Many people who have attended or viewed multiple live performances of a single concert, musical, or play might point out that no two performances are alike. Whether variations are intentional or unintentional, those differences can often contribute new and valuable interpretations of the content, or even introduce novel material entirely. However, those same differences can also result in deviation from the original over time, creating potential for loss without proper preservation strategies. When live performances reflect important aspects of cultural heritage, the importance of preserving integrity to the original, as well as in preserving valuable changes and additions, cannot be understated. Recording multimedia cultural heritage pieces with many forms of media and from many angles is discussed in scholarship as improving efforts at achieving these goals. Many multimedia cultural heritage pieces take the form of singular, experiential performances that may prove challenging to archive in systems that rely on storing physical objects and concrete data. While live performances can take the form of music, theatre, or dance, these forms can all be difficult to condense for long-term storage in meaningful ways that still preserve artist intent.
In terms of recording original works and artist intent, audiovisual recording technology has long been relied on to capture ephemeral multimedia performances. However, while audiovisual equipment can be used to film live installations and performances, scholarship argues that recordings would be significantly more effective in archival work if archivists shifted the aim of these records from attempts at objective data collection to the creation of more subjective records of audience experience. Dekker argues that reframing video documentation as a reflection and response to a piece, rather than a flawed objective record of a piece, “allows documentation to develop as a critical space” (Dekker, 2013)(p. 157). Because documentation of ephemera cannot be fully complete or objective, she advocates for a shift in focus from primary reliance on recordings as evidence towards a view of recordings as subjective reflections on a larger, multifaceted and ephemeral work. Combining multiple forms of data collection, such as interviews, written documents, and photographs, with videography from live performances is also discussed across scholarship as a means of further contributing to a fuller understanding of the work, incorporating the perspectives of both the artist and the audience.
Recording variations and differences among performances poses a more significant challenge to organizations and institutions that have limited capacities, legal allowances, and resources. In these cases, supplementing official records with public-sourced material can be extremely valuable. Galey (2018) discusses this value in his article on the archives of the band “The Tragically Hip”. Audience involvement in archive creation supported the collection and preservation of spontaneous, singular monologues or songs that, at the time, only existed experimentally in live performance and had not yet been officially released or published. These experiments and variations were extremely valuable in contributing to the band’s development of musical narratives and in showcasing their creative process; however, they were typically not available beyond the live performance in official records or releases at the time of recording.
Galey discusses the importance of bootleg video recordings in these instances as a means of preserving and sharing new information while circumventing legal restrictions around filming and sharing live performances; recording live performances was typically prohibited, and institutions and official recording bodies were often more compelled to adhere to those prohibitions than the public. In addition to this new information contributing to a larger understanding of the band’s music, Galey notes that audiovisual recordings of unique instances during The Tragically Hip concerts offer a view of musical creation on-the-fly; this provides valuable insight regarding the band’s creation process.
Some may contend that crowdsourced recordings and archives are more subject to inaccuracy or bias than institutional recordings, as they are less governed by regulatory bodies. However, applying Dekker’s argument for viewing recordings of ephemeral performances as subjective allows them to become valuable and insightful within the context of capturing a larger, diversely experienced event. Galey asserts that The Tragically Hip’s music is an important reflection of the Canadian cultural imaginary, and that as such, preserving that cultural value as completely as possible is crucial. The Tragically Hip’s live concerts demonstrate that archiving mutability can be essential to a deeper understanding of the work of ephemeral cultural heritage artists. Furthermore, they demonstrate that archives must integrate audience experience, as input sourced from the audience itself can provide perspectives that institutions lack the capacity or legal freedom to record themselves.
Despite these theories and practices for sustaining unique, fleeting, and singular performances, there are still significant challenges in archiving ephemeral performance art long-term. Many ephemeral works are created so on purpose, in which the artist is fully aware of the brief lifespan of the piece and may structure the piece around that brevity itself. These works can be incredibly challenging to archive as preservation appears to deny their central aspects (Dekker, 2013). In light of these issues, scholars note the importance of obtaining direct input from artists regarding critical aspects of the piece, as well as their intentions for adaptation and storage into the future. However, finding ways to obtain and store this information is an equally fraught process, as methods such as interviews can contain bias, and attitudes are subject to change over time — scholarship advocates more broadly for artist involvement in the archival process in light of these issues (Dekker, 2013).
Thus, combining modes of record creation, fostering collaboration between institutions and audiences, and directly consulting artists in generating archives addresses many gaps in prior frameworks for the capture and storage of ephemeral performance art. However, despite movement towards subjectivity, diversity, and artist autonomy in archiving, archivists still face many challenges in extending the lifespan of ephemeral performances. Evidently, extending the lifespan of unique and fleeting cultural heritage pieces is highly challenging and complex, and requires ongoing commitment, resources, and care in order to continue to innovate the process.
References
Galey, A. (2018). Looking for a Place to Happen: Collective Memory, Digital Music Archiving, and the Tragically Hip. Archivaria, 6–43. https://archivaria.ca/index.php/archivaria/article/view/13642