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WA Comprehensive Exams 2017 > EXAM authors and dates and their main ideas > Flashcards

EXAM authors and dates and their main ideas Flashcards

1
Q

Turner 1988

- symbolic anthropology

A

symbolic anthropology: analyze symbols embedded in rituals since they provide insights into the makeup of the community; analyze using emic approach by attending ceremonies and rituals

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2
Q

Blacking 1992

- symbolic anthropology

A

symbolic anthropology: The arts are means of communication ingrained in culture.

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3
Q

Shelemay 2008

- symbolic anthropology

A

Perform scholarly research while developing relationships and identifying with the community; develop relationships and identify with the community as I do research

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4
Q

Schrag 2013

- purpose and end goals of research

A

Goal of research: find out as much as possible about the community to help them evaluate the positive and negative elements, set goals to strengthen those elements, spark new artistic genre enactments that will carry the message that will bring about change, improve those works, then integrate, bring about change, and move those people towards the kingdom of God

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5
Q

Johnston and Orwig 1999

A

research using my learning styles as appropriate within the community; 1) relational: relationships, variety, helping others develop and 2) structured: systematic and organized approach, practical, hands-on learning

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6
Q

Hood 1960

A

become bi-musical or bi-artistic; learn as much as possible about the community’s arts by doing it and accepting their standards and ways

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7
Q

Aubert 2007

A

musical bi-lingualism; setting aside western evaluation standards

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8
Q

Titon 2008

A

learn an art form; doing art with the people; function within the community while gathering data

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9
Q

Jackson “Interviewing” 1987

A

ethnographic interviews using open and follow-up questions

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10
Q

Ruskin and Rice 2012

A

important to study individual artists; biographies and autobiographies

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11
Q

Myers 1992

“Fieldwork”

A

Collect primary sources: jottings, notes, photos, audio and video recordings

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12
Q

Beaudry 2008

- relationships with artists

A

Learning about the arts and artists leads to better understanding of the community’s worldview, values, and beliefs

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13
Q

Toynbee 2003

A

Creativity when people within a community create a new artistic genre enactment valued by the community according to their standards of evaluation

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14
Q

Csikszentmihalyi 1996

A

Creativity is creating something completely new that the community will value; bringing change to a domain that the community will accept.

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15
Q

Coulter 2011

A

Evaluation of language use and cultural practices may reveal insights into a community’s cultural identity.

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16
Q

Coulter 2016

A

Traditions thrive when both stable and malleable elements are strong.

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17
Q

Keil 1995

A

Making music together is more important than making it perfectly. Participatory discrepancies are malleable elements that make the music “personally involving and socially valuable.”

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18
Q

Shelemay 2001

- communication

A

Communication through music can be through open communication or coded communication.

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19
Q

Alaghband-Zadeh 2015

A

The arts may be change agents in politcal and social issues. Gender issues need to be considered.

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20
Q

Merriam 1964

- aesthetics

A

Aesthetics are not universal. Understanding a culture’s aesthetics assists in understanding their values.

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21
Q

Fitzgerald and Schrag 2014

A

Evaluation on how well the work communicates the content, how it achieves its purpose, and how sustainable it is.

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22
Q

Unseth 2008

A

Using local proverbs because they encase the values and morals of the community

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23
Q

Evans-Pritchard 1967

A

Using local stories because they encase the worldview, values, and beliefs of the community.

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24
Q

Schechner “Ritual” 2013

Time

A

Time: Discover the rituals that move a person through the liminal state

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25
Q

Huron 2006

A

The arts have power to affect emotions to bring about change.

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26
Q

Schechner 2013

- performance studies

A

performance studies: studying artistic and cultural performances considered art by the community as well as studying cultural performances that take place very day in which culture, values, beliefs, worldview are displayed

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27
Q

Beaudry 2008

- transmission and change

A

helpful to understand local learning styles and how the arts are used to gain insights into worldview

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28
Q

Aubert 2007

- transmission and change

A

important to learn how traditions are transmitted; how correction takes place

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29
Q

Schrag 2013

- transmission and change

A

malleable and stable elements; determine and evaluate

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30
Q

Rice 2003

- Time

A

study a genre through individuals in the areas of metaphors, location, time

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31
Q

Schrag 2013, attributed to R. Harris

3 approaches to missions

A

Bring It- Teach It; Build a New Bridge; Find It-Encourage It

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32
Q

Hood 1960

meeting a community and its arts

A

bi-musicality, willingness to learn a different way

33
Q

Aubert 2007

meeting a community and its arts

A

“musical bilingualism” - setting aside western standards, immerse oneself in the new artistic culture and forms

34
Q

Alaghband-Zadeh 2015

meeting a community and its arts

A

When researching ways a community communicates/interact, important to remember status and gender issues

35
Q

Turner 1988

emic approach to meeting a community

A

attend events (ceremonies and rituals) containing the arts since they are loaded with symbolism and provide insights into the community

36
Q

Titon 2008

emic approach to meeting a community

A

“doing music” with the people, entering into their world as you research

37
Q

Jackson 1987

emic approach to meeting a community

A

interview artists using open and follow-up questions, focus on the informant

38
Q

Beaudry 2008

emic approach to meeting a community

A

meet artists to understand their function and status in the community

39
Q

Myers 1992

etic and emic approach to meeting a community

A

accumulate primary sources: notes, video and audio recordings, photographs; emic and etic data; importance of participant observation

40
Q

Hasselbring 2008

A

participatory tools: stakeholder analysis determine influencial people and engage them in reaching the goal; force field analysis to identify strengths and problems then make plans; appreciative inquiry to develop plans to fulfill goals building on community strengths

41
Q

Schrag 2007

A

local arts are communication systems embedded within the culture allowing for creativity, modification, and expansion of the message

42
Q

Schechner 2013

Step 2

A

performance of the arts functions to entertain, create beauty, mark change or change identity, to heal, to teach or persuade

43
Q

Zaki 2013

Step 4D

A

Nairobi Statement: aspects of worship: trans-cultural, contextual, counter cultural, cross-cultural

44
Q

Saurman 2013

Step 4D

A

the Worship Wheel to help a church identify which aspects of Christian life are not being affected/enriched by the arts

45
Q

Duvall and Hays 2001

A

understand scripture well: original meaning, differences from biblical culture; key theological concepts; application to local context

46
Q

Scripture for critical contextualization

A

Romans 14, 1 Timothy 4:4

47
Q

Harris 2010

A

use appropriately contextualized local forms/genres that will effectively communicate the desired meaning to avoid syncretism

48
Q

West and Shetler 2011

A
  1. Total rejection of local art forms: art goes underground, Gospel considered foreign, rejection of the Gospel or syncretism. 2. Total acceptance of local art forms weakens Gospel message and results in syncretism. 3. Transformation of local art forms: keep what does not cause problems in communicating the meaning but reject or transform that which does; results in further integration of Christian truths and actions into lives of believers
49
Q

Saurman 2013

sparking activity

A

workshops

50
Q

King 1999

sparking activity

A

creators’ clubs

51
Q

Learning that Lasts method

A

Connect, Content, Challenge, Change, Closure

52
Q

Hiebert 1985

A

critical contextualization

53
Q

Coulter 2011

identity and sustainability

A

studying local arts may link to use of local language; measuring scale of how the form is being used by the community

54
Q

Harris 2012

identity and sustainability

A

measuring levels of how the artistic genre is being sustained

55
Q

Hill et al. 2016

shalom

A

arts and trauma healing workshops

56
Q

Malchiodi 2005

A

expressive arts therapies in trauma healing workshops

57
Q

Schechner “Play” 2013

shalom

A

play traditional games

58
Q

Zaki 2013

church life

A

worship locally, nationally, globally; Nairobi Statement (worship is trans cultural, contextual, cross cultural, counter cultural)

59
Q

Toynbee 2003

Step 6

A

Creativity takes place within the context of a community whose members evaluate the new creation

60
Q

Schrag 2013

“Evaluating and Improving Local Arts”

A

importance of checking: self-check, consultant check, community check

61
Q

Fitzgerald and Schrag 2014

A

develop culturally-accepted standards of evaluation that will continue to be used by the community

62
Q

Lewis and Simons 2011

A

Encourage artistry by emphasizing the function how it will be acquired, motivation to continue, and community support

63
Q

Dye 2002

A

use of scripture affected by appropriate language, dialect, orthography; appropriate translation; accessible forms; background knowledge of the hearer; availability; spiritual hunger of the community; relevancy: felt and real needs being met by God’s word

64
Q

Nettl 2015

A

studying music as an aspect of human culture

65
Q

.Herndon 2002

A

Culture impacts how a song is used; powerful communication tool

66
Q

Dawe 2003

A

Studying musical instruments gives a better understanding why people make music and how music affects the culture

67
Q

Bauman and Braid 1998

A

Studying OVAs in the culture, community, and individual use increases understanding of the traditions as they relate to the life of the community; artful modes of communication

68
Q

Sklar 1991, 2000, 2001

A

Dance movements give insights into the people’s beliefs, lifestyles, values; dance communicates ideas, memories

69
Q

Dyrness 2001

A

Studying visual art gives insights into basic aspects of the worldview, values, and beliefs of a community

70
Q

Bakan 2012

A

references for music terms

71
Q

Apel 1970

A

references for music terms

72
Q

Greenwald, Schulz, and Pomo

A

references for drama terms

73
Q

Hackney 2002

A

references for dance terms: relationships, connectivities, kinesphere

74
Q

Hutchinson Guest and Curran 2008

A

references for dance terms: relationships, connectivities, kinesphere, as well as floor plan symbols

75
Q

Maletic 2004

A

references for dance terms: phrasing and effort

76
Q

Dooley and Levinsohn 2000

A

references for discourse analysis terms for OVA

77
Q

“Visual Arts Vocabulary” Spark Education

A

references for visual arts terms

78
Q

Fitzgerald and Schrag 2014

- USS

A

USS: rules that govern the form, a good performance, what is acceptable, what is not permitted

79
Q

Kuisliuk 2008

symbolic anthropology

A

Research involves getting to know people as you make yourself known thru close relationships developed by involvement in artistic practice and performance.

WA Comprehensive Exams 2017 (15 decks)

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