Virgin of Candlemas) in Puno, Peru

    • Navigable festival plaza environment with participants

      • Festival sponsors with silver-laden car

      • Bearers of the Mamita Candelaria

      • Diablada dancers

      • Sicuris

      • Many other dance troupes

    • Site Design

    • Señor de la Agonía festival: Piura walkthrough

    • Serrano stereotype on the North Coast

    • Festival and the carnivalesque

    • “going behind the mask”

    • Sarahuas

    • Ethnographic and performance perspective

    • Culture and tradition change over time and across space

    • Interacting with costume, dance, and text objects to imitate performance preparation

    • Piura region cultural context: folklore genres and musical instruments

      • Town of Morropón

      • Tondero

      • Cajón

    • Capilla for the Lord of Agony

    • Festival sponsor perspective

    • People create, perform, and experience culture based on social perspectives or roles

    • Complementary gender roles of festival sponsors

    • Communal labor and participation of community and visitors

    • Virgen de Candelaria festival: Puno walkthrough

    • Highland culture

    • Sponsor perspective

    • Journey of festival sponsor in silver-plate laden car

    • Creation of public cultural events defines and builds or destabilizes communities

    • User performs imitation of festival planning tasks

    • Female dancers of sicuri (panpipe ensemble)

    • Expressive culture constructs and reveals social categories

    • Complementary duality of genders expressed in dance and other performances

    • Connections to other Andean performances of masculine verticality and feminine circularity

    • Festival costumes representing multiple identities

    • People take active roles in self-representation

    • Zorro: people creatively incorporate materials from the culture industry into public expressions

    • Southern Andean diablada

    • Ethnographic perspective

    • History of the diablo dancers and connection to the image of the Virgin of Candlemas

    • Goal: embed knowledge and scholarly methodology

    • Role play participants as well as scholars and spectators

    • Enacts aspects of reflexive methodology (Ruby 1980, Pack 2006)

    • Evokes experience and privileges subjectivity

    • Exploits digital medium’s interactive and imitative nature (Pink2001)

    • Making design and interpretation process transparent as model for public anthropology in digital age

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