Memoirs by Dmae Lo Roberts

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Memoirs by Dmae Lo Roberts

This collection features three works made over fifteen years, but Roberts takes listeners on a journey that spans thousands. Roberts’ relationship to her mother, and their individual relationships with Kuan Yin, the Lady Buddha, are at the center of these works. Sonically, they flourish with playful sound design that uses voices like instruments. Each weaves tape and theater to immerse listeners in the complicated bond between a Taiwanese mother and her American daughter. Together they offer a window into the experience of a multicultural family, well before these experiences had a home on public media. Listening to these for the first time, I thought about why we have public media. Bill Siemering’s 1970 essay “National Public Radio’s Purposes” framed public airwaves as a place that would “preserve and transmit the cultural past” and “broadcast the work of contemporary artists.” But that cultural past was relatively homogeneous and at some point, delivery of the news became paramount. This left little funding and opportunity for cultural endeavors, and listeners were the poorer for it. So these memoirs feel like beacons of possibility to me. What we might get to hear if we consistently fund artistic endeavors. Enjoy, and donate to your local public radio station.

Episodes

  1. 24/04/2024 • SUBSCRIBERS ONLY

    Mei Mei, A Daughter's Song (1989)

    "Mei Mei" chronicles D. Roberts and her mother, Chu-Yin, as they travel to Taiwan together. Roberts seeks an opportunity to grow closer with her mother, but the trip ends with them not speaking. First produced in 1989, Roberts’ documentary is highly personal and was groundbreaking for its time--weaving interviews and dramatizations to tell the story of a conflicted daughter and her mother who suffered abuse, starvation and the horrors of World War Two. Mei Mei is Chinese for "little sister", a term of endearment for any younger girl, but one denied Chu-Yin, who was sold twice as a child to families that abused her physically and emotionally. Using interviews and dramatizations, Roberts investigates her mother’s experience. “This isn’t about me,” Roberts says at the top. “I don’t hate her,” she says at the end. This dissonance plays throughout the work, with Roberts’ narration delivered brashly and matched only by her mother’s impatient responses to probing questions she’s answered before. But after revealing her mother’s several suicide attempts, Roberts’ tone breaks and she embraces their fiery relationship. The sound of Mei Mei has been carried forward by contemporary audio documentary, inspiring an approach to sound design that underpins projects like The Heart and Radiolab. The blend of nonfiction interview and dramatizations - once passé - has returned and been central to recent projects like Magnificent Jerk. But even more broadly, Roberts' work remains a foundational piece of memoir, using sound to transport the listener into another’s life and the most personal and intimate relationship between parent and child. Awards: 1989 Peabody Award

    27 min

About

This collection features three works made over fifteen years, but Roberts takes listeners on a journey that spans thousands. Roberts’ relationship to her mother, and their individual relationships with Kuan Yin, the Lady Buddha, are at the center of these works. Sonically, they flourish with playful sound design that uses voices like instruments. Each weaves tape and theater to immerse listeners in the complicated bond between a Taiwanese mother and her American daughter. Together they offer a window into the experience of a multicultural family, well before these experiences had a home on public media. Listening to these for the first time, I thought about why we have public media. Bill Siemering’s 1970 essay “National Public Radio’s Purposes” framed public airwaves as a place that would “preserve and transmit the cultural past” and “broadcast the work of contemporary artists.” But that cultural past was relatively homogeneous and at some point, delivery of the news became paramount. This left little funding and opportunity for cultural endeavors, and listeners were the poorer for it. So these memoirs feel like beacons of possibility to me. What we might get to hear if we consistently fund artistic endeavors. Enjoy, and donate to your local public radio station.

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