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matt - diu comps > Important Lists > Flashcards

Important Lists Flashcards

1
Q

7 steps in CLAT

A
  1. meet the community
  2. specify kingdom goals
  3. select effects, content, event and genre
  4. analyze event containing genre
  5. sparking creativity
  6. improve new works
  7. integrate and celebrate
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2
Q

Step 4 sub steps

A

4A- event/genre as a whole
4B- artistic domain categories
4C- relate to broad cultural context
4D- relate Christian community to broader church/cultural context

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3
Q

7 lenses (ethnographic & form categories; Steps 4A and 4B)

A

SMPSPCU

  1. space (where)
  2. materials (what, tangible)
  3. participant organization (who)
  4. shape through time (when)
  5. performance features (how)
  6. content (what, intangible)
  7. underlying symbolic systems (why, and emic meanings, purpose)
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4
Q

7 lenses - another 4 for the first overall view (Step 4A)

A

PEVI apparent purpose, emotions, community values shown

community investment

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5
Q

7 elements of communication lens (Shrag 2013, “how Artists Create Enduring Traditions”)
Vfcimtf

A

VFCIMTF

  1. view
  2. foundational plane
  3. communicators
  4. infrastructures
  5. messages
  6. tangible artistry
  7. feedback
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6
Q

View (7 elements of communication lens)

A

knowing my research limits

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7
Q

Foundational plane (7 elements of communication lens)

A

understanding when and where communication takes place

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8
Q

Communicators (7 elements of communication lens)

A

recognizing the messengers who are communicating

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9
Q

Infrastructures (7 elements of communication lens)

A

understanding the social constructions that influence the communication

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10
Q

Messages (7 elements of communication lens)

A

knowing what is being communicated

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11
Q

Tangible artistry (7 elements of communication lens)

A

recognizing the tangible sounds, sights, smells, and other tangible aspects that were produced

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12
Q

Feedback (7 elements of communication lens)

A

knowing the direction, nature, and frequency of the communications acts

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13
Q

4 steps to specify kingdom goals

A
  1. gather voices
  2. explore strengths
  3. explore problems
  4. choose goal
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14
Q

6 possible kingdom goals

A
  1. identity/sustainability
  2. shalom
  3. justice
  4. scripture
  5. church life
  6. personal spiritual life
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15
Q

identity/sustainability subdivisions

A

valuing identity, teaching children

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16
Q

shalom subdivisions

A

healing, reconciliation, rest/play

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17
Q

justice subdivisions

A

social justice, education, literacy, economic opportunity

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18
Q

scripture subdivisions

A

translated, oral

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19
Q

church life subdivisions

A

corporate worship, study/remember scripture

christian rites, witness

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20
Q

personal spiritual life subdivions

A

prayer/meditation, bible study, spiritual formation, applying scripture

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21
Q

4 elements involved in Step 3

A
  1. effects
  2. content
  3. genre
  4. event
22
Q

6 elements in describing/designing a sparking activity

A
  1. title/summary
  2. participants
  3. info need from CAP
  4. other resources needed
  5. tasks
  6. big picture (CLAT steps required, already taken and still needed)
23
Q

7 types of sparking activities

A
  1. commissioning
  2. workshop
  3. showcase events (festival/competition)
  4. mentoring
  5. apprenticeship
  6. publications
  7. creators’ clubs
24
Q

12 anthropological/ethnographic areas to explore (Step 4C)

A
  1. artists
  2. creativity
  3. language
  4. transmission/change
  5. cultural dynamism
  6. identity/power
  7. aesthetics/evaluation
  8. time
  9. emotions
  10. subject matter
  11. community values
  12. communal investment
25
Q

4 strong social dynamics required for sustainability of language/art form (Simons & Lewis, 2011)

A

MOAN

Meaning
Ownership
Accuracy
Naturalness

26
Q

GIDS

A

Graded Intergenerational Disruption Scale (8 stages) (Fishman)

27
Q

EGIDS

A

Expanded GIDS (13 stages) (Lewis and Simons 2010)

28
Q

GMSS

A

Graded Music Shift Scale (back to 8, but added “locked”)(Coulter 2011)

29
Q

SEQ

A

self-evaluation questionnaire

30
Q

PPAs

A

Performers/Performances, Audience-Appreciators (see Harris 2012)

31
Q

FAMED

A

Function: high status, positive uses
Acquisition: passed on to others
Motivation: why people chose certain arts for certain social functions
Environment: how surrounding society supports (or not) use of an art form
Distinct Niche

32
Q

Kraft’s model

A 
Forms/Meanings/Result
local/local = local religion
foreign/local = christopagan syncretism
foreign/foreign = domination syncretism
local/christian = appropriate church
33
Q

Kraft’s model notes

—taken from Harris, Robin, Contextualization Article (2007)

A
  • form=cultural expression (art form) that has meaning
  • meaning is determined by thought processes of people, not inherent to the form itself
  • Societies can borrow cultural forms from other societies, but if proportion too high compared to indigenous forms, will affect character of worship.
  • Emphasis on meaning behind form in eyes of local people.
  • Note that one basically creates huge issues any time one uses foreign forms—creates tension.
34
Q

Hiebert’s standards (2003)

A

Must have ALL steps = study forms within cultural setting, from locals’ perspective, and then re-evaluate in light of biblical norms:

  1. Gather information from and with locals about the forms and their current meanings, as well as the functions of those forms in the local culture;
  2. study biblical teachings and principles that relate to the forms in question;
  3. evaluate the local forms in light of the related biblical teachings; and
  4. encourage local people [note that final decisions do NOT come from outsiders!], based on what they have learned in this process, to make their own decisions about whether they should accept, reject, and/or alter the forms in order to create an appropriate, contextualized Christian practice.
35
Q

Hill & Hill’s steps, 2010, ch. 9 “Identifying Relevant Issues”, similar to Hiebert’s standards

A

major difference in the first step (“identifying a felt need” vs. “identifying meanings and functions of a form within a given community”)
o Step 1: identifying issues burdening people’s hearts/affecting their lives
o Step 2: study the issue without judging; research motivations, etc. (p. 81, “ask why until they have no more explanations”); get to the root cause!
• practices that are involved
• beliefs that are involved
• root causes
o Step 3: determine what is true (with good counsel, in groups)
o Step 4: respond to the issue biblically (need functional substitutes for those things you remove!)
• figure out functions of each component
• determine as (a) acceptable, (b) needing modification, or (c) needing replacement
[KMH comment: need another step introducing the functional substitute—important WHO does so (status), whether give encouragement to develop more examples (corpus), and HOW the substitute is introduced and taught (acquisition)]

36
Q

Krabill’s 6 proposed stages for African music

A
  • 1-importation (Western)
  • 2-adaptation (add rhythm instruments; translate)
  • 3-alteration (new text, old tune, or vice versa)
  • 4-imitation (locals compose in Western style, e.g., verse-refrain)
  • 5-indigenization (completely indigenous)
  • 6-internationalization (goes out to others)
37
Q

Wendell’s 4 levels

A
  • guiding principle: distance = shared knowledge/cultural distance, NOT linguistic complexity
  • 1-share info/story + experiences
  • 2-author has new personal experience
  • 3-author learns something vicariously and communicates it in a local, culturally appropriate way
  • 4-author translates something new from another language (experience unknown to him, too)
38
Q

LPMD team 2x3 indicator characteristics

A 
•	indicators
o	observable
o	describable
o	measurable
•	results
o	neutral
o	directional (up/down)
o	targeted (specific group)
39
Q

8 anthro categories

A
  • sociolinguistics
  • material culture/economics
  • power relationships
  • social organization (gender, age, kinship)
  • kinship
  • marriage/family (sexuality)
  • religion
  • worldview/values
40
Q

6 characteristics of arts (Schrag)

A
  • distinctive performance context
  • contract/expand density of info
  • assume more/special knowledge
  • special formal structure
  • elicit unusual (emotional) responses
  • require unusual expertise
41
Q

3 characteristics of arts (Bauman 1992)

A
  • aesthetically marked
  • heightened mode of communication
  • framed as special display for audience
42
Q

6 characteristics of “cultural performances” (Bauman 1992)

A
  • scheduled
  • temporally bounded
  • spatially bounded
  • programmed
  • coordinated
  • heightened public occasions
43
Q

Baldwin, RBM Framework Chart

A

HOW-inputs, activities
WHAT (want)-outputs, outcomes
WHY-impact
stakeholder chart: NAME-CONTRIBUTION-BENEFIT-CONCERN

44
Q

6 research method ideas

A
  • participant observation
  • interviews
  • note-taking
  • photography
  • audio/video
  • published sources
45
Q

5 aspects of performance features (Manual, Step 4A)

A

anything observable, patterned, transcribable!
• 1-evokes emotions
• 2-repeated
• 3-draws attention of audience/performers
• 4-people tell you to look for
• 5-heavy contrasts among bundled sets of features
• [Note: Finnegan’s communication channels]

46
Q

8 conditions (Dye)

A
  • language, dialect, orthography
  • translation
  • accessible forms of Scripture
  • background knowledge
  • availability
  • spiritual hunger
  • freedom to commit to Christian faith
  • partnership between translators and other stakeholders
47
Q

4 worship wheel (CLOS)—Saurmans in Schrag & Neeley

A 
•	Arts for…
o	Celebration/ceremonies
o	Lord
o	Others
o	Self
48
Q

Ruskin and Rice’s 4 types of individuals

A
  • innovators
  • key roles
  • ordinary
  • anonymous

artists affect (and effect!) new social structures

49
Q

Learning that LASTs 5 Cs

A 
1 Connection
2 Content
3 Challenge
4 Change
5 Closure
50
Q

Learning that LASTS

A 
Learner-centered
Action and REflection
Solving Problems
Teamwork
Self-discovery and Self-direction

matt - diu comps (22 decks)

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