Original file was afterFeedback tex

6 Conclusion

The recommendations above would make CWA more useful for linguists and for others interested in specific components of the performances such as language. In doing so, they will also make the archive more amenable to uses not originally considered and thus more useful in general. We think that the greatest contribution of language documentation to theatre archives is this: it provides an alternative vantage point from where to re-imagine archives, as multipurpose, standard-compliant collections. Besides making the archives more usable, rethinking them in such ways will also make them more robust and sustainable.

Some of the recommendations will be difficult or impractical to implement. This could be due to copyright restrictions or to the priorities of archive makers. However, we believe that thinking about communities outside of theatre studies, whether they be linguists or not, should inform the design of future archives.

Our argument for why language research paradigms are important are based on two observations: 1) language scholars have developed best practices, specialized journals and resources for documentation that are well suited to theatre studies and 2) language archives have a good track record encouraging researchers to become depositors and accommodating a range of research projects that can reuse the data in novel contexts.

While we do not advocate the wholesale application of these practices, we believe theatre documentation only stands to gain from a conversation with language documentation.

Glossary

ADHO(Alliance of Digital Humanities Organizations) is the global body that organizes the yearly international digital humanities conferences. It has constituent member organizations in North America, Europe, Africa, Asia and Oceania.

CIDOC-CRM (CIDOC Conceptual Reference Model) is a comprehensive set of metadata concepts for cultural heritage and museum documentation. It was developed by CIDOC, the international committee for documentation of ICOM, the World Museum Community.

Dublin Core (DC) is a set of core metadata elements that is designed to be used for a wide range of projects regardless of their theme or format.

ELDP is the Endangered Languages Documentation Project.

FLEx (FieldWorks Language Explorer) is a software developed by SIL for the transcription of texts and the generation of automatic dictionaries.

IFTR refers to the International Federation for Theatre Research.

IMDI (ISLE Metadata Initiative) is a metadata schema developed by the Language Archive to describe multi-media and multi-modal language resources. ISLE is the International Standard for Language Engineering developed by the Max Plank Institute for Psycholinguistics.

Kaipuleohone is a digital ethnographic archive at The University of Hawai’i'i.

PARADISEC (Pacific and Regional Archive for Digital Sources in Endangered Cultures) is an archive for language documentation resources started by Nicholas Thieberger.

SIL. Founded in 1934, originally known as the Summer Institute of Linguistics, is a faith-based nonprofit organization that works with communities around the world to achieve goals of sustainable language development.

TEI (Text Encoding Initiative) is a set of best practices for textual annotation commonly used in digital humanities projects.

URL (Uniform Resource Locator) is an address used to identify web resources. A PURL (Permanent Uniform Resource Locator) does not change through time and is aimed at greater sustainability.

References

Arps, Bernard, and Ki Anom Soeroto. 2016. Tall Tree, Nest of the Wind: The Javanese Shadow-Play Dewa Ruci Performed by Ki Anom Soeroto: A Study in Performance Philology. Singapore: NUS Press.

Asmoro, Purbo, and Kathryn Emerson. 2013a. Rama’s Crown: Makutharama : Text of Wayang Kulit Tale, Performed in Three Dramatic Styles. Jakarta, Indonesia: Lontar.

Asmoro, Purbo, and Kathryn Emerson. 2013b. The Grand Offering of the Kings. Jakarta: Lontar.

Austin, Peter. 2006. “Data and Language Documentation.” In Essentials of Language Documentation, edited by Jost Gippert, Nikolaus P. Himmelmann, and Ulrike Mosel, 87–112. Berlin: Mouton de Gruyter.

Austin, Peter. 2014. “Language Documentation in the 21st Century.” JournaLIPP 3: 57–71.

Barba, Eugenio, and Richard Fowler. 1995. The Paper Canoe. London; New York: Routledge.

Bay-Cheng, Sarah. 2017. “Digital Historiography and Performance.” Theatre Journal 68 (4): 507–27.

Bench, Harmony, and Kate Elswit. 2017. “Mapping Movement on the Move: Dance Touring and Digital Methods.” Theatre Journal 68 (4): 575–96.

Berners-Lee, Tim, and Lalana Kagal. 2008. “The Fractal Nature of the Semantic Web.” AI Magazine 29 (3): 29.

Bollen, Jonathan. 2017. “Data Models for Theatre Research: People, Places, and Performance.” Theatre Journal 68 (4): 615–32.

Borgman, Christine L. 2009. “The Digital Future Is Now: A Call to Action for the Humanities.” Digital Humanities Quarterly 3 (4). http://www.digitalhumanities.org/dhq/vol/3/4/000077/000077.html.

Borgman, Christine L. 2015. Big Data, Little Data, No Data. Cambridge: The MIT Press.

Brakel-Papenhuijzen, Clara. 1995. Classical Javanese Dance: The Surakarta Tradition and Its Terminology. (Verhandelingen van Het Koninklijk Instituut Voor Taal-, Land- En Volkenkunde ; No. 155). Leiden: KITLV Press.

Campbell, Lyle, Nala Huiying Lee, Eve Okura, Sean Simpson, and Kaori Ueki. 2013. “New Knowledge: Findings from the Catalogue of Endangered Languages (ELCat).” In .

Caplan, Debra. 2017. “Reassessing Obscurity: The Case for Big Data in Theatre History.” Theatre Journal 68 (4): 555–73.

Caplan, Debra. n.d. “Visualizing the Vilna Troupe.” Accessed July 12, 2017. http://vilnatroupe.com/.

CIDOC. 2006. “CIDOC Conceptual Reference Model.” 2006. http://www.cidoc-crm.org/.

Cohen, Matthew Isaac. 2010. Performing Otherness. Studies in International Performance. London: Palgrave Macmillan.

Conquergood, Lorne Dwight, and E. Patrick Johnson. 2013. Cultural Struggles. Ann Arbor: University of Michigan Press.

culturomics.org. 2016. “Bookworm v 0.5.” 2016. http://bookworm.culturomics.org/.

Debra Levine. 2017. “Staging Archival Affinities and Recombinant Performance in Scalar.” Paper presented at the Digital Humanities Abu Dhabi Workshop, NYU Abu Dhabi, Abu Dhabi, April 10-12 2017.

Dekker, Annet, Gabriella Giannachi, and Vivian van Saaze. 2017. “Expanding Documentation, and Making the Most of the ‘Cracks in the Wall.’” In Documenting Performance: The Context and Processes of Digital Curation and Archiving, by Toni Sant, 61–78. London; New York: Bloomsbury Publishing.

Dublin Core Metadata Initiative. 1995. “DCMI Home: Dublin Core Metadata Initiative (DCMI).” 2017 1995. http://dublincore.org/.

Emerson, Kathryn, and Purbo Asmoro. 2013a. The Grand Offering of the Kings: Sesaji Raja Suya : Texts of a Wayang Kulit Tale, Performed in Three Dramatic Styles. Jakarta, Indonesia: Lontar.

Emerson, Kathryn, and Purbo Asmoro. 2013b. Rama’s Crown. Jakarta: Lontar.

Escobar Varela, Miguel, ed. 2016. “Contemporary Wayang Archive.” CWA | Contemporary Wayang Archive. 2016. http://cwa-web.org/.

Escobar Varela, Miguel. 2017. “From Copper-Plate Inscriptions to Interactive Websites: Documenting Javanese Wayang Theatre.” In Documenting Performance: The Context and Processes of Digital Curation and Archiving, edited by Toni Sant, 203–14. London; New York: Bloomsbury Publishing.

Escobar Varela, Miguel, and Gea Oswah Fatah Parikesit. 2017. “A Quantitative Close Analysis of a Theatre Video Recording.” Digital Scholarship in the Humanities 32 (2): 276–83.

Himmelmann, Nikolaus P. 2006. “Language Documentation: What Is It and What Is It Good For?” In Essentials of Language Documentation, edited by Jost Gippert, Nikolaus P. Himmelmann, and Ulrike Mosel, 1–30. Berlin: Mouton de Gruyter.

Jackson, Shannon. 2004. Professing Performance: Theatre in the Academy from Philology to Performativity. Cambridge: Cambridge University Press.

Krauss, Michael. 1992. “The World’s Languages in Crisis.” Language 68 (1): 4–10.

Lee, Nala H., and John Van Way. 2016. “Assessing Levels of Endangerment in the Catalogue of Endangered Languages (ELCat) Using the Language Endangerment Index (LEI).” Language in Society 45 (2): 271–92.

Margetts, Anna, and Andrew Margetts. 2012. “Audio and Video Recording Techniques for Linguistic Research.” In The Oxford Handbook of Linguistic Fieldwork, edited by Nicholas Thieberger, 13–53. Oxford: Oxford University Press.

Max Planck Institute for Psycholinguistics. 2003. “IMDI Metadata.” 2003. https://tla.mpi.nl/imdi-metadata/.

Miller, Derek. 2017. “Average Broadway.” Theatre Journal 68 (4): 529–53.

Molloy, Laura. 2014. “Digital Curation Skills in the Performing Arts – an Investigation of Practitioner Awareness and Knowledge of Digital Object Management and Preservation.” International Journal of Performance Arts and Digital Media 10 (1): 7–20.

Monteith, Peter. 2010. “Can Records Speak for Themselves?” Journal of the Society of Archivists 31 (2): 119–33.

Mrázek, Jan. 2005. Phenomenology of a Puppet Theatre. Vol. 230. Verhandelingen van Het Koninklijk Instituut Voor Taal-, Land- En Volkenkunde. Leiden: KITLV Press.

Nash, Adam, and Laurene Vaughan. 2017. “Documenting Digital Performance Artworks.” In Documenting Performance: The Context and Processes of Digital Curation and Archiving, by Toni Sant, 149–60. London; New York: Bloomsbury Publishing.

PARADISEC. 2016. “Pacific and Regional Archive for Digital Sources in Endangered Cultures.” PARADISEC (blog). 2016. http://www.paradisec.org.au/.

Parker-Starbuck, Jennifer. 2011. Cyborg Theatre. Performance Interventions. Palgrave Macmillan.

Pendón Martínez, Alberto, and Gema Bueno de la Fuente. 2017. “Description Models for Documenting Performance.” In Documenting Performance: The Context and Processes of Digital Curation and Archiving, by Toni Sant, 29–46. London; New York: Bloomsbury Publishing.

Phelan, Peggy. 1993. Unmarked: The Politics of Performance. London; New York: Routledge.

Price, Kenneth M. 2009. “Edition, Project, Database, Archive, Thematic Research Collection: What’s in a Name?” 3 (3). http://www.digitalhumanities.org/dhq/vol/3/3/000053/000053.html.

Rhodes, Richard A., Lenore A. Grenoble, Anna Berge, and Paula Radetzky. 2006. “Adequacy of Documentation: A Preliminary Report to the CELP [Committee on Endangered Languages and Their Preservation, Linguistic Society of America].”

Sant, Toni. 2014. “Interdisciplinary Approaches to Documenting Performance.” International Journal of Performance Arts and Digital Media 10 (1): 3–6.

Sant, Toni. 2017. Documenting Performance: The Context and Processes of Digital Curation and Archiving. London; New York: Bloomsbury Publishing.

Schechner, Richard. 2006. Performance Studies. Routledge.

Sinclair, Stéfan, and Geoffrey Rockwell. 2017. “Voyant Tools.” 2017. https://voyant-tools.org/.

Spatz, Ben. 2015. What a Body Can Do: Technique as Knowledge, Practice as Research. London and New York: Routledge. http://www.routledge.com/books/details/9781138854109/.

Spatz, Ben. 2017. “What Do We Document? Dense Video and the Epistemology of Practice.” In Documenting Performance: The Context and Processes of Digital Curation and Archiving, by Toni Sant, 241–52. London; New York: Bloomsbury Publishing.

TaPRA. 2012. “Documenting Performance Working Group.” 2012. http://tapra.org/groups/documenting-performance-working-group/.

Taylor, Diana. 2003. The Archive and the Repertoire: Performing Cultural Memory in the Americas. Durham: Duke University Press.

Text Encoding Initiative. 2017. “Performance Texts - The TEI Guidelines.” 2017. http://www.tei-c.org/release/doc/tei-p5-doc/en/html/DR.html.

Text Encoding Initiative. n.d. “7 Performance Texts - The TEI Guidelines.” Accessed June 22, 2017. http://www.tei-c.org/release/doc/tei-p5-doc/en/html/DR.html.

Thieberger, Nicholas. 2004. “Documentation in Practice: Developing a Linked Media Corpus of South Efatein.” Language Documentation and Description 2: 169–78.

UNESCO Ad hoc expert group on endangered languages (Matthias Brenzinger, Tjeerd de Graaf, Collette Grinevald, Michael Krauss, Osahito Miyaoka, Nicholas Ostler, Osamu Sakiyama, María E. Villalón, Akira Y. Yamamoto, Ofelia Zapeda)., Arienne M. Dwyer. 2003. “Language Vitality and Endangerment. Document Submitted to the International Expert Meeting on UNESCO Programme Safeguarding of Endangered Languages, Paris, 10-12 March 2003. Online Version: http://www.unesco.org/culture/ich/doc/src/00120-EN.pdf.”

Vareschi, Mark, and Mattie Burkert. 2017. “Archives, Numbers, Meaning: The Eighteenth-Century Playbill at Scale.” Theatre Journal 68 (4): 597–613. https://doi.org/10.1353/tj.2016.0108.

Woodbury, Anthony C. 2003. “Defining Documentary Linguistics.” In Language Documentation and Description, Vol. 1, edited by Peter Austin, 35–51. London: School of Oriental and African Studies.

i In this article we are concerned both with conventional theatre as with performance in a more general sense, and our conclusions extend to the documentation of dance, cultural performances and even postdramatic theatre. We recognize that there are important differences between theatre and other kinds of performances which have a bearing on archiving. However, for the purpose of the general argument we advance here, we are assuming that the all kinds of performance documentation and archiving can benefit from best practices borrowed from language documentation. For the sake of variety, we speak interchangeably of theatre and performance in the article.

ii Besides this, we include basic information on when the archive was established and information on access type (whether the archive is open or requires some kind of subscription).

iii Data curation here refers to system activities aimed at aggregating, preserving and adding value to digital assets such as video, texts and datasets.

iv ISLE is the International Standard for Language Engineering developed by the Max Plank Institute for Phsycholinguistics

v The visual search is available at http://cwa-web.org/en/tag and the concordance-based search is at http://cwa-web.org/en/search.