CLAT Step 1 – Meet a Community and Its Arts

Question 1

What is a community?

Answer 1

A community is a group of people that shares a story, identity, and ongoing patterns of interaction, and that is constantly in flux.

Question 2

Start a…

Answer 2

…community arts profile (CAP)

Question 3

Take a first glance…

Answer 3

at a community (scope) and its arts (outside-in, inside-out).

Question 4

How do you do the Outside-In approach?

Answer 4

Look for important events and rituals marked by artistic communication.

Question 5

Outside-in (sources)

Answer 5

Chenoweth (2001), Schechner (2006) & Turner (2004)

Question 6

Outside-in — Chenoweth (2001)

Answer 6

Created a checklist of rituals/events likely to be marked by artistically rendered communication (outside-in approach)

Question 7

Outside-in — Schechner (2006)

Answer 7

rituals as liminal performances

Question 8

Outside-in — Turner (2004)

Answer 8

Communitas (normative or spontaneous)

Question 9

How do you do the inside-out approach when taking a first glance at a community’s arts?

Answer 9

By learning to recognize special features of artistic communication acts

Question 10

Inside-out (main points)

Answer 10

Look for special features of artistic communication acts: distinctive performance context; they contract/expand density of info; some assume more/special knowledge; special formal structure (performance features); elicit unusual responses (emotions); require unusual expertise

Question 11

Inside-out —descriptions of artistic events (sources & defs)

Answer 11

• Bauman (1992, “Performance”): aesthetically marked, heightened mode of communication, framed as a special display for the audience.
• Saville-Troike (2002): recognizable boundaries that are set off from “normal” events, and distinctive features like role changes among participants.

Question 12

Inside-out — features of performances – Saville-Troike (2002)

Answer 12

recognizable boundaries that are set off from “normal” events, and distinctive features like role changes among participants [see also Stone, 1979, above]

Question 13

Inside-out — Bauman (1992, “Performance”)

Answer 13

aesthetically marked, heightened mode of communication, framed as special display for audience

Question 14

Explore a community’s _____________ life.

Answer 14

social/conceptual

Question 15

Inside-out — Anthropology background sources

Answer 15

McKinney (2000) (also: Hargrave 1993, Ferraro/Andreatta 2011)

Question 16

Use _______ to learn more about a community and their arts

Answer 16

research methods

Question 17

Participant observation: learning by doing or by watching while doing (sources)

Answer 17

Hood (1960), Hughes-Freeland (1999), Johnston & Orwig (1999)

Question 18

Participant Observation – Hood (1960)

Answer 18

bimusicality

Question 19

Participant Observation – Hughes-Freeland (1999) (def)

Answer 19

Participant observation is “determined by a process of planning and intention, which is disrupted by accidents and enhanced by serendipity.”

Question 20

Participant Observation – Johnston & Orwig (1999)

Answer 20

be aware/build off own learning style

Question 21

Interviews: learn by…

Answer 21

…asking

Question 22

interviews (sources)

Answer 22

Spradley (1979), Jackson (1987)

Question 23

Interviews — Spradley (1979)

Answer 23

• interview using symmetrical turn-taking (the informant talks more)
• 3 question types: descriptive (straight); structural (how info is organized), and contrast (sorting)

Question 24

Interviews — Jackson (1987)

Answer 24

• Build trust by showing genuine interest.
• Ask directive and non-directive questions: you want a mix of both.
• Use follow-up questions to flesh out the subject more.
• Know your equipment and make it seem perfectly natural to be using it (and stay vigilant!).
• Use props to prompt discussion.

Question 25

Note-taking (sources)

Answer 25

Myers (1992), Spradley (1980)

Question 26

Note-taking; learn by…

Answer 26

…writing

Question 27

Note-taking: 2 principles

Answer 27

Spradely (1980)—

Verbatim Principle: Record everything in the exact words used by the person you’re talking with

Concrete Principle: Use descriptive, concrete language when describing something

Question 28

Note-taking – Myers (1992)

Answer 28

two kinds of notes (jottings initially; expanded notes later)

Question 29

Note-taking — Spradley (1980)

Answer 29

note taking; coding and analysis

Question 30

Audio/video recording (source)

Answer 30

SEM (2001)

Question 31

(4) Elements of ethnographic interviews

Answer 31

1. Explain the procedure prior to beginning
2. Questions: create a list beforehand, avoid binary
3. Restatements: restate what you think the interviewee has said
4. Record interviews (audio and/or video)

Question 32

(4) Elements of ethnographic interviews (CLAT p.14-15)

Answer 32

1. Explain the procedure prior to beginning
2. Questions: create a list beforehand, avoid binary
3. Restatements: restate what you think the interviewee has said
4. Record interviews (audio and/or video)

Question 33

(3) Benefits of ethnographic interviews

Answer 33

1. Information gathering
2. Clarification
3. Comparison