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No Scent Like
Brassika.
The Creative Performance Process: A
Reflection.
By Kirsty Shipley.
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I have to go back, I have to go home, to the place
where it all started, to the place where I started. To
the place where I could sit and watch The Wizard of
Oz on repeat whilst my Grandmother doted on me
That place does not exist anymore. (No Scent Like
Brassika: 2012)
This booklet aims to reflect on my process of
creating a theatrical performance through
ethnographically derived research. No Scent
Like Brassika is a solo performance constructed from ethnographically sourced
field research material. (Interviews, observations and mystories) My
performance practice is cross disciplinary and I borrow strategies from severalseparate schools of thought. These include Social Sciences (branches of
ethnography), Geography (map-making), and storytelling.
Each section within the booklet seeks to construct a view of process and/or
performance through a reflective approach. Mapping processes appear
throughout the book as they are used to organise thoughts, compose, edit,
document, position the material, aid the process and generate ideas. Maps
include cognitive maps, geographical maps, spatial maps and material maps.
I have always been fascinated by the stories of family life which are shared
through the generations and No Scent like Brassika focuses on the strong bonds
Granddaughters and Grandmothers share in and through their relationships. The
memories, experiences and images that lay imprinted long after the matriarchal
superglue/ the Grandmother figure is gone.
No Scent like Brassikaseeks to stand for your Grandmother, my Grandmother,
his Grandmother and her Grandmother. And I hope that as you leaf through
these pages you find a memory of mine or his or hers that triggers thoughts of
your own Grandmother the superglue. My text is flawed not when it is
ambiguous or even contradictory but only when it leaves you no room for stories
of your own. (Mairs: 1994:74) Please Note. The field research participants names have been
altered to protect their identities.
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Christopher Frayling (1993) Considering a Practice led research
Framework.
The artist, by definition, is someone who works in an expressive
idiom, rather than a cognitive one, and for whom the great project
is an extension of personal development. (Frayling: 1993: 2)
I would firstly like to explain the content of this book in line with
Christopher Fraylings framework for defining areas of study through
practice led research. Frayling, in his article Research in Art and Design
(1993)reconsiders the definitions of art and research and suggests three
categories to consider. He highlights these areas as research into,research through and research for (Frayling: 1993: 2) and suggests that
categorising arts based research projects into these three separate
categories aids the articulation and communication of our own research
intentions. Working in such an expressive idiom makes articulating
research methods, processes and decision making difficult Fraylings
suggestions help overcome that barrier and aid the construction of a
practice led research project.
Throughout my process the table I created on the following page has been
a constant referral point to stimulate ideas and boost development. It is
my aim to clarify the research associated with the performance No Scent
Like Brassika in order to encourage a deeper insight into the process of
creating and researching this ethnographically based theatricalperformance. The following table should also provide a guide to the topics
weaved into and discussed throughout this booklet. I would also like to
note that although an attempt has been made at clarifying my research
interests as associated to the development of my performance practice
and in line with Fraylings notions, categorizing each individual element is
challenging some elements could fit in all of the boxes.
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Research Into. Research Through. Research For.
*Old age.
*Ethnography.
*Cabbage.
*Mike Pearsons Bubbling
Tom.(2000)
*Tami Spry Skins: A
Daughters Reconstruction
of Cancer. (2003)
*Interview methods.
*Empathy.
*Social Science.
*Stone Steps.
*Ethnography and
performance.
*Babooshka (Folk Tale)
*Simone De Beauvoir Old
Age (1977)
*Personas of the self.*Qualitative research.
*Norman Denzin.
*Dwight Conquergood.
*Ethnography.
*Interviews with
Grandmothers.
*Interviews with
Grandchildren.
*Mapping.
*Observations.
*Cabbage.
*Performance.
*Play.
*Performance
writing.
*Rehearsal.
*Personas of the
self
*Characterisation
*Voice.
*Action scrubbing,
cleaning, chopping.
*Lines
*Cabbage.
*Stone steps.
*Grandmothers.
*Babooshka.
(Folk Tale)
*Superglue.
*The Wizard of Oz.
*Cabbage recipes.
*Chopping
*Cooking
*The physical effects
of aging.
*Thesaurus
alternatives for
forever and ever.
*1950s women and
polishing the steps.
*Lines*Journeys
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NLP Creative Exercise.
Initially, as an exercise to developing an ethnographically derived
performance, I spent time in the studio considering an NLP based exercise.
Developing notions through this process, before engaging in field research
allowed me to clarify my aims and identify the starting points to embark
on the process.
The NLP creativity exercise, credited to Walt Disney (Dilts: 1998: Online) as
a storyboarding creative strategy, is a starting point to developing a
creative action plan for independent study. It makes something from
nothing using improvisation. NLP exercises poster themselves as ways ofovercoming brain or writers block. This exercise takes the basic elements
of NLP and transfers them into a creative form which helps develop
starting points for creating performance material.
The particular exercise places the performer into four creative stances
through a cycle of thought perspectives. The first stance is the visualizer,
this stance pushes the artist to vision, in the minds eye and in an ideal
world how the performance may look in the future. This vision is then
vocalised through the second stance labelled the dreamer articulating
how, without restrictions, I picture the performance. The third station
places the creative performer in the shoes of the pragmatist, I see this
role as the planner, the organiser, who begins to put the visualized and
dreamt up notions into action. Finally is the critic who interrogates andcritiques the self and the ideas which have been articulated throughout
the doing of the exercise. The performers vocalisations of these four
stances are recorded in the studio space and then played back in order to
make notes and determine areas of interest which may be followed up in
the creative process. The exercise is repeated several times and as a result
the ideas develop. A map of this exercise follows, the map articulates
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some of the main points which resulted from the exercise and considers
my next steps in the process.
A Map of NLP Exercise: 22/06/2012
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Mystory (Ulmer: 1989) as Method.
I began by borrowing methods from autoethnography. Mystory is a
method initially developed by Gregory Ulmer (1989) which suggests the
collaging of three texts as a starting point for developing and presenting
autoethnographically derived research notes. Ulmers method can also be
transferred into a performance context and compliments a starting point
for developing autoethnographically based theatrical performance. Ulmer
describes Mystory as
three levels of discourse personal (autobiographical), popular
(community stories, oral history or popular culture) [and] expert(disciplines of knowledge) (Ulmer: 1989)
As a method mystory provides a starting point to a triad of discourse
based material that compliments ethnographic research and the process
of creating theatrically based performance. The results provide layered
texts and descriptive narratives which have been carefully weaved in and
out of one another to compliment a meaning.
As a method mystory provided a starting point as I returned from the
field. Considering some of my research alongside Ulmers triad provided a
perfect platform for me to begin the process of weaving my fragmented
research together. However Ulmers method is very text centric, as an
ethnographic method it is heavily centred in discourse. Implementing
ethnographic methods throughout my performance process has been
problematic. Ethnographic research situates itself in the written word on
the other hand performance incorporates much more, visual aesthetics,
movement and scenography. It is these elements that are often almost
disregarded within ethnographically based research. Using ethnographic
methods resulted in a textually heavy research outcome. This also reflects
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on my inexperience as an ethnographer and perhaps more attention
should have been made, throughout the field research process, to
document elements in forms other than text such as photography, video
and tape recording in order to gain a varied response. This portfolio could
have provided a constant reference point for the development of action,scenography and aesthetics.
As material to position alongside Ulmers triad I considered the Russian
Folk Tale ofBabooshka, the academic text Old Age by Simone De Beauvoir
and an autobiographical story about my own Grandmother.
The Three Stages of Mystory: A Popular Folk Tale: Babooshka
Research into Babooshka/Babushka/La Befana resulted in the discovery of
many differing versions of the popular Russian folk tale. The many
spellings of the name Babooshka also triggered a deliberate miss-spell of
brassica to brassika, spelt ka it combines the word brassica with
Babooshka through a play on spellings. Babooshka is considered the
Grandmother of all Grandmothers and the play on words hints at two titles, no
scent like cabbage (referring to the autobiographical mystory and the smell
travelling through the room. See Scentsory experience section in this booklet)
and no scent like Grandmothers. (referring to the various smells associated with
Grandmother such as cooking, cigarettes and perfume) I also found variations
of the Russian story across cultures, American versions and Italian
versions. In some of these variations Babooshka translated La Befana is a
witch replica of the westernised figure of St Nicholas/Father Christmas.
The slight changes in the differing versions of the story were used
methodologically in the construction of the following performance text.
Furthermore the slight changes in each story highlight the transitory
nature of storytelling and memory, the multiple versions of the same story
provide examples of a Chinese whisper effect.
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The story of Babooshka recognises her as the Grandmother of all
Grandmothers. Babooshka is a lonely woman who journeys forever and
ever seeking to find the baby Jesus Christ after a visit from the three wise
men. Babooshka is also often wrongly related to Russian nesting dolls, the
doll inside the doll inside the doll, which I may add was the reason I firstturned to Babooshka for the purpose of performance research. The
Grandmother, mother and daughter line reflects the image of three
Russian nesting dolls.
The journey that lasts forever and ever can also represent a long lasting
suffering which goes on endlessly, for ever and ever, perpetually, until the
cows come home, as she sheds her leaves in decay. The path of
Babooshkas journey was represented by the vertical cabbage leaf line. I
also developed a melody which aimed to represent the journey that lasted
forever. This one line melody became a reoccurring theme, on the
Babooshka line, throughout the performance.
I seek to layer narrative upon narrative upon narrative, to create a
descriptive version of the popular Russian folk tale. The story of
Babooshka is a loose platform to hold the weight of my ethnographic
research. I fragment the telling of the well-known story, layering it with
my own descriptive details discovered through ethnographic field
research. The story becomes layers and layers of experiences and
interpretations from other grandchildren, grandmothers and
grandmothers of grandmothers.
The following performance text mixes a variety of traditional versions
based on the story of Babooshka, alongside descriptive ethnographic
research developed through interviews with Granddaughters as they
discussed their Grandmothers appearances and house interiors. My hope
is that you recognise an element of your grandparents in my ethnographic
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twist on the Babooshka story. Maps of this process can also be seen in the
fragmentation section of this booklet.
A frail fragile old woman sits, almost ninety-three lined face.
Alone in her three bedroomed council house perched at the
top of the hill. Her house the one with the aviary once filled
with cockatoos. It has been a harsh winter, wind bangs
again the doors rattling the windows. Never lonely but
never with many visitors in her usual attire, always a skirt
she never wore trousers, in her brown mac because brown
was her favourite colour, blue headscarf wrapped tight. Her
face was never without makeup a line around her jawline,
lipstick on her teeth. She is tucking into her third slice of
cake despite being a diabetic. Her cuckoo clock in the
hallway cuckoos every fifteen minutes. Her wallpaper, the
white kind with the little pots and pans, yellowing from the
nicotine. Her favourite painting hangs above the fireplace,
an elephant and her young. The stars spun from a web laced
with dew twinkle in the sky. When three burly men approach her door, three burly men
who look like debt collectors rattle her door; three burly men with heads like onions
thump her door. Her horrible nail bitten hand twists the doorknob and she invites them in.
They are looking for a witch and ask the lady, with her blue headscarf wrapped tight, to
join them. But grumbling about her nobbling knees, her eroding memory, her arthritis, her
Addisons disease, her once fractured hip, her vulnerability to pneumonia, her hard of
hearing, her diminished eyesight in her right eye, her inability to smell, her diabetes, her
reliance on several medications, her body riddled with cancer, her jittery nervous system
due to the Parkinsons, her inflamed kidneys, her high blood pressure, her weak bladder,
her crooked back and her circulatory problems, she declines. Soon after she sets off out
after the three burly men, the three burly men who look like debt collectors, the three
burly men with heads like onions and she walks forever and ever. (No Scent Like Brassika:
2012)
The language used in this story seeks to enter the audience into a
mimetic contract (Culler: 1975: 193) a way of projecting these images
onto the audience members in order for them to connect these
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descriptions to their own lived experiences, reminding them of Grandmas
house.
The Three Stages of Mystory - An Academic Text: Old Age (1977) by
Simone De Beauvoir.
In her book entitled Old Age (1977) Simone de Beauvoir focuses on the
study of the elderly across social and cultural borders. Drawing on many
examples Beauvoir illustrates how old age is viewed and perceived in both
modern and historical societies. In her second chapter she focuses on two
common views of the elderly and provides examples relating to varying
sociocultural contexts. The first of these views paints the aged as a wise,respected body with mounds of knowledge, the second contradicting view
visions the elderly as a weak burden to society. Beauvoir also illustrates
that these views are informed by the cultural circumstance of the society;
if the culture is struggling nutritionally the elderly become a burden
whereas in opposite societies the elderly are nurtured as the holder of the
stories and wisdom. I believe the second stance relates more to
westernised society and I can recognise elements of respect towards the
elderly within my own family. This westernised view of old age was also
highlighted throughout my role of ethnographer as I engaged with field
research participants one interviewee noted
I want my children to form a relationship with both sets of
Grandparentsthey can gain so much knowledge from them,knowledge of things I wouldnt even know about. (Fiona: 2012:
Field Research Project)
What most informed my ethnographic based performance research,
through the reading of Beauvoirs discussions in her opening chapter,
were her physically orientated descriptions of the aged body.
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The individuals appearance changes and this allows his age to be
estimated within a few years. The hair whitens and grows
sparsethe sexual steroids vanish and the sexual organs
degenerate. (Beauvoir: 1977: 31-33)
Her descriptions informed the writing of two performance texts which
were oriented toward the description of the physical effects of old age.
The first is as follows.
I honour you in words but at the same
time I allow you to wither away with
physical neglect. Lost elasticity.
Shortened in the lower and sagging.
The top thinner and gradually changing
colour. Sparse the growth appears
elsewhere. Circulation not quite
circulating. Wrinkly and shrivelled up
you throbbing bulb. Age determined by
split leaves. Not as beautiful as you
once were, more full-bodied now. Leafyand green. More worn on the outside
but good as new on the inside. Today
you remember not of yesterday. (No
Scent Like Brassika: 2012)
This performance text was also written with the physical appearance of
cabbage in mind. Cabbage, with its wrinkly and aged appearance,
gradually throughout the process, became a metaphor for the physical
effects of old age. Many of the characteristics described in the above
performance text play on the appearance of cabbage and of old age.
Cabbage became a representative of the many figures, grandmothers and
notions represented in the performance. The decision to include cabbage
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in the performance derived from the next stage of mystory; the personal
autobiographical.
The Three Stages of Mystory: Autoethnography: A Personal Story
I have a memory, I am not sure I can remember this memory, I am not
sure if this memory is correct. If I ask other people they remember this
same memory differently, their versions of events differ. This is my
memory, the memory of a six year old me. My version of events. My
personal truth.
We are all there, at the place we call home. The house is bustling as it always is by around
midday on a Sunday. The women are all sitting in the kitchen and they are chain smoking,
cooking, cleaning and taking care of the children, there are a lot of children. The men are
in the living room and they are playing cards and they are chain smoking and they are
gambling for small change. There is a joint of beef in the oven slowly cooking. It smells
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lovely. The veggies are bubbling away in a pan on the stove. The Yorkshire puddings are in
the oven rising tall like the empire state building when Granddad enters. This is unusual
he doesnt usually enter until he is called for his dinner and dinner is a good ten minutes
away yet. He announces he has gambled this weeks rent money on a horse which he
assures Gran was a dead cert. There is silence, no more laughter, no more chatter. Grans
face begins to turn red and she begins shaking and boiling like the pans of veggiesbubbling behind her. She is pissed off she isnt going to be able to pay the rent, they arent
going to be able to feed themselves and they may even get kicked out of their home. She
reaches for the closest thing to her. She throws the pan of
boiling cabbages at him. (No Scent Like Brassika:
2012)
The cabbage bubbling in a pan and rattling throughout the duration of the
performance represented the bubbling and boiling of my own
Grandmothers rage upon hearing of my Granddads gambling ways. When
the cabbage is removed from the boil there is a silence, for the first time
there is silence, the silence echoes the the build-up of Grandmothers rage
as she pulls the pan off the boil to throw it at her husband. I then consume
the cabbage, the cabbage I never got to eat, the cabbage that was missing
from the plate, the cabbage that is gone because Grandma is gone, the
family is no longer superglued. The pan of bubbling cabbage was the last
memory to be represented by the cabbage line. Placing it on the line
became problematic in the final stages leading up to the performance.
Once I had performed the get-in, with the tiered seating in place, I realised
that to perform the final cabbage eating ritual on the floor and as part of
my cabbage line would prove problematic for sight lines. Therefore I had
to make the decision to move the final fragment of the performance to
make it visible to all members of the audience. I decided to move it onto
the yellow steps, the steps were a place that I visualised as home/
Bridlington. Therefore consuming the cabbage on the steps made sense; it
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related to a return home to tell an autobiographical story that happened
at home to conclude the performance.
The three stages of mystory therefore presented a triad of material
which developed the starting points for developoing No Scent Like
Brassika. As highlighted in the previous pages the ideas of old age,
Babboshka and her journey, the autobiographical story and cabbage all
derived initially from Ulmers method of mystory. Again however the
method supported textually based material and provided no indication
toward what we consider performance elements such as aesthetics,
scenography and movement based sequence. These elementes were later
added after the texts were developed.
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Ethnographically Based Field Research: The Interview.
In order to develop a performance narrative, that was
not solely related to the autobiographical, I undertook
a field research project in the small town of
Bridlington. I chose to place my ethnographic fieldresearch in the town of Bridlington because it is the
town I was brought up in and the town in which many
of my Grandmothers, down the ancestral line, also
grew up in. In order to develop field research in
Bridlington I had to go home. I have a connected
relationship with the space and can also relate to theplaces which were mentioned as part of the field research project. I also
wanted the reflections of my field research participants to trigger my own
memories in relation to Bridlington and my own Grandmothers. Most
importantly I wanted the experiences of the several Grandmothers,
included within the performance, to resonate within the spectators and
force them to consider their own Grandmother and her home.
D. Soyini Madison (2012) suggests that the interview displays itself in
three forms, oral history, personal narrative and topical interview.
(Madison: 2012: 28) and each type will often and necessarily overlap with
the others. (ibid) What initially proved challenging was getting
Grandmothers to talk about themselves; many of them didnt want to
share intricate personal details of their personal oral histories with me. Ibelieve this was due to the time spent in the field; if the project had been
longer my field research study would have been more in-depth.
Normatively field research can span up to two years and this way a trust
has time to develop and results in a more in-depth research study, I had
two weeks. It seemed, as I continued to talk to Grandmothers about their
personal oral history, that a lot of these histories sustained a cultural
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FIG 1
(Conquergood:
1982: 5)
sameness. (Conquergood: 1982: 6) Grandmothers wanted to tell me
about how different it was back in the day. The stories I initially collated
were about bathing in a tin bath in front of the fire, having a toilet outside
and having no electric. This is labelled by Conquergood as a cultural
sameness and articulated further in his article Performing as a Moral Act:Ethical Dimensions of the Ethnography of Performance. (1982)
Conquergood provides a map (see FIG 1) which highlights the ethical
concerns for performance and ethnographically derived field research
notes. This view of the elderly derived from my initial field research
discussion appears to appeal to the Enthusiasts Infatuation stance.
Conquergood describes this stance as unethical because it trivializes the
other. (Conquergood: 1982: 6) For these reasons I opted to talk to
participants about their Grandmothers, this way I could gain a
represented view of Grandmotherness from the eyes of multiple
Grandchildren of all ages.
This field research sought to observe, participate and interview
Grandchildren regarding their Grandmothers. (that does not mean to say
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that the Grandchildren were not Grandmothers themselves) The
Grandchildrens stories represented in my research are sourced from a
variety of ages. (aged seven through to eighty-eight) By expanding my
research areas of interest I was able to develop more complex layers of
narratives which could potentially trigger the spectators relations to theirown Grandmothers. By interviewing Grandchildren I was able to gain a
varied perspective of the matriarchal figure in the family and the
representations of them painted by their Grandchildren.
Generating questions was a difficult task, what did I want to know about
Grandmothers? I guess because I have a close relationship with my
Grandmother it was about the relationships. Additionally, because I
believe my Grandmother does not sustain the cultural stereotype we
assume of Grandmothers, it was about the deviations from the norm, the
unexpected behaviours of Grandmothers and their visual appearances.
What is seen and heard and experienced in the field, these are
the nuggets around which you construct your questions. (Glesne:
1999 in Madison: 2012: 28)
Bearing this in mind I constructed a map of the questions I could
potentially ask Grandchildren about their Grandmothers.
This map provided the starting points when setting out into the field
research and provided a platform to trigger conversation regarding
Grandmothers. Throughout the field research process these questions
were added to and developed and some were cut altogether. Some of the
outcomes of the above questions were articulated through the Babooshka
story and other answers, some of which were more lengthy and detailed
were described as a whole anecdote within the performance through my
own eyes as the ethnographic researcher.
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A Map of Possible Interview Questions 19/06/2012
As I immersed myself in the research, patterns began to emerge in the
memoirs I collated. Commonly, stairs and steps appear multiple times in
stories across differing individuals.
Gran would tell the same stories over and over again. There was
one she would repeat, a story from her early days of marriage. (She
married at sixteen) My Granddad wouldnt get out of bed so she
set it on fire whilst he was in it. (2012: Field Research Participant)
I began thinking of stairs in the context of life, in that we start young and
we climb the stairs, we reach a peak and then old age begins to set in and
we begin to deteriorate and perhaps begin to descend the steps. This
reflects my decisions, emerging from field research, to have two sets of
steps built with the aim to place them in the gangways and use them as a
representative of a life journey. However once these steps had been
constructed, they were too large. The large quality of the steps could not
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be overcome for health and safety reasons therefore I omitted one set of
steps.
Many memories of steps also associate themselves to youth. Alan (2012:
Field Research Participant) told me a story, when I asked him to take me
on his own tour of Bridlington, replicating Mike Pearsons performance
Bubbling Tom (2000). Pearsons performance takes his audience on a
guided tour of Hibaldstow, in Lincolnshire, the area in which he grew up.
Similarly I requested that Alan give me a tour of areas in Bridlington (a
place he has lived all his life) that hold particular significance to him. Alan
showed me some steps he would go down on his sledge he said, between
laughs, I would come whizzing down those steps every winter, when the
snow was thick, in my sledge. (2012: Field Research Participant)When I
asked Alan of the busy road lurking at the bottom of the many steps he
replied We didnt care much for the busy road, it just made it a little bit
more exciting. Alan still places a rose every Christmas for a young girl
who lost her life sledging down the steps. We later visit her grave in a
small graveyard where his mother, father, brother, mother-in-law andfather-in-law are also buried. In reflection this interview method was
probably the most successful, although it didnt particularly place the
Grandmother figure at the centre of topic, it did provide a relaxed and un-
pressuring atmosphere and therefore the results were more detailed.
Furthermore Alans Grandmother did pop up in conversation as he
showed me where she used to live as part of the guided tour.
When I spoke to Granddaughter Amy in regards to the objects she
remembers in her Grandmothers house, the story developed into Amy
discussing with me her return to her Grandmothers house after her
Grandmother had deceased. She continued by showing me the innards of
a golf ball, her inheritance, and detailing how she ended up with it. Using a
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memory prop (Aston: 1999: 102) also proved to be a successful interview
technique. The memory prop functions as a stimuli in the recalling of
stories and memories. Amy treasures the innards of a golf ball, which
interestingly is an object that she had never seen until after her
Grandmother had deceased.
When I interviewed Beryl, a great grandmother herself, she told me
stories of her Grandmother Lizzie and made reference to Lizzies strict
regime.
Mondays were about polishing
her yellow stone step, a clean stepmeant a clean home, every
Monday without fail. You didnt
dare stand on the step before it
had dried. (2012: Field Research
Participant) When I questioned
Beryl she told me of the time she
put her foot on the step leaving a
big black mark. I got a wet cloth
around the lughole. Christ it bloody
hurt. The interview with Beryl,
occurred in her living room over
tea and biscuits in a traditional
interview scenario and this may have restricted Beryls representations of
her Grandmother. I was touched by Beryls in-depth detailed memories of
her Grandmother, most of which involve a strict house-keeping routine.
What interested me the most was Beryls fear of her Grandmother, she
knew little of her as a person, as an individual. Lizzie was a strict figure and
her presence required the best of behaviours. Their distanced relationship
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provides a stark contrast to my personal close relationship with my
Grandmother.
Transferring a physical representation of the yellow stone step, as
discussed by Beryl, into the performance space accidently triggered a
thought process which implemented the yellow brick road in The Wizard
of Oz. (1939) I began to view this yellow step structure as home, the place
where my ethnographic research into Grandmothers was derived but also
a home that didnt exist anymore because the matriarchal superglue had
gone. The Wizard of Oz was always a film I watched at Grandmothers
house, she had it recorded on a VHS. This step triggered
autobiographically associated memories as I am reminded of watching the
film with Grandma. Both myself and my Grandmother idolised the Wicked
Witch of the West, her character, her wickedness and the green colour of
cabbage began to be considered as a replica of the face of the Witch.
This (cabbage) represents the Wicked Witch of the West. You dont
fuck with her otherwise she will stuff a fucking mattress with you.
She will turn you into a beehive. She will set her Monkeys onto you
and she will get your dog too. (No Scent Like Brassika: 2012)
Additionally, due to the lines formed as paths, I wanted attention to be
drawn to my feet. By including replica ruby slippers I was able to further
connote the relationship the performance had to The Wizard of Oz
(returning home, the yellow brick road, the green face of the wickedwitch, the stark contrast between black and white and colour) and draw
attention to my feet. The ruby slippers also added to the noise my feet
made as they walked on the path of cabbage leaves. Furthermore the
stark black and white forming of stage left contrasted with the bright
yellow steps situated stage right and allowed for further connotations to
be made to The Wizard of Oz as the film changes from black and white
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into colour. This was not as clear as I had hoped in the final performance.
When I was technically rehearsing the performance I came to the
realisation that my cooking surface was underlined with U.V paint which
made clearly visible, under black-out, graffiti writing. In order to cover this
up I had to cover the kitchen surface with some material. I aimed for thematerial to replicate an older era and to be dull in colour (brown, black,
white, grey) in order for the transition from black and white into colour to
be more obvious. However under the lighting the brown material
appeared yellow.
Throughout the process I toyed with how much Wizard of Oz detail would
be necessary to the performance. Initially I referred to the witch, wore
ruby slippers and walked on a yellow step. I decided to consider The
Wizard of Oz further as material and as I began to consider the return
home I wrote more hints into the performance. However I began to think
of the relations as too obvious, the ruby slippers, the yellow steps and the
coded description of the witch was enough for the spectators to consider
the relationship to The Wizard of Oz.
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Ethnographically Based Field Research:
Observations.
The slippage, into accidental conversations with
strangers you have never met.
Journal Entry 22nd June 2012 The book sits in the
corner, almost on display but privately. It is rarely noticed.
The page naturally falls open onto a photograph captioned
the original Darby and Joan. I have no idea how many greats
ago these pair were, I also have no names, just Darby and
Joan. They are staring lovingly at one another a quiet life of
mutual devotion, loving, old fashioned and virtuous. Whoknows how many Greats they are down the line. I dont know
their names a male voice asserts, my great-great-great
Grandparents orso the legend has it.
Journal Entry 3rd July 2012 I have just come off stage when a friendly voice asks if I
would like an apple juice. She is carrying a painted slate roof tile, I am intrigued. She tells
me that this is a tile that she has taken off her Grandmothers roof to have painted as a
gift for her birthday. It will be her hundredth birthday. We began, completely by chance
discussing her grandmother and the many favourite things, she had commissioned an
artist to carefully and in much detail, paint on the slate roof tile. She begins to talk in
great detail her reminisces of the smell of manure in the fields. Her Grandma loved that
smell, it was her favourite smell. The Granddaughter began to go through, with me, each
little fragment of her Grandmothers one hundred years as they were painted on the roof
tile. A picture of salt, she loved salt, especially in her porridge, and gardening and she
refers back to the manure story. There was also a door with a number on it, herGrandmothers houseor am I making it up now to fill in for the gaps in my memory?
Journal Entry 7th August 2012 I am enjoying a cigarette, on the bench just up the
street from work, I have to smoke here, work dont like me smoking near work it gives off
the wrong impression and to echo my boss who would want to see you outside smoking
and then five minutes later be served some food by you. Not to mention the cigarette
butts discarded by the door. So I am on the bench enjoying a cigarette watching the world
FIG 2 The Original
Darby and Joan byFrank Meadow
Sutclifffe see (Shaw:
1974: 52)
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go by, when an elderly lady supported by a shopping trolley joins me. She just talks I
listen, I am writing this from memory, whether what I write is what Joan said is
questionable. She talks I listen Do you mind if I sit here? I was hoping to get some fish
and chips from Bentleys but it looks like they are closed, I am going to have to make
something when I get home now, I cant go to any other chip shop, I have been going to
that one for coming on thirty years, he always gives me a small fish with chips and scrapsfor 2.00, he charges me the minimum. My name is Joan I cant walk too far because of
my bad hip, its been playing me up for seven years. Joan goes on to tell me about her
husband, she was widowed thirty-seven years ago, with four children three of which she
has out-lived. I am ten minutes late back from my break but I feel like I know Joan, I know
about her life and her experiences.
The heightened level of sensitivity to the surroundings, to what is being
said, to what is happening around me.
Journal Entry 31st July 2012 I am sitting in a caf, nursing a terrible hangover, today
is my birthday and last night was a little heavy. I am listening to conversations whilst I
nurse a small double shot Americano. I have just overheard an elderly lady telling her
friend all about her past week. The school summer holidays have just begun and she has
gladly agreed to look after her Granddaughter who is eight. It is the perfect opportunity,
the Grandmother thinks, to teach her some life-skills and has decided to teach her how tosew. She goes through the process with her friend, how she taught her to thread the
needle and began tutoring her Granddaughter on all the different threads and stitching
techniques after about an hour had passed her Granddaughter stood up, put her hands
on her hips and let out a big sigh followed by you can do all that, but you cant play my
Nintendo The two women laugh at her cheekiness, a look of adoration on their faces.
Journal Entry 4th August 2012 I am sitting in the same caf, it is a place I have
begun to frequent in desperation of hearing something which may be vital to my
independent research project. I am beginning to forget I am a performer and am rather
enjoying my secret life as a spy, hiding out in cafes hoping I may see or hear something.
This time an elderly woman is sitting with her two grandchildren, I believe the pair are
twins. They are bickering as they tuck into a meal of fish, chips and garden peas when
their Grandmother reminds them that being pretty on the inside means you dont hit
your sister and you eat all your peas. The girls listened and ate the rest of their meal,
peas included.
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Fragmentation
Creating performance material using ethnographic methods does have its
flaws. In the first instance the research material covers a wide genre and
considers multiple experiences. However when considered as a whole the
ethnographic field research is fragmented because the method has
required the ethnographer to skip between interviews and observations
with field research participants and in the surrounding sociocultural
environment. The result is similar to what Walter Benjamin discusses in
The Storyteller(1936: online). Benjamin suggests a process of bringing
oddly found materials into play to be creative with such as a web of
stories. The results of ethnographically based field research are just that, a
web of stories When transferred into the performance paradigm the
material lacks connective tissue the research does not fit together.
This fragmentation in relation to ethnographic research is further
articulated by Spry as she suggests fragments might take the form of a
word or list of words, an image, a metaphor, a sentence. Spry goes on to
quote Grande or an idea as they come alive within and throughpeople(s) communities, events, texts (Spry: 2011: 141)
As part of the process I was placed in this creative dilemma, I had collated
the field research and transferred
elements of the research into a
performance context but the links
between the grandmothers were not
quite forged, nor were they clear in my
mind. Clear patterns emerged through
the re-occurrence of imagery such as
steps, cleaning and cooking. I began to
think that by including these elements
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I was again confirming a cultural ideal and falling into the unethical
territory of Dwight Conquergoods (1982) Enthusiasts Infatuation. The
notion of Grandmothers cooking and cleaning also falls into an anti-
feminist trap; we categorize the matriarchal figure as appealing to a
common stereotypical ideal.
Spry (2011: 142) suggests mind-mapping as a
way of joining together fragments generated
from ethnographic research. Considering the
research in the form of a mind-map allows the
ethnographer and performer to visually join
together clusters, themes or main Points
(Spry: 2011: 144) Once these clusters have
been determined Spry highlights Research
(2011: 145) as the next step in the process.
These processes can be seen through the
following two maps as I try to determine the
links between the Russian folk tale ofBabooshka/ Babushka/ La Befana and the
ethnographic field research I collated. The first
map presents descriptions from differing versions of the folk tale and the
second seeks to place the descriptions derived from the research into the
framework of the traditional tale.
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A Map of the Facts: The Babooksha/Babushka Tale. 22/07/2012.
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I began to think of Superglue as a metaphor for the work that
Grandmothers do; they hold the family together by gathering them all on
a Sunday. Several of my field research participants had commented on
family gatherings which always took place at Grandmothers house, and a
handful of these also commented on the collapse of this ritual when theGrandmother figure was no longer present.
Ironically Superglue provided the connective tissue which connected all
of these stories together. The fragments were superglued together
through the realisation that Grandmother holds the family together, the
realisation of the metaphor of the Grandmother as the superglue of the
family. As I began research for the composition of a superglue text I
began to notice that the descriptions of Superglue could also relate to the
work my Grandmother did in holding everything together.
LEADER of the adhesives industry, superglue is SUPER, used toFIXjust about
ANYTHING, It can HOLD a ton ofWEIGHT, modern miracle invention that
CURES, ultra TOUGH an incredibly STABLE adhesive with incredible bonding
strength, an almost UNBREAKABLE bond.(No Scent Like Brassika: 2012)
Superglue provided the connective tissue I required to begin to knit
together the ethnographic and autoethnographic fragments derived from
research. Alongside this knitting together came the connection of the
work to the self, so far the work had become tied up in ethnographic
research. This is not considered a negative implication, but I wanted thework to include elements of the self as outlined in my initial process plans.
Through using superglue as a metaphor and considering how the self is
present in the work, I connected the fragments of mystory and field
research together.
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Voice and the self
The notion of the multiple performing self or persona has also been
something I have interrogated as part of my process of developing an
ethnographically based performance. After collating my field research
material and translating that material into a performance context using
multiple voices, I came to the realisation that the self was missing from
the work. Writing myself into the work, I struggled to determine the
authentic self and how I was going to present this authentic self in a
performance context.
Performing self in front of an audience is I would argue the mostforeign, scary [seemingly] uninhabitable but necessary kind of
performance because self is perhaps the most difficult text to
embody. (Spry: 2011: 171)
As a performer I get really nervous when it comes to presenting an
authentic self, and I normally choose to hide behind a persona of the self,
a self who is very different to the authentic self. This stance mainly
evidences itself through the voice which differs from my day to day voice.
My aims throughout the development of this performance were to situate
both voices of the self, the performing voice and the day to day voice,
alongside the voices of the field research participants I chose to represent.
As Smith (1993) suggests there is no true self at the core that can be
unmasked because the self is a hypothetical place or space ofstorytelling. (in Heddon: 2008: 27)
Embodying a vocal stance that most reflects my authentic self is
something that is considerably challenging for me as a performer. I often
choose to present a voice and characteristics that are different from my
authentic self. Bobby Baker (2001), speaking of her stage persona adds I
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step on stage, I become something else (in Heddon: 2008: 42) and as
Heddon later outlines, Bakers strategies construct a self that is multiple,
complex and perhaps ultimately unknowable (Heddon: 2008: 44)
The use of voice is highlighted in step three of Sprys guidelines for the
rehearsals and performance processes. In this step she suggests that the
voice must illustrate the internal elements of the persona. (2011: 196)
Spry discusses a technique she labels practiced vulnerability (167) in
which she encourages performers to discuss and write performance text
associated with a self-performing vulnerable body. Taking this idea into
consideration I developed text to replicate the feelings I have when I amon stage. The nervous feelings I get when I am performing solo work that
is personal, this performance text allows a vision into the authentic self.
I am alone, palms are sweating, a
tidal wave of shivers is running down
my thighs forcing my knees to wobble,
to shake. My face is twitching, my
shoulders are so high I havent even
got a neck and hiding behind this
mask I feel safe. (No Scent Like
Brassika: 2012)
Nerves are inevitable; they cannot be rehearsed as they only present
themselves in the final performance. Rather than continue to present my
nerves as a weakness No Scent Like Brassika attempted to incorporate my
nervous disposition, and the voice I hide behind as part of the
performance. By acknowledging my nerves I aim to turn what is often
considered a weakness into a strength. This is articulated through
repeated referrals to the truth, acknowledging my shaking frame and
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taking moments in the performance to breathe and practice relaxation. I
hoped that this honesty and reference to the self would help relax me in
the live performance and bring out my authentic everyday voice. In
reflection I believe that these constructions of the self were evident and
talking about my feelings on stage allowed for elements of my day to dayvoice to be heard. It could however do with some more work in the
future. The struggle then, for me as a performer, lies in the construction of
three performative stances; Kirsty the performer, Kirsty in her day to day
life and Kirsty representing the Grandmother characters.
We have to consider the multiple roles of the Grandmothers represented
as part of the performance. When we consider Anna Deveara Smiths
performance Fires in the Mirror (1993) we are reminded of the multiple
personas she represents through voice and characterisation. The
definitions between the characters are clear through her use of props,
physical stance and voice. As part of my field Research I discussed the
repetitive things Grandmothers were prone to saying, I shared with them
things that my Grandmothers are known for saying in a hope that theywould share with me their own Grandmothers known for phrases in a
kind of performance exchange, a sharing of experiences.
Grandmother Mavis would always say ear all, see all, saw nowt. Eat all ,
sup all, pay nowt and if ivver tha does owt for nowt do it for thissen.
Mavis Granddaughter told me this was what Mavis was known for saying
and in the manner it is spelt. By repeating this phrase over and over I was
complementing the many times Mavis Granddaughter had heard her
repeat that phrase. She implied, in the interview that Mavis said it until
she was blue in the face. (2012: Field Research Participant) Therefore I
replicated this stance in a performance context.
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Station Map. 10/09/2012
The Yellow stone
steps.
Five
Grandmothers
from Bridlington.
My Personal story line: Cabbage leaf
path.
Babooshka
Story line.
Cabbage leaf
path.
The cabbage
line, a
grandmother
figure line.
Cabbage Pot
Cabbage Boiling
Station.
Cabbage
Chopping Station.
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Compositionally dividing my performance space into sections allows me to
gain an overview of the placing of material in relation to space. It is a
compositional strategy which can apply to my complete process and as
Perkins suggests
A map becomes part of a story to be created and enactedit
becomes a subjective imagining instead of an objective tool.
(Perkins: 2003: 6)
Each separate section sustains different types of material. The Horizontal
line or path of cabbage leaves for example is where I discuss from an
autoethnographic angle how self sits in the work and also decisions in theconstruction of the performance. The vertical line or path of cabbage is
where I tell the story of Babooshka and her journey which a=lasts forever
and ever, until the cows come home, for eternity. The steps present the
space I use to articulate the stories of the four Grandmothers I am
representing from the field research and also seek to represent home, a
place that doesnt exist anymore. The fifth Grandmother is my own
Grandmother who is discussed on my autoethnographic line.
Throughout the process the definitions of each station often became
blurred and constantly changed throughout. By articulating my stations
through mapping processes allowed me to gain a personal overview of the
composition and which areas best contained each fragment of material.
However in reflection I do not think I was entirely sure as an overview ofwhat the cabbage line represented. Each individual cabbage sought to
represent a different identity or story from the performance. Babooshka,
me, the wicked witch of the west, my grandmother, an elderly ladies face
and sentimental objects were all referenced through the cabbage line.
However I think the relationship between each could have been more
clearly defined.
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A Scentsory Experience.
I am cooking cabbage in the performance space, rehearsing and at least
once a day I am disturbed, perhaps by a security guard, a student or a
technician and they tell me It smells like Grandmothers house in here.
oral history performance and its poetics attempt to embody the
mise en scene of history. Oral history performances therefore do
not function as factual reports or as objective evidence, nor are
they pure fictions of history. Instead, they present to us one
moment of history and how that moment in history is
remembered through a particular subjectivity. The emphasis hereis a felt, sensing account of history as well as its particular
materiality. (Madison: 2012: 35)
Here Madison makes reference to the stability, in terms of factual
information, of oral histories. But she also suggests that the collating of
oral histories is about the added felt sensing account of history in that it
is descriptive and incorporates the senses.
In performance I am always trying to incorporate the senses, as senses are
inextricably linked to memory. Sally Banes articulates this as the olfactory
effect. (Banes: 2001: 1) We associate memory with the smells, textures
and sounds of a time passed. A smell can trigger a remembrance of a
memory of experience that occurred in ones life. The use of smells in
performance seeks to contribute another layer to a semiotic sign system
as Alfred Gell describes somewhere inbetween the stimulus and the sign.
(in Banes: 2001: 2) Gell suggests a liminality associated with the semiotic
system of aroma in that it seeks to stimulate the experience but also acts
as a signifier in the performance. As part of the process of creating this
performance I sought to fill the room with a scent of cabbage in order to
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replicate the autobiographical branch of mystory, the oral history of
being at Grandmas house and her throwing a pan of boiling cabbage at
Granddad. Again I am in danger of confirming a stereotypical ideal which
suggests that all Grandmothers smell of cabbage. In order to get away
from this labelling I articulated my autobiographical mystory.
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Reference List
Ashton, E. (1999) Feminist Theatre Practice: A Handbook. (London:
Routledge)
Banes, S. (2001) Olfactory Performances. (TDR, vol 45, no1: pp68-76)
Beauvoir, S, D. (1977) Old Age. (GB: Cox & Wynam Ltd)
Benjamin, W. (1936) The Storyteller. [accessed online at
http://slought.org/files/downloads/events/SF_1331-Benjamin.pdf :
17/08/2012]
Conquergood, D. (1982) Performing as a Moral Act: Ethical Dimensions of
Ethnography in Performance. (Literature in Performance 5: pp1-13)
Culler, J. (1975) Structuralist Poetics, Structuralism, Linguistics and the
Study of Literature. (London: Routledge)
Dilts, R. (1998) The NLP Pattern of the Month: Walt Disney- Planning
Strategy. (Storyboarding) [accessed online at
http://www.nlpu.com/Patterns/pattern7.htm: 17/09/2012]
Frayling, C. (1993) Research in Art and Design. (Royal college Research
Papers. 1.1: pp1-5)
Heddon, D. (2008) Autobiography and Performance. (GB: MPG Books
Group)
Madison, D, S. (2012) Critical Ethnography Method, Ethics and
Performance. Second Edition. (USA: Sage)
http://slought.org/files/downloads/events/SF_1331-Benjamin.pdfhttp://www.nlpu.com/Patterns/pattern7.htmhttp://www.nlpu.com/Patterns/pattern7.htmhttp://slought.org/files/downloads/events/SF_1331-Benjamin.pdf7/30/2019 Performance Reflection No Scent like Brassika (2012) A Solo Performance by Kirsty Shipley
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Pearson, M. (2000) Bubbling Tom. In Heathfield, A. (ed) Small Acts:
Performance, The Millenium and the Marking of Time. (London: Black Dog
Publishing: pp172-185)
Perkins, C. (2003) Cartography: Mapping Theory. (progress in Human
Geography, 27, 3. Pp341-351)
Smith, A, D. (1993) Fires in the Mirror: Crown Heights, Brooklyn and Other
Identities. (New York: Doubleday)
Spry, T. (2011) Body, Paper, Stage: Writing and Performing
Autoethnography. (USA: Left Coast Press Inc)
Shaw, B, E. (ed) (1974) Frank Meadow Sutcliffe, Second Edition. (Leeds:
John S Speight Ltd)
Ulmer, G, L. (1989) Teletheory. (New York: Routledge)
Performance Photography by Elaine Whitehead
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