International Association of Sound and Audiovisual Archives (IASA) Journal 2021-08-20T07:59:50+00:00 Jennifer Vaughn Open Journal Systems <p>The <strong><em>Journal of the International Association of Sound and Audiovisual Archives</em></strong>&nbsp;represents the collected research and applied work of the global audiovisual archives community. Also known as the IASA Journal, it is published online in issues bi-annually and available globally to the audiovisual archives community as the first and only open-access portal for discourse on audiovisual preservation and access.</p> <p>The IASA Journal uses a double-blind peer-review methodology (the authors do not know who reviews their papers, and reviewers do not know who wrote the papers they are reviewing). The process is managed using a workflow system developed by the Public Knowledge Project using their Open Journal Systems.</p> Editorial 2021-08-20T07:59:48+00:00 Jennifer Vaughn 2021-08-20T00:00:00+00:00 ##submission.copyrightStatement## President's Letter 2021-08-20T07:59:48+00:00 Tre Berney 2021-08-20T00:00:00+00:00 ##submission.copyrightStatement## Tribute: George Boston 2021-08-20T07:59:48+00:00 Kevin Bradley 2021-08-20T00:00:00+00:00 ##submission.copyrightStatement## Tribute: James McCarthy 2021-08-20T07:59:48+00:00 Jeff Brownrigg 2021-08-20T00:00:00+00:00 ##submission.copyrightStatement## Tribute: Ulf Scharlau 2021-08-20T07:59:48+00:00 Kurt Deggeller 2021-08-20T00:00:00+00:00 ##submission.copyrightStatement## Two Years Later - The Future of Small-Scale Audiovisual Archives in Asia 2021-08-20T07:59:48+00:00 Ahmad Faudzi Musib Thongbang Homsombat Gisa Jähnichen Xiao Mei Chinthaka Prageeth Meddegoda <p>At the 2017 IASA Conference in Berlin, panellists analysed innovation and human failure in small-scale AV archives and asked the question “What do we need to learn from each other?” The many contributions to the discussion helped in overcoming difficulties that were presented. In 2019, the same panellists met again to discuss the outcomes of the learning process and to focus on the future of small-scale audiovisual archives in Asia. What makes small-scale audiovisual archives so special and different from large broadcast and national archives? What types of support networks will the future bring, and how can technical staff, archive users, administrators, and the larger community work towards an effective implementation of standards that will help to make knowledge available to all? The discussion took us to institutions in China, Laos, Malaysia and Sri Lanka, and laid the groundwork to establish continuity in dedicating professional efforts to support audiovisual archive organizations in emerging and developing countries. The panel members intend to engage in further discussion and to draw attention to the weak connections between archival goals and the general understanding of continuity in some Asian institutions. This is also a creative report of the panel organizer’s work as IASA Ambassador in this region.</p> 2021-08-20T00:00:00+00:00 ##submission.copyrightStatement## Audiovisual Quality Control and Preservation Case Studies from Libraries, Archives, and Museums 2021-08-20T07:59:49+00:00 Julia Kim Eddy Colloton Dan Finn Rebecca Fraimow Shu-Wen Lin Crystal Sanchez Annie Schweikert <p>Digital audiovisual workflows are complex. They can hinge on a breadth and depth of knowledge that is difficult to find within a single team or institution. The areas of knowledge called on can range from obscure and obsolete audiovisual carriers, to all the components in a digitization workflow chain, as well as new and evolving community resources and digital competencies for discovering errors during the quality control process. While there are many standardized audiovisual workflows, as this paper illustrates, QC work can be difficult even with a high level of training and experience; and problems, when caught, are often resource-intensive to diagnose and address. This paper details six distinct audiovisual case studies in which different digital preservation obstacles that are difficult to qualify, fully understand, and document are discussed; as well as, when possible, their solutions. They are all unique, but also unexceptional: we expect there are comparable situations, perhaps not-yet discovered or addressed in many audiovisual archives. This paper will underscore difficulties, and guide readers through some of the processes -- both formal and informal -- used to further analyze audiovisual file problems. Ultimately, in addition to helping other staff with similar problems, this paper should emphasize to administrators the special resource needs of audiovisual files and the staff responsible for them.</p> 2021-08-20T00:00:00+00:00 ##submission.copyrightStatement## The Private Papers of a Ghanaian Teacher, Politician and Chief: J. K. Mbimadong, a.k.a. Nana Obimpe 2021-08-20T07:59:49+00:00 Samuel Aniegye Ntewusu <p>Nana Obimpe, known in private life as Joseph Kwesi Yumpo Mbimadong (1908-2013) was an educator, politician, academic, advocate and traditional ruler. This paper seeks to present the life story of Nana Obimpe and how local, national and global politics made him establish his own archives. The paper argues that his collections are of historiographical essence and could be valuable additions to information from some of the state archives in Ghana.</p> 2021-08-20T00:00:00+00:00 ##submission.copyrightStatement## Sound Archives and Musical Representations of Modern India: The Case of the Felix van Lamsweerde Collection (1963-2005) 2021-08-20T07:59:49+00:00 Rasika Ajotikar <p>This essay presents a critical social history of the context in which the Felix van Lamsweerde Collection came together. Felix van Lamsweerde (b. 1934), a Dutch collector, cultural anthropologist and impresario, extensively recorded Indian expressive cultures in the Netherlands and India between 1963 and 2005. This collection was digitised and catalogued between 2017 and 2020 at Georg-August-Universität Göttingen and the Berliner Phonogramm-Archiv in Germany as part of a German Research Foundation (DFG) project. It includes a wide range of first-hand and commercial audio/video recordings of music, dance and theatre genres from across India along with accompanying notes, photographs, and a vast collection of books, magazines and journals. Van Lamsweerde’s journey into studying musics of India and the collection itself points to how India’s cultural politics evolved in the immediate decades following its independence from the British in 1947. Whilst historicising the colonial, oriental and nationalist legacies of music collection in India, this essay examines the Van Lamsweerde Collection and archival projects at large through a source critical approach. It attempts to demonstrate the ways in which caste, class, gender and racialisation processes and the sound archive shaped&nbsp; one another in the formation of transnational cultural representations of India. Drawing on discussions in ethnomusicology, social theory and archival studies, this essay offers an interpretation of how musical knowledge and a homogenous construct of Indian culture has taken shape in Western European and American academe.</p> 2021-08-20T00:00:00+00:00 ##submission.copyrightStatement## Mixtapes from Heaven: The Global Duke Ellington Fandom and the Music they Preserved 2021-08-20T07:59:50+00:00 Maristella Feustle <p>The Rhodes S. Baker, Jr. Collection of rare and unissued sound recordings at the University of North Texas Music Library demonstrates that, in archival settings, the incidental content that is often deleted from commercial releases is actually “a feature, not a bug,” so to speak. This article elaborates on two reasons for the desirability and necessity of such content: First, it often provides the context necessary to make sense of a given recording, determining a date and release status, especially for recordings that are not well labeled. It also provides lasting evidence of the human activity underlying every aspect of the performance, capture, distribution, and preservation of a recording.</p> <p><br>The Rhodes S. Baker, Jr. Collection’s unissued recordings of Duke Ellington and other major jazz artists, packed onto reel-to-reel tapes like the “mixtapes” of decades later, have obvious intrinsic value. Still, preserving and acknowledging the human activity that compiled them adds value: doing so provides a window into the depth and intensity of the “fandom” (or community of fans) that thrived for Ellington even in his sixties, along with the multifaceted efforts to preserve his live performances.</p> <p>Ellington and his music created an international fan community, and their story augments his own. This article describes historically significant content from the Rhodes S. Baker, Jr. Collection, digitized in early 2016, in the context of the social participation of Baker and other fans and collectors, including the prominent Swedish collector and discographer Benny Aasland. The preservation and description of the collection demonstrates a complementary relationship between archival practice and musicologist Christopher Small’s concept of musicking. Insights from Pauline Oliveros and John Cage further inform an approach to musicking inclusive of incidental sounds and other artifacts of recorded live performance which might otherwise be dismissed as “noise,” but are essential to the full context of the captured performance.</p> 2021-08-20T00:00:00+00:00 ##submission.copyrightStatement##