CAA Workshop

Transcripts for Day 3

Group 2

Recordings of the early discussions to develop a threeing workshop are unavailable. The conversation below took place on Wednesday morning, when the format of the threeing workshop had been refined to focus on two individuals sitting back-to-back, reading out and answering questions submitted by the other members of the group. The latter part of the transcript explores the various ways the group proposed to organise the involvement of the other CAA participants.

…………..

Daniel Peltz

They could be a group of four or they could be a group of three and have a third person asking a question.

Rosalind Nashashibi

Do they have to pass the questions?

What does this say?

…………..

Daniel Peltz

[Reading the amassed questions]

Why not ask her?

Mention someone else's name.

What do you think Lucien was thinking when he shot that?

Describe your first impression of me.

Describe your first impression of him or her.

Have you met anyone you would like to work with?

How many buttons were there?

Have there been any strong smells?

Do you remember what it felt like?

What's happening in the world?

Doesn't it hurt?

What about the lady in the cab?

Does he have a cap?

You can lie.

Mention someone else's name.

Why not ask her?

Do you remember what it felt like?

Did she always have such good oral hygiene?

Rosalind tells me exactly what she did after closing her door last night.

Are you imagining somewhere else?

Hasn't it become too personal?

Tell me a scenario.

I'm thinking about the monologue in Paul Rooney's film.

The work shown by Chris Wright inserted a red energy into these days.

Do you know why?

Is it about masculinity?

Or the shears.

I'll relate it to something concrete.

Something we've seen.

Doesn't it hurt?

How many buttons were there?

Who do you wish was here with us?

Tell me frankly your first impression of him or her.

Does she always have such good oral hygiene?

Do you think we should stop?

So are anthropologists a completely different breed?

What about the baths?

Why are you resisting?

Why are you playful?

Can you tell him something about someone else?

Cathedral Hygiene Services, CHS.

Have you met anyone you'd like to work with?

Are you imagining somewhere else?

Rosalind tells me exactly what she did after closing her door last night.

What about the lady in the cab?

Does he have a cap?

How's the food?

The sheep seemed to struggle less as the process went on.

I feel a little embarrassed, but there's the joke to remember.

Do you remember what it felt like?

Have there been any strong smells?

Rosalind Nashashibi

I quite like that, but I think I liked it without the repetition. What do other people think?

Daniel Peltz

I think repetition is a really important element for emphasis but … I like it as an analytic tool. I like it when you work with it a little bit and you make connections and then the performance becomes about making those connections. Otherwise it might be good for the performer, as you're searching, but not as much as what it means to take these field-notes and make them into something.

Anna Grimshaw

What don't you like about the repetition?

Rosalind Nashashibi

I think it becomes…

Daniel Peltz

…too heavy handed.

Rosalind Nashashibi

Too much a performance with a capital P and that means… performance has a way of becoming predictable and therefore tedious and when you know you're faced in a certain way with various juxtapositions and that's repeated in different forms, I come to this resistance in myself. And that's been my reaction to performance I suppose and I feel it would be really good to compose them into some structure we could change. Or try a different one, but meandering back to phrases like, 'does it hurt' - they're pushing on emotional buttons.

Daniel Peltz

I guess it depends whether we want to talk about, comment on, that process of encountering the gap, making something out of this incomplete record, or whether we want to try to remedy that or improve on it. It sounds like you're talking about the latter. You want to make something more compelling or that distances you less or whatever.

Rosalind Nashashibi

I don't want to, well, I suppose I want to work less with these evolving metaphors, but with more impact. I thought when you were first reading it, it did have more impact, even though that was repeated in random choices of what came, but when it was repeated in other random choices, for me, it lost impact. It's not about wanting to resolve it like a poem, but having more impact.

Anna Grimshaw

What if, say, Daniel read out the sequence or the series of relationships, juxtapositions used there and someone else worked there too, or we took turns to make the connections.

Rosalind Nashashibi

If there were two of us reading, so it didn't take too long.

Daniel Peltz

But I think that process of making connections feels important to the question of "what is it we're doing", because you're not just looking back and reading back randomly when you're in a process of editing, but there is an oppressive singular consciousness that's often brought to that process, the sense of the over importance of what it is that you're noticing. And I may have over rehearsed that one, doing it three times, but other people should do it and we can see…we could try and train people in this and tell them to save these questions and come back with them – that's their visual artefact and then a few of us could perform this text.

Rosalind Nashashibi

Do you think we'd have time?

Soumhya Venkatesan

Well there's no time limit, but how long do you think it would take?

Rosalind Nashashibi

We need to work out how exactly we're going to organise the presentation to the other groups - where we're going to get people to sit.

Daniel Peltz

How many groups are there?

Rosalind Nashashibi

Three groups.

Daniel Peltz

We can break them into threes, we don't have to respect the structure of groups.

Rosalind Nashashibi

I think that's missing out on the crucial element of the audience. It is the fact of being watched as well as…I'm more keen on the idea that we do it and we get the others to do it. It's essential the audience are all taking part.

Anna Grimshaw

So they are all sitting around?

Rosalind Nashashibi

So in a way, if you were one of the people in the conversation, you could even say well, you know, "I think this has come from….Chris." There's a sense that you don't know where the questions are coming from.

Daniel Peltz

There's a sense of investment in that.

Rosalind Nashashibi

And a sense of investment in the fact it's a performance we're making people do, being watched not just by one person, but by many.

Daniel Peltz

It's a different dynamic, but I'm happy with that.

Rosalind Nashashibi

Had you seen it as a whole workshop that they'd be prepared for, going into threes and all doing it?

Daniel Peltz

It seems like too big a group to have everyone part of a group of three.

Rosalind Nashashibi

Well, if we had the third one going out into the audience and giving them slips of paper and going into the audience and passing them…

Daniel Peltz

But there's something about physically intervening and placing your questions, written on bits of paper, on the legs of the people who are asking the questions out loud and responding to them.

Soumhya Venkatesan

But if we divided into groups and each group had that back-to-back pair, and there would be four people in each passing questions physically …..

Daniel Peltz

So we can each facilitate two groups, do that and come back together. That would work better in terms of size. One thing that Anna and I were talking about was what is it we are doing here, I was saying I was confused, I'd forgotten what it was we were doing. And I think it is critical that there will be more people giving questions, I'm just thinking about that really and how it does or doesn't speak to the situation of making art and conducting fieldwork, structurally …

Rosalind Nashashibi

I think it just multiplies the watcher.

Daniel Peltz

So it just creates that repetitive emphasis.

Rosalind Nashashibi

Well I don't know about repetitive, it's just more eyes on you. The other thing for me about having the group giving questions, was the anonymity of the questioner, it made it more exciting.

Daniel Peltz

Alright, so lets continue with that structure, I'm just thinking to…

Rosalind Nashashibi

But not three ring circles

Daniel Peltz

Two ring circles

Rosalind Nashashibi

I'm just imagining we could get people in the wider group who will just think, "Jesus Christ, I don't want to be made to interact."

Daniel Peltz

Well I think now that people have had these group meetings there will be stronger… I think we'll be drawing on that energy.

So how shall we do it, we'll divide up the two groups, so who wants to facilitate.

Soumhya Venkatesan

I don't mind. I don't have a preference about which group.

Daniel Peltz

I don't even know which group is which, so we'll just call them Group 1 and Group 2.

Lesley Young

One is Amanda's – I mean Amanda is in one of them and Bryony's in the other

Ade Hunter

Amanda's group are working with the room.

Daniel Peltz

So does somebody want to go through how we're hoping it will happen?

Soumhya Venkatesan

We'll take them in here and say – what are we going to say?

Daniel Peltz

I don't think we need to say anything.

Soumhya Venkatesan

So we don't need a preamble or explanation?

Rosalind Nashashibi

You mean we're not going to do it?

Daniel Peltz

No, I think we can do it and we'll invite them to do that and we'll bring them into that room next door and maybe the other room.

Rosalind Nashashibi

I'm still not… I think the point of these meetings is to respond together. I just think we are going back too much to the situation we're in now, which is that nobody is understanding what's going on outside of their group.

Daniel Peltz

I think we do that by bringing this back and why we don't provide a preamble of this discussion and what just happened. I mean, the invitation to do this was to make something out of this process, to filter it through practice. So instead of invoking that practice and coming back with some isolated experience of this which is private, this is what we learned, we're trying to bring everybody here into that process.

Anna Grimshaw

Why don't we do it first and then invite them to put in their questions. So we are still the people who do the…

Rosalind Nashashibi

Well that's what I imagined. I think for me it's such fun seeing other people do it and I don't want to miss it. I just feel we are going to come together as a group and do something, rather than be teachers and divide people into groups and take them off and do something with them.

Daniel Peltz

I feel with 16 people in total present in the structure we've set up, which is physically a little bit awkward, I feel that maybe four people will submit questions. But the dynamic of the small group was close to the performers and listening and everyone had a sense of responsibility. That interaction that you needed to listen and submit questions, is very different to me if you are one of ten people and so have the choice. I engage, I don't engage,

Rosalind Nashashibi

Not everybody will submit questions.

Soumhya Venkatesan

If it's a small group people will, if two people are back-to-back having a conversation, I think people will somehow feel responsible.

Lesley Young

So do you mean we would select three people?

Rosalind Nashashibi

No, ask people who would like to do it.

Lesley Young

So we're looking for three volunteers. The other way would be that we always work as a group. I see Daniel's point that the passing of the questions is a really physical process.

Rosalind Nashashibi

If we did it in my model we'd have to do it here on the stage. And have all the people sitting round and they'd have to pass questions.

Daniel Peltz

Otherwise there's this additional doubling which is fine. It's not something that we've explored in a way, and I feel like that's part of what, looking back at this text with all the questions I feel it came out of …we would have produced a different text if we had been both the observed and being observed doubly by another audience that was watching us do this

Rosalind Nashashibi

I feel I want to know what other people will inject into this and I want other people to know what other people will inject, so I want the people in the middle to be put more on the spot. Be more intervened with and be less comfortable and may be get more excitement from it.

Daniel Peltz

More intervened in terms of… more intervened than they were here?

Rosalind Nashashibi

I mean by potentially receiving questions from people who have less at stake. Their questions might be more difficult or less…

Daniel Peltz

You mean because there's more sense of anonymity with the larger group?

Rosalind Nashashibi

Yes.

Daniel Peltz

So you do have an idea of 12 people posing questions to two people who sit in the middle back-to-back?

Rosalind Nashashibi

Yes, but I just know that not everybody will ask questions and they come slowly to begin with and quickly later, and it could become more confusing, but that would be ok. You could select which ones you ask or you could talk about the questions you were getting, but I just think that I personally would like everybody to have a shared experience in what's happening that then we could discuss.

Daniel Peltz

I guess it just feels like it would be like doing more presentations.

Lesley Young

How would it be if instead of doing one big group or us dividing and having one group each, how about doing it staggered, so all of us are in both of them. We do Amanda's group first for example, then the group with Jos.

Rosalind Nashashibi

But I guess I imagined us doing it for half an hour. What had the rest of you imagined?

Anna Grimshaw

I think that we shouldn't start with a preamble, although obviously we should be clear about what it is, but I like the idea of two people and everybody being able to participate, whether they submit questions or not. And spend ten minutes in that process and then explore – I mean look at what questions were produced - to explore what people thought was happening and why they participated or not.

Rosalind Nashashibi

In a sense it's like putting two people on the spot and where people can…

Daniel Peltz

… use them like dummies

Rosalind Nashashibi

Yeah, it's a bit like Yoko Ono's Cut Piece (1965), you lie there and everyone comes and cuts a piece of your clothing away. Like that thing that they're given licence because they've already established relations in their group but they haven't with us.

Daniel Peltz

Have you seen that piece performed?

Rosalind Nashashibi

No, never.

Daniel Peltz

It also makes me think about performed art pieces, certainly in a US context, re-performed. I think about the dynamics of being part of that performance as not what I'm interested in, I mean I'm ok with…

Rosalind Nashashibi

But it's not that …

Daniel Peltz

No. It's not that, but I think it's a very…I mean performance is part of my practice and what I realised last night was, that there was something about the character of the intimacy of the engagement that we set up and that, to me actually questioned, that made this issue of the stance of the observer more complex because that's where I feel it becomes pathologised often. And I'll say this all and I still think we should do what you proposed Rosalind, it's fine, but I want to say this, because it's important to me that I feel like it becomes pathologised, because it's seen in that way, it's seen as this distanced capacity to disengage, but really you don't have that choice, you are really already engaged, I mean really few people, at this point, are disengaged, I mean you're not standing back, you can't stand back, there's no back to stand, so allowing for a space like that in the performance sets up a… to me it's less giving, it's less giving to the audience and to the performers. Because there is this space that we had, that we created ourselves that, when we stepped back to process it, we had all just performed it. There was no sense to me that anyone had just watched it. Except you Ade, but that was OK. And I felt completely in it and when somebody said it was over, I was ending my performance too, I had begun and ended it with the whole thing whereas what we're setting up for later really allows people to have a very different experience which I think is ok, we'll do that. So all that said, we'll…

Anna Grimshaw

No, no, we're thinking about that.

Rosalind Nashashibi

I suppose I definitely see what you're saying. I think I'm just reluctant to take groups of people and organise them and make them do things.

Daniel Peltz

I think it's a different sort of practice actually. I think you're really interested in the group as a whole and in that dynamic and I'm trying to think about how we can get each person to have an experience that helps us in some way to have some embodied knowledge about the issue of this gap and the different roles of the observer and the subject of the interviewer.

Rosalind Nashashibi

Um, having said that I can do it, I can definitely do it and take part in organising people.

Daniel Peltz

I had the same reluctance.

Rosalind Nashashibi

Especially because I think the group with Amanda and Erika have revolted against this whole 'being expected to do something' thing.

Daniel Peltz

I'm not afraid of them!

( Laughter)

Rosalind Nashashibi

No, good point I'm not afraid either, but I don't want to force onto people, that they have to do something.

Soumhya Venkatesan

I'm quite intrigued by the idea of organising people to do something to see how a process works, because I would never do it normally in my practice.

Daniel Peltz

In a way I think it's also answering Anna's question, which is – this has remained abstract and it still allows somebody to sit back and say that was an interesting exercise, I noticed this or that, or say nothing.

Anna Grimshaw

But that would be interesting. The fact that some people may refuse to participate. Or may try and stand back would be an interesting part of it.

Daniel Peltz

I wonder if there would a way we could visually represent that if those gaps, if there could be a way …

Lesley Young

So if the whole group were there and somebody was detailed with a stopwatch so after a minute if you hadn't put a question in, then you start to pull people out?

Rosalind Nashashibi

It's game show though isn't it.

Rosalind Nashashibi

I still think we should do it here, in the chapel at least then people can be aware of each other's presence.

Daniel Peltz

We're setting it here, in the chapel as a way of reinforcing the theatricality of it?

Rosalind Nashashibi

Yes, and the fact that these are the sorts of events that take place in spaces like this. It's not an office space, these events take place in hired halls, just strange esoteric practices of, like, workshops or whatever.

Anna Grimshaw

And then are we going to lay out the questions that people have asked?

Rosalind Nashashibi

I think we should just read them out, because we haven't done it.

Daniel Peltz

We could read them back

Rosalind Nashashibi

Because laying them out will take time.

Daniel Peltz

It seems important that the person reading them back be someone who was involved in the event because it's the idea that these are notes.

Soumhya Venkatesan

What's amazing about having all the questions laid out is obviously you only know the questions you give and it's really interesting to see how all the other questions shaped that particular conversation. I mean I had no idea that that … question and I can think back to bits of them

Daniel Peltz

Yeah I think it really does do something. Even though I over-performed them.

Rosalind Nashashibi

I like the randomness – what if he or she got them all in a pile and read them out like that. And it becomes a text.

Daniel Peltz

Becomes like a footnote, becomes annotated.

Rosalind Nashashibi

Yeah, it becomes like a text, like a game of Consequences, or you know that game where you fold it over, rather than something that could have a million permutations.

Daniel Peltz

Well, I think that's interesting, but as I was saying, that's not the act of the artist, nor the act of the anthropologist, like we don't do that, we don't represent events by just doing that. I mean no-one here has shown work that does that.

Rosalind Nashashibi

Well I don't think that should delimit what we do. I mean I certainly don't police myself in terms of what I've done in the past. I mean I may or may not use chance in my work, but it's fine I don't want to resist… I mean if you think it's better to change the permutations we can change them.

Daniel Peltz

We don't need to change them so consciously, but I think just by inviting them to make connections… but I think you're right we don't want to over calculate that or over narrativise that space, but if they're reading them back, then what I think naturally starts to happen is you start to make connections.

Anna Grimshaw

The difference between just taking them as they come as questions and then reading them back and then laying them out is not that the intervention is laying them out. Laying them out - that's how the questions have come, there is no intervention in that, that's how they've come, but it becomes an intervention in reading them out in that random order, whether it is chance, whether there are any connections in that.

Soumhya Venkatesan

Well, that becomes like a map of the conversation. Whereas this is a reworking of the conversation.

Daniel Peltz

And it's really interesting to me, when people laid these out, is that they are shapes and objects and you relate them to each other in terms of shape initially. And not in terms of language. So it is more of an intervention.

Ade Hunter

But if you lay them out like you've laid them out there, then in both senses they are just the record of the event; but if you then go up to it, you create a narrative. The person coming to the piece may not have experienced the conversation.

Rosalind Nashashibi

It might not work quite like that, because even if you're given a pile of questions - the way we had our questions they were all screwed up and all over the place and the way we put them down they were already in a mess. For me, it doesn't matter so much if someone lays them out or reads off, then either way they're going to have an element of chance and for me that's more poignant or funnier or more exciting than a more conscious process within the short, tiny amount of time that we have. If I were to go away of course, I might compose – that would be the way I might make work. But either way, people do what they want, nobody's going to do what we say anyway.

Daniel Peltz

I actually think that the control - I mean the way you're trying to mediate for this 'politics of revolt' that's emerged - is probably where it lies and I do like the idea of finding a way to work with the group as a whole. But I think to tell them to lay them out and read them is a pretty simple, a pretty ordinary gesture.

Rosalind Nashashibi

I don't mind, tell them to do whatever in terms of how to read them, but let them read them out and see what they do.

Daniel Peltz

But there is this alternation in art and anthropology and I've got to keep processing. What I've been realising is a very simple thing about anthropological practice, being here, which is just the relationship between it and psychoanalytic practice and this idea of the contact function, like following the contact function, which is basically the idea of moving with the patient, so just following where they're going. So that's just the more complex understanding of where they're going, and thinking about the anthropologist doing that, the artist doing that, maybe a lot of people here are engaging with that and where that comes from, that desire to be open to what is and what's evolving and then the difficulty of imposing your consciousness on to that and making it into something and the struggle around that. So I like the fact that you have to do a simple ordering or process where you have to – so there is a little mind work that has to be engaged, because I feel like that's where it becomes complicated and where a lot of us feel anxious and hesitant.

[silence]

Does someone else want to try reading them?

Lesley Young

What about the lady in the cab?

You can lie, tell them a lie.

Good oral hygiene?

Ecstatic!

What about the bags?

Were you turned on or scared?

What do you want from this?

Describe your room.

Have there been any strong smells?

It's almost impossible to just be a subject isn't it?

Are you imagining somewhere else?

Who is faith?

Will you go back to Hebden Bridge?

Why are you resisting?

Why be playful?

Did you meet anyone you'd like to work with?

I'll relate it to something concrete.

Something we've seen.

Was it about the masculinity of the shearers?

What do you think he was thinking when he shot that?

Why not ask her?

It's a little embarrassing.

Mention someone else's name.

Why bother? (Laughter)

When the next seminar invitation comes will you accept?

Rosalind tells me exactly what she did after closing her door last night.

Tell me the scenario.

How's the food?

Daniel Peltz

Really good.

Rosalind Nashashibi

You definitely got the feeling listening to that, that you'd been everywhere. Nothing was being edited out.

Daniel Peltz

Well we know, but that's the test.

Rosalind Nashashibi

Well I heard things I'd never heard before. There's something about approaching it for the first time.

Lesley Young

For other people that will be difficult?

Rosalind Nashashibi

No, that will be interesting.

Anna Grimshaw

So the two people who will be given questions, are we going to pick them or ask for volunteers?

Daniel Peltz

What I liked about the idea of the full group, what felt generous to me about that gesture was that we were putting ourselves in the role of being willing to serve in this capacity for the group to allow them to speak through us about what's happened here so there's a possibility of doing it still as a full group but with a smaller group of people serving questions. So like two groups of us serving in that ventriloquist role and then inviting say each group to take a turn with a different one in front of the whole group giving questions. I just think having that participation in the group …

Rosalind Nashashibi

That's a good idea but I think we should do it just once.

Anna Grimshaw

Yes, just once. It has to be a one-off thing.

[everyone talking at once ]

So just to clarify I was suggesting that two of us be the people back-to-back and then as you say the rest of the group uses us as a way of – so they speak through two of us because we know what – we've done this. We simply need the questions from them we know how to work with them.

Rosalind Nashashibi

So that becomes like us almost becoming in a shamanistic capacity or a go between capacity. They can speak through us, voice their concerns.

Daniel Peltz

I like that aspect. That's still – are we inviting certain people to come closer to the performers? I don't like the idea that we both serve as the ventriloquist/shaman and then have an additional level of hierarchy between us and the others in the performance handling the questions.

Anna Grimshaw

No absolutely not, they hand in the questions.

Daniel Peltz

But you can't have fourteen people around you.

Anna Grimshaw

Why don't we put the chairs round now in a circle and see?

Daniel Peltz

Oh, they shouldn't be seated on chairs.

Anna Grimshaw

OK.

Soumhya Venkatesan

We could bring the blankets.

Daniel Peltz

Oh, blankets. Let's go get some blankets!

[After blankets have been gathered from around the building.]

Anna Grimshaw

They're very monkish, this brown

Lesley Young

Do you not have these in your room?

Daniel Peltz

Yes, you can go get two from my room.

Lesley Young

I don't know which your room is!

Daniel Peltz

Man-kin-holes.

Daniel Peltz

Just so you know I'm going to receord this whole workshop

Soumhya Venkatesan

Do we need a holy chalice they pass to us before they ask us their questions?

Daniel Peltz

Does everyone feel comfortable being in the middle? Shall we just draw names out of a hat? I'm kind of interested in taping, in making a video out of us so we'll see if my name comes out.

Lesley Young

So Soumhya, are you staying?

Soumhya Venkatesan

Yeah.

Lesley Young

Maybe we should prepare paper for people to write on.

Daniel Peltz

I think just having paper is fine but then let people rip it.

Lesley Young

Don't you think we should give them a clue that we're not just expecting one question on one bit of A4 paper?

[Conversation indiscernible]

Daniel Peltz

I think who ever does it should practice. Like we should help them a bit, give them some difficult questions. I think it's really important how it's performed. And we can discuss how that happens. Like for me for example some difference performance traits are coming out. We could take the stance that you have to say the words that are given to you or that you somehow work towards it you could somehow respond to the words given to you.

Rosalind Nashashibi

I think that's fine. We're doing it now right? So we know all that. We don't have to tell them that.

Daniel Peltz

No, no, I'm thinking as a group we can talk about what the strategies are, expand on our vocabulary for ways of thinking about … as a group of performers.

Rosalind Nashashibi

I think for me, what I'd imagined was that people would come in and we say "this is a workshop, and these two people in the middle are having a conversation and we invite you to write questions on paper and pass them to one or other."

Daniel Peltz

I think it's better if they just come into the event and the setting delimits what the two do and it triggers and it begins with the performance and that's more like an initiation and they have to …

Anna Grimshaw

Figure out what's happening.

Rosalind Nashashibi

Well, we could write on the paper write your question here and pass it to the performer.

Daniel Peltz

Yeah, "to one of the performers."

Rosalind Nashashibi

And not "your question" but "a question."

Daniel Peltz

"Interject a question" or …

Rosalind Nashashibi

"Have you got a question for the performers?"

Daniel Peltz

Do we want to use the word "performer"?

Soumhya Venkatesan

I was wondering about that.

Daniel Peltz

We could call them "the couple".

Lesley Young

Isn't that a bit…

Soumhya Venkatesan

No, "couple" is fine, it's perfectly…

Daniel Peltz

We could call them "the subjects."

Soumhya Venkatesan

Or "the dummies" or "the voices."

Daniel Peltz

I always thought anthropologists had disavowed that.

Anna Grimshaw

Well I think a word that has changed, and maybe you know this, is that "informants" has gone. And I never liked the word informant at all.

Rosalind Nashashibi

It suggests a grass.

Anna Grimshaw

It does, absolutely but it was the term everybody used.

Soumhya Venkatesan

I don't like it aesthetically but I don't mind using it in a particular situations where somebody is just telling me something ... but you're right it is …

Anna Grimshaw

… slightly sinister.

Soumhya Venkatesan

Yes, it does have that.

Soumhya Venkatesan

I find its disappearance annoying because I don't think that getting rid of the word changes the relationship. They don't say servant any more they say 'home help'. But what the hell, you're paying someone to do jobs you don't want to do.