Page 232 - Communication Processes Volume 3 Communication Culture and Confrontation
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Grindmill Songs  207

                those involved. Processes of psycho-cultural transformation ought to
                emerge from within as the offshoot of internal dynamics. Failing this,
                cultural action runs the risk of becoming an exogenous manipulation
                or brain-washing, and cannot adequately result in drives and social
                practices capable of affecting the overall environment. Facilitation by
                outside agents differs from external ideological control. In this respect,
                cultural action means three things. First, it is for those directly con-
                cerned with an introspective effort of self-reassessment resulting in a
                renewed self-consciousness: a self-generating process of knowledge;
                second, this reflexive self-investigation is possible only collectively,
                through interaction within study groups of women reappropriating
                their own memory and building up anew together their own identity.
                Finally, this knowledge cannot but directly lead on to appropriate
                action.



                Cooperative Research Action


                The mere collection of songs is itself a difficult task. It requires a
                scholar capable of going from village to village to meet those elders
                who remember the songs, and write down their songs in their own
                words. But how can one single scholar complete such an immense
                task when the quantitative extent of the tradition is tremendous? 3
                We cannot expect village women to carry out a systematic collection
                either, let alone classification, and further embark on a valorization
                drive following preliminary analytical tasks required to that effect.
                Then, besides difficulties of time and material limitations of all sorts,
                cultural and linguistic differences immediately crop up as serious
                qualitative obstacles. The meaning of the words and the motives of
                the short couplets have often to be ascertained from singers as well as
                the contexts of their composition. Moreover, singers have developed
                attitudes of secrecy. They have their doubts in front of a person coming
                from a milieu alien to theirs: how will information and words collected
                be used? Taking over people’s living heritage for purposes alien to
                the latter and its endogenous valorization is ethically objectionable.
                A sincere and familiar relation of companionship and fruitful coopera-
                tion ought to be built up. Still how, on what basis, and on account of
                what sort of legitimacy?
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