Tuesday, 3 February 2015

Coupe-Decale Liege: Reflections on my first couch-surfing experience.

Reflections on a couch-surfing experience.

Upon first meeting my Parisian friend at Montmartre, his interest in my project and general candidness immediately struck me. While I had hoped that we would initially meet in a bar or coffee shop to break the ice, he invited me to his apartment. It was a fabulous place located at the top of the Montmartre steps overlooking the entire city. From his window,  Paris shone bathed in a rare winter afternoon sun. Sam sat me at a table buried in books on subjects ranging from the origins of Hip Life in Ghana to political modes of expressions in African popular culture. At this point, my conviction that Sam and I would get along was confirmed. Hours flew by as we discussed our perceptions of the Coupe Decale movement and exchanged views on the coded forms of expressions embedded in the music. Sam, like many scholars who had gotten too close to this movement, had a very ambivalent view. Torn between his general love for African music and the dubious, rather criminal origins of Coupe Decale – I had the impression that his research had left him with a rather bitter taste in his mouth. Nonetheless, he still proved to be an excellent resource for general fieldwork advice, contacts and a myriad of lessons learned.

During the closing phases of our discussion, we realized that we were both headed to Amsterdam soon. Moreover it happened that Sam was also interested in watching a show called “Coupe Decale” that was soon going to stop in Liege, Belgium. Sam had actually forged a close relationship with James Carles (the show’s director and famous dancer/choreographer in Toulouse), who had given Sam some guidance during his own research. Quickly, it was decided that we’d go to Belgium together to watch the show. Since my original base in Belgium was at my cousin’s who lived in Antwerp, hundreds of kilometers away from Liege, catching a midnight train back to Antwerp after the show did not seem like a feasible option. After some rather rocky logistical issues, Sam arranged for us to stay with a Couchsurfing host who had a place in Liege.

I arrived in Liege a couple of hours before Sam as I had scheduled an interview with the show’s director. After some frustrating moments spent getting lost and hopping from bus to bus, I finally found James’ hotel. A few moments after I was announced, James came down and led me to the hotel bar. The interview went fast and was fairly unfocused. I kept fumbling my papers and struggled to keep my questions open-ended. Nonetheless James, perhaps sensing my lack of experience, was very patient and provided me with lengthy and very detailed responses – sometimes even answering questions that I had not explicitly formulated.  

Our meeting was cut short when my friend Sam called to announce that he had just arrived in Liege and that we were invited for an 8 pm dinner at our Couchsurfing host’s. I left James’ hotel for the address Sam provided me and found myself in an older neighbourhood of Liege. During our initial communication, Sam had warned me that we would be staying in a studio apartment where our host had been generous enough to offer us a mattress on the floor. I was however surprised to find that we were actually being lodged in a 3 floor townhouse where we actually had a separate (but shared) room.

Dinner with our host went well. The conversation revolved mostly around our shared experiences of various cultures and our individual trajectories. She was fascinated with our story and curious to find out how Sam and I went from complete strangers to travel mates in such a short time.  We did our best to tell her about our common interest in Coupe Decale, our relationship with James Carles and our interest in the following day’s show. She kept an open mind and a lot of patience as Sam and I went back and forth arguing as to what we thought were the true ideologies behind the movement. Before bidding her goodnight, we invited her to see the show with us the following day so she could see for herself what the fuss was all about. Sam and I finished the night in a Congolese bar bordering the Meuse, sharing research findings and opinions while sipping on cheap Belgian beer.

Until this experience, I had always considered Couchsurfing  a “dangerous practice”. It was hard for me to conceive that one could open his/her doors to complete strangers exposing themselves to all sorts of potential catastrophes. However, this experience proved to me that this perception could not be further from the truth. People like Sam and our host, made the experience thoroughly enjoyable. I learned about another culture, exchanged ideas and shared a genuine experience with other fellow human beings. Life should not be lived fearing interactions with our neighbours, it should be lived to embrace differences and accept others for what they are. I am, of course, not arguing for recklessness or imprudence since I am well aware that not everyone out there has the noblest of intentions. However, if we decide to somewhat lower our guard we might discover how sublime other individuals can be, and remind ourselves of our own ability for true and disinterested kindness.
















Monday, 26 January 2015

Paris - Douai - Lille - Antwerp

Here are a few photographs from my travels thus far :)
Paris, France - Montmartre
Paris, France - Montmartre
 Paris, France - XVI arrondissement
 Paris, France - Bibliotheque Nationale de France
 Paris, France - Gare du Nord
 Douai, France
 Paris, France - Montmartre
 Douai France, Belfry
 Lille, France - Sacre Coeur
 Antwerp, Belgium - Station

 Antwerp, Belgium - Station

Bons baisers de France

If I haven’t posted anything since the beginning of the new year, it is because it has been hectic with unfortunately very little time to post. I have arrived in Paris on January 15 (10 days ago).Between getting lost, managing jet lag and being a tourist  - I have managed to meet with 2 scholars, 2 journalists and many Ivorians. Everyone I have told about my project so far finds it odd but happens to be genuinely interested.

Unlike in North America, people seem to generally have a better familiarity with the music I intend to study (Zouglou and Coupe Decale). This is perhaps due to Magic System popularizing the Zouglou genre and various Coupe Decale songs topping summer charts in France (Decale Gwada, Ami oh etc.). However, very few people seem aware of the real origins of these genres and the circumstances of their emergence.  Answers I have received have varied widely but all seem to center around a common theme. People understand Coupe Decale to be a “musique d’ambiance” (party music) with somewhat unclear origins. The meaning of the term “Coupe Decale” itself is subject to serious ambiguity. It can be translated directly from French to mean “Cut and Shift”, or it could be translated into Nouchi (Abidjan French) to mean “Steal and Run Away” or some attribute its etymology to the Attie town of “Akoupe”, an ethnic group in Cote D’Ivoire who are said to have inspired the dance. To a lot of people Coupe Decale is just to dance and party – that’s about it.
On the other hand Ivorian people I have spoken with have identified Zouglou to be the “music with the message”.  “I listen to it when I want to reflect on life”, a friend in Chateau D’eau told me. It’s fair to say that Zouglou’s message seems somewhat more overt and accessible. The style has always been highly political and, until the early 2000s, has often been used to denounce wrongs in Ivorian society.

On my quest to find the true meaning of Coupe Decale, I have been recommended Henry Louis Gate Jr.’s book “The Signifying Monkey”. Even though I have yet to get a hold of a copy, my current research has led me on a path rich with African folk tales and layers of meanings. I am at the moment convinced that Coupe Decale carries a very strong political message, I just need to unveil it somehow! In order to do so, I will need to analyze the songs, dances, clothing and discourses of various Coupe Decale “actors”. These actors will include artists, promoters, record labels etc. found in the Coupe Decale universe.  Thankfully, I have been able to set up a series of meetings with these various actors starting tomorrow. I will soon be off to Mons in Belgium to watch James Carles’ piece “Coupe Decale” and hopefully interview him and obtain his views on the political nature of this genre. I could not have asked for a better way to start this project!

Friday, 26 December 2014

Some Christmas vibes.

It is that wonderful time of the year again. It is funny to think that last year around this time, I had just put in my final application for the Renaissance Award and I hoped (but certainly didn't expect) that I would be selected. If we rewind time even further back - 15 years to be exact - it was in Benin that on December 25, 1999 Radio France International announced to my family that a coup had just deposed President Henri Konan Bedie of his functions. The new president, the General Robert Guei, was welcomed by most as "Papa Noel en treillis" (Santa Claus in Camouflage). He promised to "sweep" the government clean and be on his way. Unfortunately, he failed to keep his promises and was eventually killed on September 19, 2002 during the night that marked the beginning of the first Ivorian Civil War.

However, it is not to these sad events that I want to dedicate my Christmas blog post. It is to a song by Yode and Siro called Victoire (Victory). The song tells the story of a brawl between Jesus and Satan in the popular neighbourhoods of Abidjan (i.e. Good vs Evil). Even if my analysis of the song will be somewhat limited, I hope that through the lyrics and video you will be able to capture the complexity of this musical genre made evident through its use of rhythm, dance, satire and humour. The message is also so Christmas-sey! Also, notice how Jesus is depicted as white-skinned and Satan is depicted as black-skinned? Hopefully more on that sort of self-violence later...

In the meantime C'est cadeau! On s'enjaille un peu non? (This is a gift! Let's have little bit of fun!)

Merry Christmas and Happy Holidays to all =)

ORIGINAL
TRANSLATION
Dieu a créé son monde avec tous ses habitants...
tellement amour il a créé aussi Satan...
mais dans la vie tu sais qui peut te frapper,
tu ne sais pas qui va te tuer.
Lui Satan, tellement mauvais il a blagué Adam et Eve et il a pris le monde de Dieu.

Ça a chauffé! (Victoire) Ça a chauffé! (Victoire)

Dieu pour sauver son monde il a envoyé son fils unique,
avec un plan de bataille.
Jesus est arrivé il a créé beaucoup d'églises.
Assemblée de Dieu: attaque tous le maquis.
Royaume de Dieu: attaque les cinémas. Protestant-Baptistes: Eux ils se promènent pour prêcher.
Tellement fâché il a créé des églises aux bords des plages, la bas on porte pas chaussures. 

Ça a chauffé! (Victoire) Ça a chauffé! (Victoire)

Un jour moi je passais c’est là Satan il m’a appelé.
Il dit: “Jésus a les foutaises. Il a pris mes maquis. Il a pris mes cinémas. Aujourd’hui tout va finir”

Satan est arrivé dans un Kimono noir, Timberland dans son pied.
Son nez était percé.
Tellement digba il ressemblait à Goliath, Goldorak. On dirait un cyborg.

Une lumière jaillit c’est la Jésus est arrivé, dans un Kimono blanc,
Sebago dans son pied, cheveux bien coiffes.  
Tellement petit, j’ai dit Satan va le tuer.

Ça a chauffé! (Victoire) Ça a chauffé! (Victoire)

Jeux de jambes de Jésus, jeux de jambes de Satan, il n’y  a pas eu ouverture. Le gnaga était serré.

Coup de pied de Satan, Jésus a bloqué.
Coup de tête de Jésus, Satan a dribblé.
Le gnaga était mortel.

Ça a chauffé! (Victoire) Ça a chauffé! (Victoire)

Tellement ça a chauffé,
tout Adjamé était sorti.
Abobo est venu.
Koumassi était présent.
Même le Gbata était témoin.

Ça a chauffé! (Victoire) Ça a chauffé! (Victoire)

Jeux de jambes de Jésus
Ouverture de Satan
Jésus n’a pas Dindin, un petit crochet. Le Goliath a pris KO.

Oh Victoiiiiire!

God created His world with all its inhabitants,
so full of love he also created satan...
but in life you know who can beat you, but you don't know who will kill you. Satan was so evil that he misled Adam and Eve and stole God's world.

It was a heated battle (Victory)
It was a heated battle (Victory)

In order to save his world,
God sent His only son with a battle plan. Jesus came down and created lots of churches.
Assembly of God: Attacked all the bars. Kingdom of God: Attacked all the cinemas.
Protestants/Baptists: Those went around preaching.
He was so angry that He created churches by the beaches where they don't wear shoes. 

It was a heated battle (Victory)
It was a heated battle (Victory)

One day I was walking by, that’s when Satan called me over.
He said: “Jesus is so disrespectful! He took over my bars. He took over my cinemas. Today we will settle this.”




Satan came in black Karate Gi. He had Timberlands on his feet. His nose was pierced. He looked so strong, he looked like Goliath, or Grendizer; he looked like a cyborg.



A light flash, and then Jesus appeared in a white Karate Gi,
He was wearing Sebago shoes.
His hair was neatly combed. 
He was so tiny, I said Satan will kill him.




It was a heated battle (Victory)
It was a heated battle (Victory)

Jesus does some footwork, Satan does some footwork. No opening. The fight was tight.

Satan throws a kick, Jesus blocks!
Jesus tries a headbutt, Satan avoids it.
This fight was deadly.



It was a heated battle (Victory)
It was a heated battle (Victory)

It was such a heated battle, that all of Adjame came out.
Abobo came out.
Koumassi was there.
Even the Gbata witnessed it.

It was a heated battle (Victory)
It was a heated battle (Victory)

Jesus does some footwork,
Opening from Satan.
No hesitation from Jesus
He throws a little hook,
The Goliath is KO!

Oh Victorrrryyyyy!





Full song with lyrics available here: 



Saturday, 6 December 2014

"Neo: I know ethnography… Morpheus: Show me."

If you’re a Matrix fan like me, you will probably recall which scene of the original movie the title of this post refers to. If not here is a little refresher: 


This past semester has probably been the most challenging one of my entire academic career. Between the unreasonable amounts of readings and writing I had to complete each week; the intellectually stimulating discussions with my peers; work; my own research and my ethics review application; I am surprised to have made it this far without giving up!

In September, I was catapulted into a class in which, I realized with profound horror, I was going to be a minority in every aspect (academic background, race, gender, age etc.). My initial fears were confirmed when I was first assigned 6 papers to read and "prepare" for the next class’ discussion. I had never been asked to read 80 pages of heavy theory on such short notice (one week). Moreover, my progress was seriously impeded by my having to look up every other word in the dictionary. While I was delighted to finish the last article in the 30 minutes that preceded the beginning of class; my excitement quickly faded when I realized that even though I had read the texts, I certainly hadn’t "prepared" them. My peers had come organized with detailed notes on each article complete with excerpts and references ready to answer the questions that had been pre-circulated. I, on the other hand, sat blankly staring at the papers I had read, yet never bothered to highlight, tab or annotate. At that moment I felt utterly inadequate; I was ready to throw in the towel and cry that the social sciences weren’t for me. However, with the support of my classmates and professor I managed to muster enough confidence to persevere on this foreign path. With each passing week, I understood with more clarity what the expectations of the class were. With each passing week, I also slowly began developing a different way of looking at the social field.
This new worldview would force me to trade theoretical and empirical equations – which until then were for me the only acceptable way to describe my environment – for more nuanced approaches to generating knowledge. I came to learn that, unlike in engineering where the behavior of materials could be predicted to various degrees of accuracy and error could be quantified, human behavior was significantly more complex, and thus less readily predictable. To further complicate things, the immeasurable amounts of interconnected variables affecting individual and social agency make the social scientist’s – and more particularly the ethnographer’s– task especially difficult.

So what exactly is ethnography? To be quite frank, I am not sure I can give a straightforward answer to the question. Some respected scholars might also not be able to. It seems to be one of those disciplines that everyone intuitively understands and practices, yet cannot easily define. At first, I understood ethnography to be synonymous with fieldwork, but I was very wrong. While the two are often hard to dissociate, I came to realize that ethnography is a very particular way of doing, reporting and analyzing fieldwork.  By using his/her body as a learning apparatus, the ethnographer attempts to access the social database in order to decode elusive messages and translate them to a non-trained audience. However as it is the case with language translation, cultural translation is often dependent on the translator’s skill and sensibility to nuances, as well as by the inherent compatibility between the language pairs.

This is what I am hoping to do over the course of my research. Understand Zouglou and Coupe-Decale as seen through the eyes of a variety of actors (musicians, scholars, producers and consumers etc.) and translate it to outsiders. I am hoping that by immersing myself in the culture, I can go beyond an analysis of the songs’ lyrics and uncover meanings encoded within the dances, the lifestyles and the discourses while paying attention to their relation to politics. I am hoping to hang out in universities, libraries, Afrobeat nightclubs (in Paris), dance schools, concerts, maquis (open-air bars in Abidjan) etc. to undertake my research. These places will constitute my laboratory and my body will be the instrument.
So far, this Renaissance experience has forced me to explore my own uncharted intellectual limits and completely kicked me out of my comfort zone. I am set to leave Canada on January 14 and return on June 17 of next year (God willing). As I quite literally put my other life on hiatus, I am excited to explore the opportunities that this new one has to offer. My adventures are set to potentially take me to France, Belgium, the UK, Cote D’Ivoire and possibly other places. You can expect a new and improved Juste upon my return!



Sunday, 9 November 2014

Petit Yode and L'enfant Siro's "President" - An ethnographic analysis

President by Petit Yode and L'enfant Siro (2002)  


In 2002, it was against a background of revolts, rebellion and political turmoil that president Laurent Gbagbo was sworn into office. As the release of their album was coincidental with these events, it may have seemed fitting for Petit Yode & L’Enfant Siro to include a song discussing the socio-political conditions of Ivory Coast at the time, specifically as they related to Laurent Gbagbo’s rise to power. Even though the song only offers a limited amount of mostly textual data, accessible only through its lyrics, there is still value in dedicating efforts to study it so as to better comprehend the complex socio-political context of Ivory Coast in that particular era (i.e. 2002-2010).

Prior to diving into a semantic analysis of the song’s lyrics, it may be more important to initially note the genre in which this song is performed. This song is in fact delivered in the Zouglou genre, a musical style noted for being contentious and used to denounce the ills of society. Yet, the song’s message seems to oppose this convention since the artistes appear to offer their support the newly elected president. The phrase “C’est toi mon president” (translated: you are my president) chorused through the song suggests evidence of such support. As the artistes juxtapose these genre conventions against this non-dissenting message, questions immediately come to mind. Is this a simple appropriation of the genre for other purposes (i.e. the stage of social reconstruction as described by Emielu in his social reconstructionism model[1])? Or were there perhaps other social and political forces present in Ivory Coast at the time that limited the autonomy Yode & Siro’s discourse?

It is worth noting that even though the country was divided between government-controlled and rebel factions, the discursive space offered through music at the time remained heavily controlled and influenced by the government, even if indirectly.  Thus, any musician (or artist for that matter) who openly criticized the established power was automatically labelled as “anti-patriotic” and was quickly ostracized from society. Iconic musician Tiken Jah Fakoly and writer Ahmadou Kourouma are examples of such artists who confronted Laurent Gbagbo’s politics and were subsequently forced into exile. As the country became partitioned due to conflict, so did the music. Songs produced during that period fell into one of two categories “Loyalist/Patriotic” music and “Other” music.
This song may be said to belong to the “Other” category but also forms part of an emerging genre of popular African music termed by Daniel Künzler and Uta Reuster-Jahn as the “Mr President: musical open letter” (Künzler & Reuster-Jahn, 2012). If these artistes expected to gain any form of government-sponsored airplay, they needed to exercise a certain level of obligatory self-censorship. However, if actions can at times speak louder than words, one can speculate that their decision to sing this song in the contentious Zouglou style is perhaps a shy, yet muted expression of resistance against the new political order. Many Zouglou artistes chose, after all, to either remain silent during this period or switch to the less lyric-centric styles (e.g. Coupe-Decale).

By using heavy metaphors associated with sports (most likely soccer), the song describes the new president as an ex-, and heavily critical spectator of the political scene who has now been bestowed with referee duties.  The performers warn him that all the criticisms he used to cast on other political actors will in turn be cast on him.

Original
Translation
Aujourd’hui tu es l’arbitre et tu es sur le terrain/Il y a d’autres dans les tribunes qui crient sur toi comme tu faisais auparavant/Alors ne dis pas qu’on veut te tuer
Today you’re the referee et you’re on the pitch. There are others in the stands yelling at you like you used to do to others. So don’t say that they’re trying to stress you out

The choice of soccer as a metaphor to describe the political situation may be interpreted as an homage to the popularity of the sport in Ivorian society, but also as a translation apparatus to render to complex political context accessible to an audience who may not fully understand it. While this song is mostly rendered in French and can hence be understood by any person with an average understanding of the language, it is important to take Nouchi (Ivory Coast slang) into consideration in our analysis. A particular adage resonates throughout the piece. It says “Il faut nous excuser mais en Zouglou on dit “Gbeh est mieux que Dra” (translated: You must excuse us but in Zouglou we say “Gbeh is better than Dra”). This saying remained cryptic to me for a long time until I solicited the help of a few Ivorian friends in my attempts to decipher its meaning. Despite the variety of answers I received, they all suggested an interpretation along the lines of “It is better to be told the hard truth now, than to find oneself in an embarrassing situation at a later date”. “Gbeh” could then be ostensibly refer to the “hard truth” while “Dra” refers to “embarrassing situations”. If words used in the context of Zouglou language do not share a one-to-one relationship with English, one should then exert caution in interpreting (linguistically, ethnographically or otherwise) lest the true meanings remain persistently elusive.

Even if this song appears to be directed towards Laurent Gbagbo, his name is never uttered. The song thus becomes liberated from the historical context of its occurrence. It is a song that may have originally been directed to one person, yet remains universally applicable to any African president who may have gained power through “calamitous circumstances”. The reminder below is testament to this claim:

Original
Translation
Tu te rappelles President, ce sont les marches qui t’ont amene au pouvoir
Mr le president ne pertube pas les marches

Mr President, you must remember that you came to power through protests. Therefore Mr President, don’t suppress protests.

Today 12 years after its original release, the relevance of this cautionary song is all the more emphasized as the ex-president of neighboring Burkina Faso, Blaise Compaore, was recently deposed through popular uprising after a 27 year reign. The new acting head of state, Isaac Zida, may very well benefit from the same warnings articulated in this music. Whereas archival records often offer an immobile depiction of the state of society at a given time, the bifurcated aspect of this song as a contextual depiction of socio-political landscape of Ivory Coast circa 2002, and as an independent piece that can transcend spatial and temporal boundaries makes it especially compelling. It therefore needs not be situated in a particular geographical context but rather amongst a set of given social circumstances which serve to highlight its relevance.

Bibliography

Emielu, A. (2011). Some theoretical perspectives. Popular Music, 371–388.
Kohlhagen, D. (2005). FRIME, ESCROQUERIE ET COSMOPOLITISME: Le succès du « coupé-décalé » en Afrique et ailleurs. Politique africaine, 92-105.
Künzler, D., & Reuster-Jahn, U. (2012). “Mr. President”: Musical Open Letters as Political Commentary in Africa. Africa Today, 89-113.
Yode, P., & Siro, L. (2002). President. Abidjan.




[1] Social reconstruction: The main features of this stage include: multiple modes of expressions which may or may not directly derive from the original core essence; attempts at fashioning out a new direction and a new core essence for the product; and attempts at locating the musical stream within a new socio-economic, artistic and cultural space. (Emielu, 2011)

Sunday, 2 November 2014

Don Mills to Kennedy: Interactions between strangers on the TTC - An exercise in participant observation.

So I'm not sure if I mentioned this before, but this blog is about a student with an engineering background hoping to complete an anthropological project. What exactly is he thinking? Thankfully, I have great guidance from Prof. Andrew Gilbert! I currently sit in his Ethnography and Research Method class and he sometimes makes us do "weird" things. Like sit and observe people on the subway for example! Below is a report I produced as a result of one of those exercises. The technical term is participant-observation by the way. There, have some anthropological knowledge; you're welcome. In other news, the president of Burkina Faso has fled to Ivory Coast. Seriously hoping that this doesn't dig out what seems to be a buried hatchet. More on that later.  

I still had not clearly conceptualized my topic of exploration when I set out to ride the TTC subway system on Friday afternoon looking for “interactions between strangers”.  Questions swirled around in my mind as I nervously walked across the parking lot that connects Fairview Mall to the Don Mills subway station. What exactly were these “interactions” that I was supposed to observe? How would I differentiate between strangers and non-strangers? What if people thought I was creepy? What were the factors that would determine whether or not my experience was successful? As I reflected upon these questions, the first obstacle of my trip presented itself: I did not have any change. Fortunately the attendant, in an unexpected display of sympathy and cooperation, granted me a free ride. The gods of ethnography must have been on my side.
Still unsure of what I was supposed to study, I climbed down the stairs leading to the train platform and took a mental snapshot of my surroundings. Undoubtedly, the architectural features of the space quickly attracted my engineering mind; I instinctively noted the use of acoustic baffles in the ceilings to mitigate reverberation, the gigantic scale of the corridors, the ceramic tile mosaics used to garnish the walls (probably selected for their ease of maintenance) etc.
Moments later, the train came hissing in and some patrons debarked whilst others boarded. For the first time in almost 8 years, I rediscovered the remarkable order and seamlessness with which this process occurred. Contrasting this with experiences of aggressive pushing and shoving necessary to negotiate my way around places back home in Benin, I took note of this convention of cooperation that exists within the TTC ridership culture.
From Don Mills to Sheppard-Yonge station, I decided to focus my attention on a pair of friends (let’s call them Friend #1 and Friend #2) that occupied the seat across from me. Their body posture betrayed their familiarity as they practically leaned against each other for balance while tapping away at their phones. The polarity I observed in this interaction – perceptually distant yet physically intimate – motivated my questions for the remainder of my trip.
How do TTC riders create distance or intimacy in the bustling environment of the subway system? How is the concept of personal space renegotiated in a setting that constantly attempts to upset it?
With a more focused problem in mind, I hopped onto the stainless steel clad train that serves the Yonge-University-Spadina line in search of more clues. On board, I was quickly distracted by the clear unobstructed views of this train and how futuristic the interior felt. The absence of partitioning walls between cars transformed the train into a clanging worm-like machine with ends extending indefinitely in either direction. Across from me, I noticed another twosome (Friend #3 and Friend #4), this time actively engaged in conversation. Despite my relatively close range I was incapable of discerning any words. The racket created by the train and other ambient sources of noise were remarkably effective at masking speech and creating privacy in the process. Using this trick, Friend #3 and Friend #4 could insulate themselves from the rest of us by naturally adjusting the volume of their voices in order to remain unintelligible. 
In spite of its relative openness, the train created an environment that allowed patrons to create clusters of immediacy or separation as necessary. By means of simple codes, individuals could either create physical/social barriers to isolate themselves from the rest of the train (use of earphones, video games, empty “buffer” seats, sleep, body language etc.) or engage in behaviours that promoted social interaction that shatter those barriers in the process (discourse, physical proximity, eye contact etc.)
Even though my original itinerary was set to take to me all the way to Union Station then back, I impulsively detrained at Bloor-Yonge station. So far, every train I had boarded had not really been congested and I started recognizing that my seated position probably restricted my ability to collect sufficient data.
Just as I had hoped, this new train was densely packed and no longer had any available seats. I was now forced to stand along with the other patrons, conceding to them more of my space and stealing a little bit of theirs too. However effective this new vantage point was, it also presented some practical difficulties. Writing in a notebook while simultaneously holding onto the grab bars for balance required a great deal of dexterity that I hopelessly lacked. My phone thus became my new notepad. At this point it dawned on me that I was no longer simply observing people’s behaviours on this train but was now a full-fledged participant.
In fact, cell phone/tablet usage is a very prominent method of creating social barriers on the train. More than simply means of distraction, these gadgets offer an opportunity to their users to reclaim some of the space they forfeit to other patrons by way of immersion in a profoundly personal realm. The claustrophobia induced by the train environment can hence be mitigated since physical barriers cannot always be practically constructed.
The use of accessories such as earphones further enables individuals to “trade” additional physical space in exchange for a deeper immersion in their personal worlds. In these instances, unintentional physical contact which is usually followed with prompt apologies is more readily tolerable and is even sometimes ignored. 
My journey came to an end at Don Mills station, my original departure point. The empty station where I had started my voyage was now swarming with commuters eager to begin their weekend. I understood the importance of the vast corridors as I re-observed this space now stressed by all this busyness.

My experience riding the TTC subway certainly gave me some insight into the instruments used by TTC riders to construct or deconstruct social and physical barriers in the subway environment. However, it also did raise some questions that are beyond the scope of a 2-hour exercise or a 2-page essay. For example what is the significance of puzzles and other cognitive training games such as Bejeweled, Tetris or Blocks for TTC riders? How do unexpected distractions caused by actors such as toddlers captivate attention and contribute to the destruction of the barriers that have been constructed by individuals? Those are all questions that could require additional trips and further investigation.