【藝評筆陣】The Legacy and the Ecstasy: Building a Performing Arts Archive
文︰Cynthia Seanne Luk | 上載日期︰2021年11月30日 | 文章類別︰月旦舞台

 

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(編按:由於作者健康問題,原訂五月刊登之文章延遲推出。)

 

2021年5月

 

Some long lasting performing arts institutions in the world such as the Royal National Theatre, Royal Opera House and Leipzig Gewandhaus Orchestra have established legacy that have not only stood the test of time but also moved forward with artistic excellence, and have helped define performing arts history. It is worth pondering how these venerable institutions have shaped cultural development all over the world.

 

In Hong Kong, performing arts as such has little “history” to speak of, and even less available documentation to render such aspirations faintly possible. The very word “archive” is besought with misconceived images of boxes, piles of ephemerals and stacks of obsolete tapes and production files, disorganised, spiderwebbed or simply misplaced, lost in the labyrinth of collectibles! However, these are the collective memories, precious treasures and foundation stones onto which our pantheon of information on performing arts is to be built by new generations bringing new life into the long-established values, thereby defining themselves in their ongoing works.

 

If we are short on age and experience, we could make up with youthful vigour and experimental spirit, and most significantly, the realisation of the importance of documentation in history, a history we are making together. Now is as good a moment as any to take action on archiving. History is a live production, not to be left to the old and decrepit at the end of their creative careers. Neither should it be solitary explorations of performing arts scholars whose research is hardly relevant to those in the vibrant production frontline.

 

With a growing number of performing arts groups, artists, designers and producers searching for ways to help consolidate the cultural identity of Hong Kong, the call for establishing an archive has become more urgent than ever. Nevertheless, there are great challenges anticipated before we could establish a solid footing.

 

Archiving as Record Keeping

 

Performing arts archives draw us to reflect on the dissimilar natures of record keeping, as pursuing a path of long term archival endeavour. How the two distinctive disciplines of performing arts record keeping and archival science could be collaborated? We need a clear understanding of their operation.

 

Performing arts is usually associated with creative elements of productions subject to specific performance style and audience reception. On the other hand, archival science tends to emphasise on the documentation of neutral, factual information. A holistic view of performing arts history calls for a satisfactory collaboration of these two seemingly diverse disciplines, from spontaneous body movements to unique musical experiences, one can never fully leave documentary traces because every performance is unique and “of the moment”. A performance studies scholar, Peggy Phelan, has once argued,

 

“performance’s only life is in the present. Performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representations of representations: once it does so, it becomes something other than performance… The documentation of a performance then is only a spur to memory, an encouragement of memory to become present.”[1]

 

In view of the absence of documentation, one is obliged to use secondary sources, ephemerals and fragments, along with oral accounts to give context to the performance. Sources centred on the performance dwell on the creative output, such as posters, news clippings and production records.

 

Regarding the inherent limitations of performing arts record keeping practices, archival science offers a different lens to read history by providing a representation of performance history. It weaves and connects the bits and pieces of information to provide a context and meaning as representations of a particular performance. It emphasises the overall wellbeing of the records, and neutral, physical evidence. Any rationale behind the collection, or gap filling specific research objectives, are non referential. It resists alteration, stresses on neutrality and are open to interpretations. Although the two disciplines differ in emphases, they can be collaborated to advance the fundamental goal of preserving history.

 

Archival Infrastructure

 

In balancing both approaches in record keeping, performing arts groups have to deal with numerous challenges in designing the archival infrastructure.

 

1. Strategic Vision

Most communities are usually driven by the archive impulse to simply preserve materials but unable to think broad enough to push forward. Keeping a strategic vision in mind will address the questions on why we are setting up archives. Some practical reasons would be supporting the creative professionals, operational functions, or curating special anniversary projects. These are great starting points to establish an archive.

 

Strategic vision is the far reaching goal for the performing arts groups, then we could work backwards by developing priorities and procedures. If the group aims for a long term commitment, we need an overview for the development of performing arts archives in Hong Kong and overseas. This could be a long exploratory process and research that can clarify our directions and future projections, as we review on position, and justify the continued existence of archives in the overall landscape. Similarly, for a potential theatre production, the theatre group would spot its uniqueness and come up with a game plan from artistic direction, marketing strategy to positioning. If we ever plan for archival projects, we will follow along the lines of the predefined vision, a step at a time, shaping a perspective of performing arts history.

 

2. Hardware

As we take our initial steps in archiving, we should bear in mind not to underestimate the hardware that might ultimately determine the longevity of the archive. The group is often left with little choice to compromise and seek balance for an optimal level in terms of storage facility, location, technical and environmental conditions. For instance, a physical repository has to be built with minimal lighting, stable temperature and constant humidity for all types of material, with secure and adequate shelving capacity. However, most groups would not have the resource for a purpose-built repository and are offered basements or attics for the set up. Hence, we have to select suitable archival boxes and make adjustments for the technical considerations for the facility. These are implemented case by case but a careful inspection of the environment is necessary to (prevent mishaps and) keep risks to the minimal, providing a safe and secure environment for the materials. Moreover, depending on the amount of archival materials, we should consider installing equipment for digitisation, and conservation tools, which operates along with the archive service. With an increase in digital materials, we will need a secure server or cloud system for digital storage, whether with digital born or digitised materials, that would prevent data loss or obsolescence.

 

3. Operational Framework

For successful operation, maintaining an archive should not be confined to the predefined strategy and subsequent choice of hardware, systematisation is essential. These systems should be the backbone to document the vision, management of the archive, and establishing linkage between materials. The performing arts groups may overlook the balance for the most pragmatic and cost-efficient way of data preservation. This should be established by overseeing record keeping practices through surveys, observation and sensitivity to problems to be anticipated, with the help of an archivist or a consultant. Potential framework should include an archive management policy, a retention schedule, a collection policy and an access policy.

 

These policies are vital to setting a routine and furnish transparency and accountability for our action planning for all stakeholders. Such policies, be they formal or less stringent, must be reviewed and evaluated regularly to ensure they address the mission and vision of the archives. They would prove invaluable in preventing unnecessary disputes, such as legal issues on ownership, physical custody and intellectual property rights.

 

4. Manpower

This is the most challenging issue, as there is much demand in the field but very few archivists are available. As this is a highly specialised field, it is often difficult to strike a balance between expertise in performing arts and archival science. Enlisting a professional archivist with academic qualification is desirable. When the field has limited resources, it may consider recruiting an administrative staff to sustain the day-to-day operations of archive management. Then one drawback would be the staff might not be able to keep up with new developments, techniques and practices within the archiving field, and at the same time develop and sustain well-rounded benefits to the record keeping. Another way of attaining an ideal development is by recruiting a consultant or experienced archivist to give directions, or set up archival infrastructure, until the field is ready to take ownership and sustain development.

 

Additionally, it would be beneficial to consider collaboration and share expertise with external parties, such as other archives, performing arts professionals, universities or volunteers, which would bring a community of people to contribute to and sustain continued development.

 

Funding

 

Investment with a view to secure long term commitment is of vital importance in determining the momentum of the initiatives, and assuring the quality of performing arts archiving. Shortfall in financial support is apparent in most performing arts archives because the cost of setting up can seem exorbitant. Possible expenses on initial set up, hardware and software acquisition, as well as manpower mobilisation and recurrent operational costs are often put off by governing authorities because they cannot see their impact on the output. Performing arts groups have to develop financial independence by starting some sort of self-generative income to cover part of the cost.

 

While funding is a concern for many, one can consider evaluating their operational costs. Imagine the storage space for keeping duplicate copies, and wastes from printing undistributed leaflets, brochures and souvenirs, these are hidden costs in daily operations too. Most performing arts groups will have to reassess and adjust the value of internal activities before considering setting up sustainable archives. The root problem on resource allocation and record keeping practice is worth serious consideration as this would impact heavily on long term information preservation and archiving commitment.

 

In a pragmatic world, people tend to look for immediate output rather than viewing/perceiving an archive as a treasure trove. Thinking of a way to produce revenue, performing arts groups can consider seeking for heritage based fundings, or having named collections for patrons, or readjust their operational costs paving the way for the archives’ ultimate financial independence.

 

Accessibility

 

Continuous education on making the archives accessible is important to help overcome misconception of this as wasteful. On the contrary, the aim of archiving is to disseminate information, making it available, accessible and retrievable, shifting our mindset that we are collecting information to embrace the future and encourage artists to create and build on the acquired wisdom of existing works’ past and present, that people would find performing arts history relevant putting together a chronology and history of events, and access a database for research, video- and material-viewing online, open to potential enquiries within and beyond the performing arts field.

 

We could continue the legacy for generations to come, so that history is remembered and passed on. This interdisciplinary exchange is an impetus for change and future development. It can be accomplished with our open-mindedness on archival advocacy, multiplicity of performance and being a futurist, to enhance relevance of past experience to users. Some possible study topics should include poster designs in the 1980s, development of sound design in theatre, or other repertoire research. Within the web of information, when resources are available, more platforms, such as exhibitions, online streaming and further actions would benefit more parties. Instead of territorialising and militant safeguarding information as private and sacred, we should strive to serve the wider community as archives bearing the testimony of every individual within the collective memory as part of the history. The archive should be truly “of the people, by the people, for the people”[2], and ultimately a tributary to the performing arts ocean of the world open to users outside the performing arts field. The archivists will foresee the needs and continuously assess the interest of potential users. Instead of narrowing the search for the use of creative outlet, we can slowly establish research needs to other areas, such as the broader spectrum of cultural studies. Regardless of how archived materials are used, we should be making an effort for their availability.

 

Concluding Remarks

 

Performing arts are gold mines and treasures to be excavated. While the future is susceptible to uncertainties and changes, we need to be resilient and open-minded to accept changes and think out of the box when challenges arise. This will give us a wake-up call and empower us to be united and develop our own reason for existence historically, socially and culturally. We should strive after overseas construct models but develop our own distinct style. Archive is only a starting point in the collective effort to push the community forward in thinking where arts and science could meet to construct our own history of performing arts, building our performing arts pantheon, brick by brick, a modest step at a time. Starting off with establishing an association of all interested parties, mapping out available resources and possible strategies for performing arts documentation, coming up with a plan and scope of collections for each group, drafting plans for future exchanges, pooling expertise and resources to avoid duplication. Let’s be torch bearers and trail blazers, aspiring toward the Olympia of performing arts.

 

(Special thanks to Lam Yuen Mee for proofreading the text)

 


[1] Phelan, “The ontology of performance: representation without reproduction”, in Unmarked: The Politics of Performance, pp.146 (London & New York: Routledge, 1993).

[2] Original quote from Abraham Lincoln’s speech “The Gettysburg Address”.

 

 

 

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歷史檔案管理專員,藝術及文化愛好者。曾分別修讀音樂、比較文學及文化管理,陸氏亦在香港大學獲理學碩士學位(主修資訊管理學)。陸氏一向對藝術及文化資料管理、應用歷史檔案學甚有興趣,曾經為中英劇團創立中英檔案文獻庫,及曾協助管理《南華早報》新聞資料庫、整理、研究新聞資料、負責數碼化工作。