Storytelling in Siberia by Robin P Harris

Author:Robin P Harris [Harris, Robin P]
Language: eng
Format: epub
Tags: Social Science, General, Anthropology, Cultural & Social, Folklore & Mythology, Music, Ethnomusicology
ISBN: 9780252099885
Google: Ys47DwAAQBAJ
Barnesnoble:
Publisher: University of Illinois Press
Published: 2017-10-13T00:58:46+00:00

Fig. 5.8. Poetic form and oral-verbal arts

Fig. 5.9. Performance contexts

PERFORMANCE CONTEXTS While the smaller, more intimate home-based venues of the early twentieth century allowed the olonkhosut to adapt his story to the audience’s tastes and demographics, modern venues such as competitions and olonkho summer festivals do not afford such close proximity to audiences. On the other hand, enthusiasts who organize home-based events provide opportunities for olonkhosuts to contextualize performances for each audience. Given continued promotion, this practice of hosting smaller performances may spread to become a more commonplace occurrence.

AUDIENCE VERBAL RESPONSES Audience verbal responses offer a prime example of a weakened stable-malleable relationship. Once integral to performances, verbal feedback can no longer influence the length of an olonkho in most cases, as the performers do not have the skilled flexibility required to expand their memorized material. Even if olonkhosuts could augment their performances in response to verbal encouragement from an audience, concert organizers have historically limited performance times to short excerpts. Expanded versions would not fit within these imposed restrictions, a fact that was bitterly lamented by the olonkhosuts I interviewed. This decreased malleability in the length of performance times corresponds to the withering of the dynamic relationship of feedback between the olonkho performer and the audience. While the underlying factors for this situation remain complex, the epic sreda has suffered over the last half century from a constricted relationship between performer and audience. Fortunately, audiences have recently begun to engage verbally during performances; their responses could conceivably reach former levels, given time.

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