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IMPLICATIONS FOR DESIGN
As is the case with many problems that exist in complex social fields, a design-driven solution was not readily apparent. True, one could design a mid-sized venue for Savannah, design the business model for it, and open for business. This would be a big step in removing one of Savannah’s major barriers. One could design a presentation to convince legislators to reconsider how people under age 21 are handled at music venues. One could design (another) live music event for the public that features local bands.
But there is not one problem, which, if fixed, would solve all. A social field like a local music scene is a problem in organized complexity. Jane Jacobs described cities in much the same way. Cities, she says, “do not exhibit one problem in organized complexity, which if understood explains all. They can be analyzed into many such problems or segments which, as in the case of the life sciences, are also related with one another.” (Jacobs 1961) The real design problem, then, is how can a place create lasting change?
Throughout history, the real advancement of society has been achieved primarily through citizen-based collective actions, or social movements (Moyer et al. 2001). As Bill Dawers (2012) wrote: “No single person is in charge of creating a better scene. It’s a collective goal that will be reached if passionate residents support each other’s efforts. And a stronger scene would bring broad benefits to the city, even to those who never think of heading out to a club.”
Plan for Design
This study led to an understanding of Savannah’s local music scene as a complex social field and the forms of capital at play that must be addressed in order to elevate it. It shaped a vision of the desired future state of Savannah’s music scene. It showed that the crux of a local music scene is its people, and that music has the innate ability to unite them. The findings informed a set of design criteria that are systemic, holistic, and participatory.
Building from theory and models for social movements and activism (Moyer et al. 2001), I will use this research to build the proposal for a “Music Scene Task Force” (working title), designing the tools to empower and mobilize a group of people united with a mission—united by music—toward collective action. “Fans, music writers, musicians, music professionals, venue programmers, and municipal leaders — we all need to do a better job of making connections between the disparate elements that make up our current scene and sound” (Dawers 2012). The design for this task force will offer the roadmap to making those connections, and directing the collective power toward action. The findings on types of capital and habitus in a local music scene will provide an organizing framework to make decisions about the types of people and roles needed in an effective task force, as well as provide the guidance and insight to build the agenda based on a systemic approach.
IMPLICATIONS FOR EPIC
This study reminds us how ethnographic research in a complex social field reveals issues that may not be easily observable and cannot be captured through quantitative measures alone. EPIC (Ethnographic Praxis in Industry Conference) implies the application of ethnography in organizational structures. Although it is a loose association of people rather than a traditional organizational structure, a local music scene is a socio-cultural organization. As organic as it may be, it calls for understanding and organizing in order to advance.
This study looks at the music scene in the city not only as an organization within the context of the city, but also as an essential part of that particular city. This project demonstrates how an ethnographic approach helped to shed light on the powers and issues at play and build understanding of the day-to-day lived experiences of people and place. This understanding provides the framework for place-based action and becomes a catalyst to create sustainable, lasting change, even amidst a field of complexity.
ACKNOWLEDGMENTS
Many thanks to Dr. Christine Z. Miller at the Savannah College of Art and Design for helping me navigate this process (and the jungle of my mind). Thank you to Professor Scott Boylston and Summer Teal Simpson who were there to offer wisdom at critical moments along the way. Thank you to all the individuals who took the time for interviews and conversations with me. And endless thanks to the musicians in Savannah, who contribute every day to the unique character of our city, and who enrich our lives in so many ways.
Colleen Heine grew up in St. Louis, Missouri and holds a BFA in Visual Communication from University of Kansas and MFA candidacy in Design Management from Savannah College of Art & Design. She worked as Executive Director of a community music organization in St. Louis before relocating to Savannah, Georgia. Alongside her work in management and design, she performs, teaches, and is a perpetual student of music. She is especially interested in the role of music in placemaking.
Ethnographic Praxis in Industry Conference Proceedings 2012, pp. 200–216. © American Anthropological Association, some rights reserved.
NOTES
1 This is not meant to be a definitive list, but rather a set to be used as comparators.
2 Not included in this paper