Here is a third draft of my honors prospectus based off of some advice I received from Dr. Burton. The main changes are mentioned in my response to him, but the main difference is that I justified the importance of having a blog in addition to a conventional collection of travel essays.
A Portrait of Dharamsala:
An Honors Creative Writing Thesis Prospectus Exploring the Universal Importance and Nature of Stories
by Rachel Rueckert
Purpose:
I propose to continue the research I began in Ghana last summer on a field study exploring the nature of stories and the authenticity of travel experience. Based on my findings, I have undertaken another field study, this time to Dharamsala, India, to follow up on some of my questions and gather material for a creative nonfiction project. There are two parts of this project I hope to accomplish:
First, I want to record stories from the population that makes up the unique city of Dharamsala, India through a collection of travel essays that focus on cultural anthropology. Dharamsala is a Tibetan refugee settlement, home of the Dalai Lama, and a diverse city that welcomes people from all over the world. In order to represent this location, I hope to blend both personal essay and analysis of anthropological material. Ideally these essays could stand alone, but my presence and personal narration will tie the essays together.
The second part of this project I hope to accomplish is to maintain an academic blog as a companion to these essays both in the field and during the writing process. My research in Ghana led me to the conclusion that a blogging format and the possibilities this new medium offers enhances the writing process but also improves the authenticity of travel documentation. This blog will highlight some of the limitations of my own subjective experience abroad to better understand the fragile nature of stories. It will also allow me to publish drafts, document my learning process, and connect with others who can give me immediate feedback along the way.
By having an academic blog along with my final travel essays I hope to add more dimensions to my thesis and give a more holistic portrait of both my experience the people I am trying to represent. I believe that this project has the potential to help others learn more about Dharamsala, show that stories are universally important, encourage people to recognize stories within their proper context, and demonstrate that evolving digital media not only has enhanced the traditional creative writing process, but it has also become a viable new medium on its own.
Background and Significance:
In order to put this in an academic context, I will demonstrate two things—why we need to tell stories, to justify the importance of my travel essays, and second, that stories are inherently fragile and need to be understood within that limited context, which establishes the importance of having an academic blog.
In order to understand why we need to tell stories, we have to understand that telling stories are a part of the human condition. Margaret Atwood says that the reason why we need to tell stories is because of language. She also says that “we know that people learn and assimilate information much more through stories than they do through charts and graphs,” and it is how we find meaning in life (Atwood).
If we look at another influential person more appropriate for the location I want to study, His Holiness the 14th Dalai Lama, the spiritual leader of the exiled Tibetan government, is a great believer in the importance of stories (Dalai Lama 28). Emily Bell, a former field study student who wrote a creative writing project in Dharamsala in the spring/summer of 2010, had several insights that strengthened the argument that the Dalai Lama not only holds a special place for stories, but also encourages his people to tell them. Emily was surprised by how "readily Tibetans will talk about their lives." She argues that it is from a sense of responsibility since the "Dalai Lama himself has encouraged all newcomers to share their experiences with the world" (Bell 3), something that was reiterated almost daily in her experience in Dharamsala. This gives me encouragement that I will be successful in finding people to share stories with me.
In addition to the human need to tell stories and the importance of this location to my project, storytelling is a method that has been acknowledged and encouraged more recently in qualitative research. In the book Method Meets Art, Patricia Leavy says that by doing arts-based research we can "bridge and not divide both the artistic-self and the researcher-self." There is a "profound relationship between the arts and sciences," and there are several viable reasons that more and more people are turning towards alternative methods (Leavy 2). Art-based research is more holistic—a new genre that "comprises new theoretical and epistemological groundings that are expanding the qualitative paradigm" (3). In many ways it can capture and represent what traditional research cannot, some of the most fundamental aspects of human experience. This book also argues that this art based method looks more at how knowledge is a process, “a temporary state,” and that it is not linear, helping us to look more at the process of meaning-making (9-10). It allows questions to be posed in different ways, promotes dialogue, raises new questions, reaches nonacademic audiences in a way that standard methodology cannot, and crosses disciplines (18).
This importance of creatively representing cultural material is found in anthropology as well. Keith Basso demonstrates this in his book Wisdom Sits in Places, which not only describes anthropological material in a more creative way, but looks at the value of stories among the Apache’s. Because of the approach in his writing he was able to better represent the topic of stories but also reach a larger audience. Although arts-based research deviates from tradition, it is certainly becoming a very useful tool that yields interesting and valuable results that are sometimes weeded out in the more traditional methods. This is what I will strive to accomplish in my travel essays that will be more creative in nature. By presenting my findings in a more aesthetic way, I am more likely to interest a larger audience outside of academia. However, this brings up the argument of authenticity in representation.
The second part of this academic background that I need to establish, which justifies the importance of my blog, is that although stories are an integral part of our human experience, they must be understood in their proper context as being limited interpretations of subjective truths. I am not so much interested in the argument of truth as much as I am in authenticity. This is not to discredit the value of stories, but it should get us thinking about the problems of representation within narratives, especially in my case, where I am trying to interpret another culture through my limited lens.
Clifford Geertz, an extremely influential anthropologist, has an interesting take on representation in his book The Interpretation of Cultures. He says that all “anthropological writings are themselves interpretations” and “second to third ones to boot” (Geertz 15). We cannot be native or express a native point of view because of our lack of context. This is critical to understand for ethnography, travel literature, and any document that attempts to translate a foreign experience outside of the original context. “Thick Description,” perhaps the most influential chapter in his book, says that the more layers you add to ethnography, the more holistic your findings will be represented. This applies to creative nonfiction, which my essays will fall under, and the challenge I face of trying to balance the subjective self and objectivity. Too often creative writers are prone to detachment and isolation, romanticizing their experiences, because they are not really held accountable by a “real” audience, particularly the people they are representing (or exploiting). However, a blog allows for more “layers.” It is less polished and formal, documents things as they happen, can be used as an anthropological and aesthetic tool, and allows for immediate feedback with a larger potential audience. It is friendlier to alternative mediums of documentation, such as photography, which is particularly important to me, and provides a way for the learning process to be recognized as more than just a means to an end.
We have discussed why stories are so important to humanity, but without proper perspective we run into serious danger. While my final travel essays will hopefully contribute to a larger pool of knowledge through recognizing the importance of stories, there is also a need for skepticism or an understanding of the subjective nature of them which will be represented on my blog. Having both is ideal.
Methods and Procedures:
I will be addressing three things in this section of my prospectus. First, how I will gain access to the community and recruit my population, second, the methods I plan to utilize, and third, ethics and the IRB as it relates to this project.
First, I would like to look at my plans for access, recruitment, and the population I am looking at specifically. From my previous field study experience, I have learned that gaining entry into a community is not easy. It is not something you can guarantee or schedule out, but there are certainly things I can do to get out and try. Each day I will be going out into the community and exploring, ensuring that I am not spending too much time staying at home in a sphere of familiarity. Going out each day and walking around town will hopefully put me in the path of potential informants and also strengthen my observation skills. I will do all of my coursework in local hang outs and always try to have conversations with the people I encounter in Dharamsala. Some of these locations will likely be around the temple, at local restaurants, participating in Hindi lessons, attending religious ceremonies, shopping at the market, etc. I will recruit through convenience sampling.
As far as population, there is a large pool that I want to tap into. I want my travel essays to paint a portrait of the diversity found in Dharamsala by representing all kinds of different people who live and pass through there. Because of this aim, my subjects will be both male and female and anyone over the age of eighteen. This will include people like the backpackers, monks and nuns, my host family, Tibetans—both those who were born in Dharamsala and those who immigrated there, and also the local Indian population. This variety is exactly what I need in order to create this portrait of Dharamsala. I recognize the importance of proper rapport reciprocity, especially since I will not be giving monetary compensation, but within my project I also realize that giving proper reciprocity will vary quite drastically, say, between a local monk and a European backpacker. I am also aware that these individuals are freely giving me their time and that I need to do something in return to show my appreciation. I will be very conscious of their generous contributions.
The second part of this section I need to address are the conventional methods I plan to utilize for this project. Keeping a paper journal will be an important part of documenting my experience. All information from informal interviews (questions found in Appendix B of this document), participant observation, and my experience in general will be recorded daily in my journal. I will not audio record interviews, but will have a jotting notebook that I take with me throughout the day where I will strive to accurately document my experience and conversations. These jottings will be fleshed out each day in my field journal. This journal will be pretty rough and raw, but it is an important medium to reference as I craft my final travel essays.
As far as my blog methodology, I will be posting three times a week based on three aims: consume, create, and connect. Posts regarding “consume” will be about documenting my learning from both my experience and what others are staying as it applies to my project. “Create” posts will be more aesthetic in nature, maybe some foundational material for my travel essays as well as a place to share my photography, and “connect” posts will comment on my efforts to try and reach a larger audience and make meaningful connections outside of my limited experience.
The last thing to address in this section is the role of ethics in my particular project. This is something I have had to take a considerable amount of time thinking about. I have submitted this project and have received IRB approval as “exempt research,” but I will still be mindful of these concerns by reminding informants that participation is voluntary and keeping their personal and identifying information confidential.
In summary, through convenience sampling I hope to access a very wide range of people for my creative project. In addition to blogging I will be using conventional methods, such as informal interview and participant observation, and will be recording them through a daily field journal.
Preliminary Outline:
Because of the creative nature of my project, an exact outline is hard to predict. However, based on my current expectations and what I hope to accomplish, I hope to have two things:
First, I would like to build an academic blog that will be a companion to my experience that can stand on its own as a viable medium. A blog is less linear in nature, but it is chronologically formatted. To establish organization I will have a blog statement of intent, a static page containing my field study project proposal, a search box, and labels to ensure that all information is easily found and organized for readers. Both in the field and after (while I am still drafting my essays), I will be publishing to my blog three times a week.
The second and final product of my project will be a collection of travel essays based on my experiences in Dharamsala, functioning independently but strung together with my presence and narration. It will contain an introduction that prefaces the work but also comments on the writing process, encouraging readers to also view my companion blog that may present a more authentic portrait of these stories.
After the introduction I will have somewhere from four to seven essays. The first essay will likely be more of a personal essay to introduce the reader to the narrator. Each essay following will be devoted to an experience interacting with a unique person in the community that represents a portion of the diversity that can be found in Dharamsala.
Qualifications of the Investigator:
As an undergraduate student, my qualifications are limited. However, I have already completed a successful field study on a similar topic in Ghana, Africa during the spring/summer of 2010. I have also taken the field study prep class (IAS 360R) in order to prepare me for this new project. This preparation course taught me a number of things, including how to ask descriptive questions, the importance of proper reciprocity, how to gain access to a community, the role of ethics in my project, how to recognize and handle culture shock, etc.
For my anthropology minor I have several introductory courses. In addition to that, most applicable to this project is my Peoples of India course (ANTHR 335) which has helped me to understand some of the basic cultural practices and beliefs in India, including Dharamsala where I will be spending the majority of my time.
As an English major, I have taken all of my foundational English classes which have given me the skills of a good writer. I have also taken Travel Writing (ENGL 306), which looked at some of the styles and ethics of travel documentation, as well as Creative Writing (ENGL 218R), which helped me to craft my own creative writing style. In the field I will also be taking Creative Nonfiction (ENGL 317R) through my faculty advisor. In addition, I have had extensive writing practice through maintaining an academic blog of my experience in Ghana, as well as through daily journal writing.
Qualifications of the Advisor:
Forthcoming. How many other honors students have each of you helped?
Timeline:
From January to April 2011 I was enrolled in a field study preparation class. I will be collecting material for my project for just over 90 days, arriving in Delhi on May 3rd and leaving on August 16th, although the first and last week will be devoted to setting up the program and traveling. Each night I will do extensive field notes—including creative writing exercises for a foundation to my essay drafts, and I will post three times a week to my academic blog. Other than these weekly goals, here is what I plan on doing within this time frame:
· Week 1, May 15- 21: Explore the community, map out potential places to interact with others and practice participant observation. Meet host family.
· Week 2, May 22-28: Explore the community, map out potential places to interact with others and practice participant observation
· Week 3, May 29- June 4: 1 Informal interview and participant observation,
· Week 4, June 5-11: 1 Informal interview and participant observation,
· Week 5, June 12-18: 1 Informal interview and participant observation
· Week 6, June 19-25: 1 Informal interview and participant observation, preliminary draft of first essay
· Week 7, June 26- July 2: Mid semester retreat to Amritsar
· Week 8, July 3-9: 1 Informal interview and participant observation
· Week 9, July 10-16: 1 Informal interview and participant observation, preliminary draft of second essay
· Week 10, July 17-23: 1 Informal interview and participant observation
· Week 11, July 24-30: 1 Informal interview and participant observation
· Week 12, July 31- August 6: 1 Informal interview and participant observation, preliminary draft of third essay
· Week 13, August 7-13: Prepare to leave, say goodbyes, ensure all reciprocity has been seen to, and tie up all lose ends
I will return from the field August 23, 2011. Most of my in-field coursework will be due by the beginning of October. I will draft my honors thesis in Writing the Honors Thesis (HONRS 300R) and in Writing a Novel (HONRS 301R). My advisor, Professor Bennion, will be in London during this time so we will be corresponding via email.
I will turn in my honors portfolio by January 15, 2012 and plan to defend this thesis before March 1st. Four copies of my thesis will be submitted by March 8th.
Budget:
Since I am going to India as a field facilitator for the ISP Field Studies Program, some of my costs will be covered. However, there are still several expenses I am responsible for. These costs have been converted to USD from rupees at the current exchange rate as of May 2011, which is 44 rupees to one USD.
· Airfare ($1,400, covered by Field Studies Program)
· BYU tuition (ten credit hours/semester, covered by BYU academic scholarship)
· HTH Travel Insurance ($120, already paid)
· Passport and Visa ($200, already paid)
· Vaccinations (already received from Ghana field study last year)
· Rent to live with Tibetan host family ($9.09 a night, adding up to $818.18 for the full 90 days)
· Food costs (averaging at $3 each day, for 90 days this will cost $270)
· In-country Travel ($150-$200)
· Internet and communication costs ($90-$150)
· Cultural activities, language and Buddhist classes at the library, etc ($300-$400)
· Reciprocity ($50-$100)
· Field Study application fee ($25, already paid)
· Field Study acceptance fee ($100, already paid)
Total Costs: $3,383 plus a semester of tuition
Total Unpaid Costs: $1,938
Closure:
I am very excited about this project, in fact, I have already started. While there may be very many limitations before me, I am looking forward to working through them and learning from this unique opportunity. My hope is that I can refine my travel writings and make my field study project even better if I can also turn it into my honors thesis.
Works Cited:
Basso, Keith. Wisdom Sits in Places. Albuquerque: University of New Mexico Press, 1996. Print.
Bell, Emily. “Structure and Identity: A Personal Examination of Universal Narrative.” Final Field Study Paper.Brigham Young University. 2010.
Geertz, Clifford. The Interpretation of Cultures. New York: Basic Books Inc., 1975. Print.
Lama, Dalai. The Art of Happiness: A Handbook for Living: New York: Riverhead Books, 1998. Print.
Leavy, Patricia. Method Meets Art: Arts-Based Research Practice: New York: The Guilford Press, 2009. Print.
Why We Tell Stories. Big Think. Creative Commons, 21 Sept. 2010. Web. 8 Feb. 2011. http://bigthink.com/ideas/24259
Appendix A: IRB
(Copy of approval letter)
Complete IRB application is available upon request.
Appendix B: Sample of potential informal interview questions:
· What are you doing in Dharamsala?
· What is it that you like/don’t like about Dharamsala?
· What were some of the events in your life that made you who you are today?
· What is your family like?
· What was the city you grew up in like?
· Can you give me an example of what an average day looks like for you?
· Do you have a favorite story?
· What do you think makes you different than the other people who are in Dharamsala?
· Where will you go from here?
· How do you want people to remember you?
Appendix C: URL of Blog
The URL for my India blog is www.rachelspassagetoindia.blogspot.com. Previous work on this topic can also be found on my Ghana blog www.obrunithroughghana.blogspot.com.
Appendix D: Working Annotated Bibliography
Benjamin, Walter. Illuminations. New York: Schocken Books Inc., 1968. Print.
This book brings up some great theoretical problems associated with the medium of photography in terms of authenticity, which is a medium I will be using on my blog. It is especially relevant to me when I am trying to do photographic representation of the people in Dharamsala. It also brings up an interesting argument about the necessity of having an “original” as a prerequisite to authenticity, which can be applied to travel experience in general beyond the photograph. His ideas greatly influenced my project in Ghana, and still show up in this one.
This source talked about the concept of universal narrative and why it is so quintessentially human. It was heavily cited, which caught my attention. It taught me that there are many similarities between basic plot lines no matter where in the world you find stories. The seven plots Booker rallies around are overcoming the monster, rags to rights, the quest, voyage and return, comedy, tragedy, and rebirth. Booker also says that it does not take us long after we start talking to begin demanding stories, which is evidence of our innate appetite for them. For the project I am proposing, it is necessary to have a few sources like this to justify going into the field at all.
Dalrymple, William. Nine Lives In Search of the Sacred in Modern India. New York: Borzoi Book, 2009. Print.
Nine Lives was one of the leading sources that inspired this project. I read it in my Peoples of India class and was immediately taken with the idea of creating a portrait of India through several unique and personal stories from people all over the country. This made me decide to do something similar but on the smaller scale—Dharamsala, India.
Delattre, Pierre. Tales of a Dalai Lama: Standpoint: Lost Horse Press, 1999. Print.
This was a fun, but pretty didactic source, packed with cautionary tales. I enjoyed it and found it relivant to my project because it showed me that Tibetan people have a history of storytelling and that it is still valuable to them. This was something I struggled finding when I did my research in Ghana. This book in particular also gave me some religious insights into Tibetan Buddhism, and referred me to other religious texts I can follow up on.
Diehl, Keila. Echoes from Dharamsala: Music in the Life of a Tibetan Refugee Community: Berkeley: University of California Press, 2002. Print.
This source is from about an ethnographer who looks specifically at how music impacts life in refugee settlements. It caught my eye because it is about the exact city I will be going to. It helped me learn more about the location—especially with how tourist based it is. At first this was discouraging to me, but hearing the author’s enthusiasm about the kinds of creative processes still going in Dharamsala inspired me to go there instead of South India.
Dukada, Shiho. "Life in Exile in Dharmsala" Photoshelter. 11 Mar. 2010. Web. 23 Mar. 2011.
This is a photojournalist blog by Ed Wrong and Shiho Fukada from the New York Times. This post was dedicated to representing Dharamsala. It was nice to see what kinds of photographs are possible and to see the location I will be going to from a more artistic angle. It also commented a little bit on equipment, which helped me prepare what camera I was ultimately going to take into the field.
Eck, Diana L. Darśan: Seeing the Divine Image in India. New York: Columbia University Press, 1998. Print.
This is another source that looks specifically at India. The word darsan means “to see” in Sanskrit, and more specifically about “seeing the divine image” and its importance in Hindu worship. I was interested in this book because of the limitations she identified about visual representation, saying that “it has been sometimes been claimed that the photography is a kind of universal language, but our reflections here make us question such a claim. Every photography and film raises the question of point-of-view and perspective—both that of the maker and that of the viewer.” It also “raises the question of meaning” and of “obstruction.” Even if a picture may “be worth a thousand words,” we still “need to know which thousand words” (16). This relates well to the photography component of my project.
Geertz, Clifford. The Interpretation of Cultures. New York: Basic Books Inc., 1975. Print.
This has been a foundational source for me for both this project and during Ghana. Talking about layers of interpretation and the importance of representing cultures with those dimensions is what fueled my desire to work with alternative personas. I tend to think it adds a lot of the authenticity of a work when these layers are present.
Grisham, Thomas. "Metaphor, Poetry, Storytelling and Cross-Cultural Leadership." Management Decision 44.4 (2006): 486-503. Print.
This source looks specifically at the Dalai Lama and his how storytelling may have contributed to his ability to lead his people. The article talks about the theory and benefits of poetry, storytelling, and metaphor when applied to cross-cultural leadership. It brings up examples and connections based on experience, and looks specifically at how these tools can be utilized by a leader to have good leadership skills and inspire people.
Gyatso, Tenzin. Freedom in Exile: The Autobiography of the Dalai Lama: New York: Harper Perennial, 1991. Print.
As my friend and formal field study student Emily Bell suggested, I read this autobiography of the 14th Dalai Lama to better understand why he is so insistent that Tibetans tell their stories with the rest of the world. I learned a lot of personal things about him (including his love for stories as a young boy), Tibetan culture, but also that there is a lot of value to hearing a personal story rather than simply reading about the Tibetan situation. It is more moving, and thus more powerful.
This little quote book is filled with lots of insights on Tibetan Buddhism. I read a page a night while preparing for this project, and I felt that I was able to learn more about some of the similarities and differences between Buddhists and my own tradition because this book outlined practical examples. It will help me to ask better questions and to be more informed of the peoples beliefs in Dharamsala.
Leavy, Patricia. Method Meets Art: Arts-Based Research Practice: New York: The Guilford Press, 2009. Print.
This has been one of my favorite sources as far as justifying the need for my kind of project. It is the kind of source I feel like I have been looking for ever since I started doing field studies and made it to the “methods and procedures” section of a proposal. It is a source for people “for whom these research conventions make what was once a passion start to feel more like a job” (1). It argues that by doing arts-based research we can “bridge and not divide both the artistic-self and the researcher-self” because there is a “profound relationship between the arts and sciences,” which it went on to say (2). It brings up some of the many benefits of art-based research by looking at “knowledge as a process, a temporary state” (9) and not necessarily linear. It is iterative, and helps us learn more about the process of meaning making (10).
This is one of the textbooks for my Creative Nonfiction (ENGL 317R) course. It is packed with personal essays all throughout history and has given me some great models to follow as I craft my own essays.
This interview with Margaret Atwood helped me to learn more about narrative theory, and specifically why the art of storytelling is so universally important. In this interview, Atwood says that one reason why we tell stories is because “language is one of the most primary facts of our existence.” It is what sets us apart from all other animals. “We know that people learn and assimilate information much more through stories than they do through charts and graphs.” This is precisely why I want to present my findings in Dharamsala through storytelling rather than strictly anthropological analysis. It seems more influential and interesting to a broader audience that way.
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