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Imbert OrchardImbert Orchard [1909-1991] was the first person within the CBC to extensively chronicle the experiences and record the voices of the many unsung pioneer Canadians who had played a part in the development of Canada’s frontiers. Apart from the BBC’s Charles Parker, Orchard was the first radio producer who can be said to have bridged the worlds of oral and aural history. By his own estimation, during his career Orchard travelled more than 24,000 miles and interviewed almost 1,000 people on tape. In addition to Orchard’s prolific CBC output of ‘programmes as broadcast’, a large proportion of the material he collected was never broadcast. Fortunately both the programs and the original interviews have been preserved as the ‘Living Memory Project’, at the Provincial Archives of British Columbia. It is the largest oral history accession in the archive, and the quality, scope and the age of the collection make it exceptional, and a foundation of oral history within the province. The archival holdings of Orchard’s work amounts to 2700 hours of taped interviews, from which were distilled approximately 300 radio programmes. Some material from this rich and deep collection has also been used as the basis for three issues of Sound Heritage, the series of journals and monographs of what was then called the ‘Aural History Program’ at the Provincial Archives. Born Robert Henslow Orchard in Brockville, Ontario in 1909, Orchard received his education in Ontario and at Harrow public school in England, before going on to study History and English Literature at Cambridge. Returning to Ontario, he developed an interest in local history, before his career took him into the fields of education and theatre. It was the Second World War that brought Orchard to British Columbia (B.C.) for the first time - the province in which he would later conduct his life’s work - and in the course of military camouflage exercises during the war he developed further insight in the character of the province. As well as the rugged beauty of B.C., he appreciated the epic quality of the stories that people told in the province, the strength of the Native American presence, and the way in which - as in Newfoundland - the harshness and variety of the terrain and climate had ‘shaped’ a distinctively independent and resourceful population. He was also intrigued, as he later noted, by the rapidity of settlement and industrial growth in the ‘young’ province, ‘condensed’ into two decades (the 1880s and 1890s), whereas in other provinces like Ontario the process had taken a hundred years longer. After war service, Orchard taught theatre at the University of Alberta, before returning to British Columbia in 1955, where he was hired by the CBC in Vancouver, as a regional script editor for television. His move to radio was somewhat of a happy accident; in 1959, Orchard met Constance Cox, who had grown up in Hazelton, B.C. in the 1890s, and he recorded her reminiscences of that era with the intention of using the material as a basis for a book. Instead the interviews eventually formed the nucleus of a series of 15-minute radio programmes for the CBC. Entitled Living Memory, the series was researched and compiled by Orchard, and first broadcast in 1961. Public reaction to the series was positive, so Orchard set out to on a special trip to the Skeena River and Bulkley Valley regions to record interviews with local pioneers. The Skeena trip resulted in a second Living Memory series, followed by a third about Victoria, a fourth about the Fraser Valley, and a number of longer special programs. In 1967, Canada’s centennial year (this was an important landmark in CBC policy, as we will see), Orchard produced a special series of 13 one-hour programs for the CBC. Broadcast nationally as From the Mountains to the Sea, each program focussed on the history of a particular region of British Columbia. This was followed by a regular series of half-hour programmes called People in Landscape, of which more than 90 were produced and broadcast between 1968 and 1972. In his radio work Orchard undertook extensive fieldwork throughout the province, seeking out and recording the pioneers of each region before they died. Despite not having any contacts in these areas, Orchard found it easy to make connections within the communities, asking at post-offices and garages for the elders of the communities. Orchard came to favour the serendipity of such an approach, building up from interviews in small communities a holistic portrait of the entire country: I’m very interested in the fact that this way of doing things, going through the country in that way, you find the story of the country. You get them to tell you the story of the country and the story of their experiences in the country. So I’m not looking for any particular subject as a rule (Orchard, quoted in Duffy and Mitchell 1979). Like many radio producers, Orchard often relied on serendipity, and did not apply the fastidious approach to soliciting accounts typical of many oral historians. Specifically, because he had little time during the course of his journeys to do extensive preliminary research, his interviews were generally unstructured and his questions open-ended in nature. Like Denis Mitchell, his intention was to provoke a spontaneous flow of reminiscences from his interviewees, which he could then shape in the cutting room. After having gathered this kind of oral history material, Orchard was sometimes interested in the montage possibilities of tape editing. At the macro compositional level of radio production, he created radio programme forms that reflected their subjects. Barry Truax has observed this very principle at work in Orchard’s sound documentary “Skeena, River of the Clouds”, in which [Orchard] creates a flowing ‘stream of consciousness’ in sound by skilfully linking different speakers, sometimes with such smoothness that each seems to continue the thought of the previous one without a break. The river of voices flows as relentlessly as his geographical subject (Truax 2001: 221-222). Conversely, in Fortunate Islands (issued as Orchard 1976), Orchard created “islands of voices, each group having its own character and linked by the ambience of the boat ride by which the various Gulf Islands are visited” (Truax 2001: 222). It would be prosaic, therefore, to say that Orchard aimed to ‘set’ the people he interviewed as figures within the visual landscapes that surrounded them, as in a painting. In the above examples, there is intended to be no such degree of separation between people and landscape, just as form and content shape rather than determine each other within these documentaries. Therefore, perhaps it could instead be said that he aimed to explore and to communicate the organic, symbiotic connection that existed between the rural Canadian pioneers or Native Americans and their formative environments, the ‘virgin’ untamed land that they had tried to cultivate, and which had sustained their existence. To convey these structures of feeling in a tangible form, as interpreted through the senses, Orchard often attempted to solicit the sensory information ‘encoded’ in the past experiences of his interviewees: I think that if you are able to see things and to bring out what people saw when you’re interviewing them, you are bringing the missing dimension into sound. It’s important to be aware of the other senses. I would often get people – if I could, if they were that kind of person – say, “What did it sound like?” “What did it smell like?” “What did it feel like?” The senses: I’d get them to describe something in words. I think this is very important for the interviewer, because I think you’ve got to bring these other senses into this one-dimensional sense medium (Orchard 1978). Orchard had clearly grasped a fundamental aspect of the listening process – that sensory information such as sounds and smells are “stored in the memory, not separately, but in association with their original context” (Truax 2001: 19). Ideally, when transmitted to the listener such reminiscences are to some extent ‘reconstituted’ in his or her imagination through the faculty of hearing. Through this ‘one-dimensional sense medium’, the listener has the ability to create “multi-sensory imagery within the mind” (Ferrington 1994), in an acoustic equivalent to the way in which a prism separates white light into its constituent spectrum of colours. Despite the impressionistic propensities of Orchard’s work, however, and set against the example of the Radio Ballads, Orchard’s work followed a fairly traditional documentary formula. He frequently made use of formal narration and prose, and, in the opinion of radio producer and oral historian Charles Hardy III, failed to consistently exploit the “creative use of sound [alone] to help contextualize or tell the story.” (Hardy III and Dean 2006: 520-521). We must not disregard, however, experimental approaches to formal narration, prose or commentary voice-over, which can be effective in creating what Alan Beck has termed, in his discussion of radio drama, “subjective point-of-listening”. The actor-speaker can make use of proximity to the microphone, meaning that “the voice is coloured differently in these close positions, displaying more and more of the individual’s vocal mechanism”, and creating a neutral, ‘interiorizing’ acoustic which contrasts with the surrounding scene(s) (Beck 2001). In recognition of this, Truax has observed that “Orchard’s training in the theatre accounts perhaps for the sensitivity and vividness of his use of the voice in running commentary sections, a technique that he uses with great effectiveness to draw the listener into a scene” (Truax 2001: 221). Many of Orchard’s programmes involved the interweaving of recorded sounds and voices with running commentary and historical re-enactments. The intention was to evoke a specific sense of time and community, through the creative presentation of oral testimony. For instance, in A Journey of Two Summer Moons (broadcast in 1974, see Orchard 1974), Orchard made significant use of what he termed ‘aural space’ or ‘atmos’ (sound ambience). In the documentary, Orchard and Vancouver actor and broadcaster Peter Haworth retraced the journey undertaken by the explorer and fur trader David Thompson in 1807, which entailed the first crossing of the Rockies. Orchard recorded conversations between himself and Haworth during breaks in their journey, in which they stopped to talk about what they had seen and speculate about what Thompson was likely to have seen and done in the same places. Orchard’s mobile use of the tape recorder here determined that a number of ambient sounds were picked up, “such as belong to a quiet river, a rushing mountain stream, bulldozers building a dam, a windy promontory, birds, the gurgle of water under a bridge, road traffic, a train” (Orchard 1974: 34). This use of aural space, as much as the dialogue, helps to define the local within this documentary feature, and enables the listener to link a sound event with its source. Orchard intercuts this actuality with the voice of an actor reading the entries in Thompson’s journal that correspond roughly to the same places in which Orchard and Haworth can be heard conversing. Impersonation is used by the actor rather than ‘impersonal narration’, in order to evoke the image of Thompson writing and talking beside his fire after the journey. In this fashion, “time flickers back and forth through a hundred and sixty five years as the program moves through the landscape” (Orchard 1974: 35), and the two sets of observations recede from the past into the present and vice-versa. Orchard’s imaginative use of ‘aural landmarks’ also works to signal the present time frame (what we might term the ‘ambient present’) of the listener, through the inclusion of noises that would not have been heard by Thompson (i.e. the automated vehicles, as well as man-made or altered geographical features). Another program compiled and produced by Orchard, about several people who travelled through ‘Hell’s Gate’ in the Fraser River Canyon in a rubber dinghy, made use of differing spatial (rather than teleological) perspectives (Orchard 1974: 38). One voice recalled the incident as seen from the bridge above, whilst another participant’s voice described the sensation of going though twenty-five feet under water at the end of a life line, having been swept overboard. As Orchard noted of this technique; This kind of montage, where we cut from one subjective focus to another – a sort of double inner vision – is one of the more interesting possibilities of the sound medium (Orchard 1974: 38). From these examples we can understand that Orchard’s sound documentaries took an innovative approach to design in radio production, incorporating sounds that operate, in his term, at different “levels of remove”. These levels include actuality, running commentary, recall, and re-enactment. As Barry Truax has observed, Each level of remove represents an increasing distance between the listener and historical reality, but each can be effectively used to make that history come alive. The juxtaposition and interweaving of several such levels in Orchard’s works create a unique sense of flow that is evocative and multileveled. He uses the fact that the listener can easily recognize the level of remove involved, as well as whether the material is extempore or prepared, and plays on the counterpoint that results from their interaction (Truax 2001: 221). Such complex sound design often involves a kind of dramatization of oral history that might trouble those concerned with historical documentation, especially as oftentimes controversy exists over the historical accuracy of even unmitigated reminiscences recorded many years after an event. Orchard grappled with this issue in a 1962 report to the CBC: This brings up the question as to how “living memories” relate to history. The raw material is undoubtedly valuable to historians and other writers, yet we have no illusions about its precise historical accuracy. We always try to present each program in its proper historical context, and to avoid, or correct, any flagrant errors. But we place a lot of value on the personality of the speaker – his ability to express himself and be entertaining, or to tell a story well. We reach back to the past in a frankly subjective way through reactions, impressions and moods. In doing so we are getting a glimpse of history not made, but being made (Orchard, quoted in Duffy and Mitchell 1979).197 Orchard believed that the use of oral history in radio documentary was about what lies behind the voices – namely the people recorded. Ethical considerations prevented him from experimenting with the ‘symphonic’ interweaving of voices and ambience through tape editing as practised by Glenn Gould in what is sometimes referred to as Gould’s ‘Solitude Trilogy’ (see Chapter 4.5). As Orchard observed, There is no stronger means of communication than the current that flows from one being to another, even when carried by a piece of tape. If we wish to diminish the person by the simultaneous use of other sounds and voices, we must have a very good reason for doing so (Orchard 1974: 38). Notes
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