Master Bibliography Flashcards
Baldwin, Ruth. 2000. Results-Based Management: The Basics: Definitions and Approach. C.A.C. International. Updated July 2005 by Linda Orr Easthouse, Wycliffe Canada and October 2009 by Georgetta MacDonald, SIL International.
Goals, impacts, check results, improve or correct along the way
Bauman, Richard and Donald Braid, 1998. “The Ethnography of Performance in the Study of Oral Traditions.” In John Miles Foley, editor,Teaching Oral Traditions. New York: Modern Language Association. 106-122.
Inside-out–recognizing characteristics of arts themselves (Step 1); Oral Verbal Arts (Step 4B) Researching OVA is not just a textual item–but as a performance, have their primary existence in people’s actions and social/cultural roots.
Bauman, Richard, ed. 1992. Folklore, Cultural Performances, and Popular Entertainments. Oxford: Oxford University Press. 29-40.
performance = aesthetically marked, heightened mode of communication, framced as a special display for an audience.»_space;>Trying to define, three main elements: (1) traditionality (collective tradition, and collections seen as static from the past, are being influenced by performance studies to include individual manifestations and acknowledge the emergent nature of developing tradition); (2) ways to understand the social base of “folk”: (a) Redfield, 1947, primitive as opposed to urban; (b) Dundes, any group that shares one common factor; (c) Redfield, 1947, nonliterate/oral; (3) aesthetics–the artfulness of every-day life as seen by that culture (ethnoaesthetics). • Performance is “a mode of communicative behavior and a type of communicative event” (1992:41).
Beeman, William O. 2002. “Performance Theory in an Anthropology Program.” In Performance Studies as a Discipline. Nathan Stuckey and Cynthia Wimmer, eds. Carbondale: Southern Illinois University Press. 85-97.
“Performance elements, artistic communication events»_space;>”“Seven elements of performance; the last five here:
- We get regularities in artistic communication based on human interaction.
- constant evaluative feedback as socially co-created
- intentional, with aim to be effective/transformative
- Emergent based on environmental factors.
- Involves skill and can be judged as successful or not based on event/individual.
Artistic communication events probably primary means by which people come to understand their world around them.
Conservative: reinforces truth of world around; verifies current social order; shows examples of cultural definitions, or “”"”contract,”””” showing world through inverted state of paradox, contradiction, comedy, confrontation, etc.
OR Transformative/revolutionary: restructure social order through persuasion/rhetoric, redefinition of audience/context/performer, etc.
“””
Chenoweth, Vida. 2001. Melodic Perception and Analysis, revised. Dallas: SIL. pp. 1-26.
checklist for rituals/events likely to be marked
Colgate, Jack. 2008. Part I: Relational Bible Storying and Scripture Use in Muslim Contexts. International Journal of Frontier Missiology 25:3 (Fall 2008), 135-142.
Kingdom Goals, storytelling to build relationship and discover community needs
“Telling my story–drawing out his/her/your story–telling God’s story/Bible stories.
(1) Listening is extremely important for relationship (drawing out the other’s story).
(2) Then, telling our own stories helps listeners relate to us, makes us more known and therefore more trusted, encourages others to share, help us recount God’s goodness.
(3) Then can move onto relevant Bible stories. Types of Bible storying: (1) point-of-need (single stories); (2) chronological Bible storying; (3) story clusters to teach on a certain theme; (4) start series with stories of Jesus (skip ahead of usual chronology)–in footnote, author references Lausanne (2005) Making Disciples of Oral Learners as the source of these last two.”
Cooperrider, D.L. & Srivastva, S. (1987) Appreciative inquiry in organizational life. In Woodman, R. W. & Pasmore, W.A. (eds) Research In Organizational Change And Development, Vol. 1 (129-169). Stamford, CT: JAI Press.
original article launching Apreciative Inquiry
Coulter, Neil R. 2011. “Assessing music shift: Adapting EGIDS for a Papua New Guinea community”. 1-16.
GMSS Graded Musical Shift scale
Csikszentmihalyi, Mihaly. 1996.Creativity: Flow and the Psychology of Discovery and Invention. New York: HarperCollins. 23-31.
creativity, flow. Know community’s definition(s) of creativity with respect domain, field, and person (Step 1); Creativity (Step 4C: aesthetics evaluation); Spark Creativity (Step 5): change existing domain or establish a new one
Dye, T. Wayne. 2009. “The Eight Conditions of Scripture Engagement: Social and Cultural Factors Necessary for Vernacular Bible Translation to Achieve Maximum Effect.” International Journal of Frontier Missiology 26(2):89-98.
- appropriate language, dialect, orthography
- appropriate/acceptable translation: CAN (clear, accurate, natural)
- accessible forms of Scripture [corpus development]
- background knowledge of the hearer (which art forms/learning styles work best?)
- availability
- spiritual hunger of community members
- freedom to commit to Christian faith (pressures/persecution?)
- partnership between translators/stakeholders
Matt and Marcia Welser have made a scale for each of these, 0 means completely blocked and inadequate, 10 means everything good to go–put energies into the lower numbers to get the conditions better.
Eubank, Allan. 2004.Dance-Drama Before the Throne: A Thai Experience. Chiang Mai: TCF Press, pp. 15-18, 27-36. [Dallas: Thai Christian Foundation]
Dance/Drama with Scripture/Gospel, Contextualization: adapting tradition of Thai Likay to modern setting, participant methods
Feldman, Edmund B. 1992. Varieties of Visual Experience, 4th ed. New York: Adams. 207.
Visual Art - Performance Features (Visual Features of Static Object)
Finnegan, Ruth. 2002. Communicating: The Multiple Modes of Human Interconnection. London: Routledge.
Describe event/genre as whole; observation of communication channels (domains),
Fishman, Joshua A. 1991. Reversing Language Shift: Theoretical and Empirical Foundations of Assistance to Threatened Languages. Clevedon, UK: Multilingual Matters Ltd.
Transmission & Change, Continuity, GIDS
Fitzgerald, Daniel, and Brian Schrag. 2014. “But is it any good? The role of criticism in Christian song composition and performance.” Global Forum on Arts and Christian Faith 2:A1-A19. http://artsandchristianfaith.org/index.php/journal/article/view/7/4.
Aesthetics and Evaluation
Giurchescu, Anca, & Eva Kröschlová. 2007. “Theory and Method of Dance Form Analysis,” in Dance Structures: Perspectives on the Analysis of Human Movement, ed. Adrienne Kaeppler and Elsi Evancich Dunin. Budapest: Akadémiai Kiadó. 21-52
Dance Form (Shape Through Time)
“CLAT p. 126 Hierarchy of Dance Form (Shape Through Time)
Total dance form
• The highest structural level resulting in an organic and autonomous entity through the summation of all the integrated structural units
Part
• The highest structural unit within the total dance form
Strophe
• A closed higher form that is comprised of phrases and organized according to the grouping principle
Section
• An intermediate macrostructure consisting of a linking or grouping of phrases. A one-phrase section decomposes directly into motifs
Phrase
• The simplest compositional unit that has sense for the people and by which dances or dance genres are identified
Motif
• The smallest significant grammatical sequence of movements having meaning for both the dancers and their society and for the dance genre within a given dance system”
Guest, Ann Hutchinson, & Tina Curran. 2008. Your Move: The Language of Dance Approach to the Study of Movement and Dance. Abingdon, UK: Taylor & Francis.
Dance - Performance Features (Big-Picture happenings)
“CLAT p. 130 ““Big-Picture”” or Broad Characteristics of Patterned Movement (eclectic research and observation questions)
Observe the general types of body connectivity, support, relationships, types of movement involved in dance.
- Is the movement constant, or are there moments of stillness (breath)?
- Is the performer always facing a particular direction, or does the facing change? Change method of traveling or remain in place?
- Turning? Jumping? How many revolutions? Big/small jumps? Specific gestures?
- Body revolving around axis? Vertical axis (spinning standing)? Horizontal axis (cartwheel)? Sagittal axis (vertical plane somersault)
- How is the dancer supported or connected to the ground—feet, hands, torso, knees, forearms, props?
- Sense of weight/gravity and balance? “On” center or “off” center/tilting/falling?
- Relationship of body parts to each other or other performers?”
Guest, Ann Hutchinson. 2005. Labanotation: The System of Analyzing and Recording Movement. New York: Routledge. 296-298.
Dance - Participant Organization Terminology, awareness, addressing, and relationships
“CLAT p. 128 ““Participant Organization”” for Dance
Awareness
• Demonstrating conscious perception (knowing someone(thing) is somewhere)
Addressing
• Demonstrating conscious interaction (acknowledging someone(thing) is somewhere)
Transient relationships
• Awareness and/or addressing that comes and goes throughout a performance
Retained relationships
• Awareness and/or addressing that is maintained and sustained throughout a performance
Canceled relationships
• Awareness and/or addressing that ends at a specific time during a performance
“
Hackney, Peggy. 2000. Making Connections: Total Body Integration through Bartenieff Fundamentals. New York: Routledge. 71-218.
Dance - Performance Features and body connectivity, movement relationships
“CLAT p. 129 Body Connectivity: Parts involved in patterned movement
(1) Breath
• All movements derive from breath, some are initiated or guided by the breath (Ensemble taking a breath before a particular phrase, stillness, then breath for next mvt)
(2) Head-tail (spinal)
• Head and pelvis connection (Pelvic sway, spinal weave, head weaving side-to-side)
(3) Core-distal (navel radiation)
• Center/core connection to limbs – arms or legs // Asymmetrical // Usually THREE-dimensional // “gathering” (draw inward) + “scattering” (release outward)
• Hunching over focal point then throwing self away from focal point (“dot” in symbol)
(4) Homologous (upper-lower)
• Head/arms (upper half) connection to pelvis/legs (lower half) // Symmetrical // TWO-dimensional
• Rhythmic repeated bowing at waist + jump into air that “scissors” body with legs/torso coming forward
(5) Homolateral (body-half)
• Right side of body connection with left side // Symmetrical // TWO-dimensional
• R elbow to R knee, mirrored or repeated with LEFT side
(6) Contralateral (diagonal)
• Upper right (arm) connection with Lower left (leg) and vice versa // Walking, exaggerated walking-like movements
• L arm extends while R leg contracts (or lifts off ground)”
Harris, Robin. 2012. Sitting “Under the Mouth”: Decline and Revitalization in the Sakha Epic Tradition Olonkho. PhD Dissertation, University of Georgia Athens.
EMERGENCE, Flexibilty of Form, Sakha olonkho epic storyteller uses formulas and rules NOT memorization, stable + malleable elements interact
“EMERGENCE:
(1) Emergence = how performance is affected by audience input/interaction, environmental details (how much time allotted for the performance), etc. Suggested by Bauman, 1975.
(2) Emergence is made possible due to flexibility of form: narratives of Sakha olonkho are built based on formulas that rely less on memorized text and more on linguistic ‘grooves’ described by Lord. Epic storyteller drawing from set number of formulas and rules, and, rather than memorizing the whole epic, fits his language into these structures as he goes. Also comes back to various themes. So stable and malleable elements interact. [See also Maranda, 1971, who suggested that performing riddles among the Lau people had less to do with identifical words and more to do with following the society’s ““rules of formation and transformation.””
“
Herndon, Marcia. 1993. “Insiders, Outsiders: Knowing Our Limits, Limiting Our Knowing.” The World of Music 35(1):63-80.
insiderness/outsiderness
“Our relationships with people in a community vary on continua of insiderness and outsiderness, or–better yet–“multi-dimensional congeries [collection, aggregation, connotation somewhat disorderly/jumbled], or even multi-dimensional dynamic models.”
“
Hiebert, Paul G., R. Daniel Shaw and Tite Tiénou. 1999. Understanding Folk Religion: A Christian Response To Popular Beliefs and Practices. Grand Rapids, Michigan: Baker Books.
Folk Religion, Worldview, Relate church community to broader culture
(Guides wise choices in deciding how to use cultural forms. I did not read directly, but got from Harris (2007). See more in the Comps Study Guide.)
Hood, Mantle. 1960. “The challenge of bi-musicality.” Ethnomusicology 4(2):55-59.
Meet a community, build relationship, learn and analyze arts through cross-cultural participant organization, retrain ears
Hood’s basic premise is that a good student of ethnomusicology needs to become fluent in a musical tradition outside their own culture, and he discusses how one might go about doing so. He considers developing the ability to hear (56), or rather, to hear in a new way, and suggests methods of “imitation and rote learning” that can be more beneficial to the student (56). Hood encourages the aspiring student of world music to not forget that real, hands-on application and practice are important; one cannot immediately move into understanding the theory and meaning of another music without developing musicality in it first.
Huron, David. 2006.Sweet Anticipation: Music and the Psychology of Expectation. Massachusetts Institute of Technology. 1-2; 19-40.
emotions
“• Tragedy, surprise, and suspense are invoked by music
• The “principle source for music’s emotive power lies in the realm of expectation” (2006:2).
• Music should strive for limbic contrast, or violations of expectation.
• Music predicates microemotions of laughter, awe, and frisson.
o Laughter: innate social response
o Awe: response to sustained danger
o Frisson: chills
Leonard Meyer, Emotion and Meaning in Music (1950s)–principal source for emotive power lies in realm of expectation (p. 2 in Huron).
When surprised, 2 responses: (1) fast track (amygdala)–rapid reaction; (2) slow track (cerebral cortext)–appraisal response, conscious thought
Although surprise is biologically challenging (hard on the body), creates pleasure emotionally when expectation is changed up.
A combination of limbic contrast (something bad threatens to occur but something good happens instead) and the release of endorphins caused by stress engenders positive emotional response.
Huron then describes how frission, laughter, and awe are related to the fight, flight, and freeze responses, respectively.
Music creates these responses (e.g., loud music, or abrupt modulation/violation of expectation causes fear/frission/fight!) – Does he discuss pleasure vs. fear?”
Jackson, Bruce. 1987. “Doing Fieldwork” and “Planning.” In Fieldwork. Urbana: University of Illinois Press. pp. 13-19; 20-28.
interviews, folklorists say how they feel as opposed to scientists, interest in people, phases of fieldwork (planning, collecting, analyzing), report failures and feelings
“• Difference between folklorists and scientists: folklorists don’t record their failures or feelings.
• Fieldwork for the folklore student gives a sense of the labor of gathering information.
• Interest in people is necessary!
• Phases of fieldwork: planning, collecting, and analyzing.
• Everything is done for a reason.
Report failures and feelings, too!
Examine your motives.
Phases of Fieldwork: Planning, Collecting, Analyzing
Planning:
1.) WHY doing this?
2.) WHAT want at the end?
3.) What [KMH: WHICH] resources need to get there?
Know how to use your tools; take good care of them (weather).”
Kapp, Deiter B. 1987. “Paniya Riddles.” Asian Folklore Studies 46:87-98.
riddles, OVA
Kealiinohomoku, Joann. 2001(1970). “An Anthropologist Looks at Ballet as a Form of Ethnic Dance.” In Moving History/Dancing Cultures: A Dance History Reader, edited by Ann Dils and Ann Cooper Albright. Middletown, CT: Wesleyan University Press. 33-43.
Dance, bias, mis-interpretation of dance forms,
Keil, Charles. 1995. “The Theory of Participatory Discrepancies: A Progress Report.” Ethnomusicology39(1):1-19.
How do artists relate to one another in a performance? Roles? PDs?
“Groove, texture, and timbral discrepancies between/among participants are more important to music than syntax. (Argues for importance of process, not product; for need of music as pleasure/play; for creating socially, together, from the bottom up.)
Groove can be created by slight discrepancies in rhythm, where some beats are allowed to ““breathe”” while others must be very precise. Constant negotiation and unpredictability keeps people coming back for more.
Groove also has to do with differences in the attack/decay of musical notes.
“
Kindell, Gloria E. 1996. “Ethnopoetics: Finding poetry.” Notes on Literature in Use and Language Programs 50:31–46.
OVA
“Kindell advocates for the importance of studying ethnopoetics. Not only is its study fun, but also useful and part of linguistics and therefore learning more about a culture from an emic perspective. Oral transmission of poetry differs from written poetry because the oral, although possibly prosaic, often translates as poetry due to its heightened nature and composition. Differentiating poetry from prose is relative, but poetry can usually be spotted by its form and delivery. Oral poetry encompasses a variety of genres including epics, ballads, songs, verse, and many more forms. The traditional phonological approach to poetry does not apply to oral poetry because the characteristics are not universal. Each language has its own set of rules oral poetry functions with. For instance, in a tonal language you might find tone rhyme as a feature. Kindell suggests analyzing the structure, including the type of line, material, and whether it is metered or measured; performance, including vocal changes, silences, and onomatopoeia; modes and meanings, including tonal and rhythmic patterns and social context; and features of oral poetry, including repetition, alliteration, and rhyme.
Uses term ““ethnopoetics”” (analyzing/understanding verbal art of other cultures).
Prose tends to describe emotions directly; poetry evokes them.
Emotive power is at least equal to the cognitive content of a message.
Distinguish prose vs. poetry: style, form, setting, local classification.
Oral vs. written poetry: composition, transmission, actualization in performance.
How to find?
(1) Hymes: linguistic structure (metered, numerically regular vs. measured, semantic/grammar repetition)
(2) Tedlock: expressive features (use of pauses, pitch patterns, speech tempo, gestures)
[These two approaches coincided 90% of the time.]
Common features of poetry: archaic vocabulary, alternate word orders, imagery/symbolic language, kinds of repetition (rhyme, alliteration, tone rhyme, parallelism).
Performance modes: singing, chanting, speaking, combinations
“
King, Roberta. 1999. A Time to Sing: A Manual for the African Church. Nairobi: Evangel Publishing House.
Song-writing workshops, composition
Kisliuk, Michele. 1998. Seize the Dance! New York: Oxford University Press. 12.
Enactment - an instantiation of an artistic genre during an event, or artistry that people produce through a genre’s patterns and practices (qtd. Schrag 2015:322 “Motivations…Longer Traditions”)
Klem, Herbert V. 1982. Oral Communication of the Scripture: Insights from African Oral Art. Pasadena: William Carey Library, chapter 15.
Kingdom Goals; people learn best when text combines with LOCAL ART STYLE
Krabill, James R. 2013. What Happens to Music When Cultures Meet? Six Stages of Music Development in African Churches. In Worship and Mission for the Global Church: An Ethnodoxology Handbook, James R. Krabill, Gen. Ed. Frank Fortunato, Robin P. Harris, and Brian Schrag, Eds., pp. 144-150 [Chapter 28].
- Importation –2. Adaptation . 3. Alteration – 4. Imitation – 5. Indigenization – 6. Internationalization
Lauer, David A., and Stephen Pentak. 2002. Design Basics, 5th ed. Stamford, CT: Wadsworth Publishing.
Visual Art - Space - Visual features and Spacial Relationships
“CLAT p. 151 Space “Spatial Relationships b/w an Object’s Visual Features”
Visual Unity – An integrate message in which the various parts of the message are in harmony with the other parts
Proximity – Objects are spatially related
Repetition – Objects are quantitatively related
Continuation –Based on psychological principles of closure
Controlled Chaos – Objects appear to be disorganized, yet are under control”
Lester, P.M. 2003. Visual Communication: Images with Messages, 4th ed. Stamford, CT: Thomson-Wadsworth Publishing Company.
Visual Art (4B), 156-157 (CLAT), Underlying symbolic systems of Visual Art: personal, historical, technical, ethical, cultural, critical
Lewis, M. Paul and Gary F. Simons. 2010. “Assessing endangerment: Expanding Fishman’s GIDS.” Revue Roumaine de Linguistique 55 (2): 103-20.
EGIDS
“Took Fishman’s (1991) GIDS and made it an EGIDS.
“Extended GIDS” // Language Development vs. Endangerment
Questions
- What is the level of official use?
- What is the literacy status?
- What is the identity function?
- Are all parents transmitting the language to their children?
- What is the youngest generation that has some proficient speakers?
Scale
0) International
1) National
2) Regional
3) Trade
4) Educational
5) Written
6a) Vigorous
6b) Threatened
7) Shifting
8a) Moribund
8b) Nearly Extinct
9) Dormant
10) Extinct”
Longacre, Robert E. 1996. The Grammar of Discourse, 2nd ed. New York: Plenum, 33-50.
Oral Verbal Arts; Shape of Event Through Time; temporal form of narrative or story elements
“CLAT p. 139 Oral Verbal Arts “Shape of Event Through Time”
Temporal form of narrative/story • Stage • Inciting incident • Mounting tension • Climax of tension • Release of tension
Identify these Elements
• Intro and actions of characters
• Increase or decrease of rates of events in the narrative
• Intro of special words to mark a climax
• Change in a performer’s vocal timbre, volume, and pitch
“
Maletic, Vera. 2004. Dance Dynamics: Effort and Phrasing Workbook. Columbus, OH: Grade A Notes. 57-95.
Dance - Performance Features (Movement Phrasing, Effort, & Dynamics)
“CLAT p. 131-132 Performance Features: Effort and Phrasing
1) Even – maintain same level of intensity, slow steady mvt or faster even intensity
2) Increasing – energy at one level gets more intense, can end with impact (sudden stop)
3) Decreasing – high energy intensity becoming less, can begin with an impulse (outburst)
4) Increasing-decreasing – builds energy up then diminishes, asymmetrical or symmetrical, can include impacts or impulses
5) Decreasing-increasing – diminishes intensity then builds, asymmetrical or symmetrical, can include impacts or impulses
6) Accented – spurts of intensity or energy, can be repeated with pauses or stillness between spurts
7) Vibratory – series of quick and repetitive movements repeated at various “wavelengths” (strong/light)
8) Resilient – energy that plays with gravity, emphasizing the strength or heaviness (or “weightlessness”) of a movement
(a) Elasticity – equal balance between strength and light, like bouncing a basketball down the length of a court
(b) Buoyancy – demonstrates the lightness more clearly and has a rebounding quality like jumping in the air and “hovering” for a moment
(c) Weight – demonstrates the strength of gravity and releases into the ground, like jumping in the air and spending more energy on the ground that in the air
Impact – sudden stop, strong or light accent
Impulse – outburst, strong or light accentCLAT p. 132-133 “Performance Features: Dynamics & Effort
** SPACE, TIME, and WEIGHT (FLOW confusing with Phrasing) **
1) Fighting – resisting gravity, momentum, etc.
2) Indulging – giving in to gravity, momentum, etc.
3) Pelvis – good indicator of Dynamic or Effort (core/base of majority of movement)
(A) Space – how the performer thins of and uses traveling through the physical space
a. Direct – particular, planned, thought-out
b. Indirect – meandering, allow other factors to guide traveling
(B) Time – performer’s intuition or decision making while moving
a. Sudden – alert, immediate (fighting)
b. Sustained – calm, lingering (indulging)
(C) Weight – how a performer senses and uses gravity
a. Strong – firm, concentrated, grounded (fighting)
b. Light – delicate, refined, tender (indulging)
“
Massey, Joshua. 1999. “His Ways Are Not Our Ways: God’s Amazing Diversity in Drawing Muslims to Christ.” International Journal of Frontier Missions Vol. 17:1 [OR Evangelical Missions Quarterly 35(2):188-197]
M1-M9 spectrum, C spectrum
“pp. 9-10, don’t accuse ““up the spectrum”” (of compromise, syncretism, heresy) or ““down the spectrum”” (of obstructing the flow of the Gospel with cultural insensitivity)!
Those less content with Islam will be less likely to want C4-C5 and more likely want to go with C1-C3 options. He also presents the M1-M9 spectrum, outlining different attitudes of Muslims towards Islam (from disillusionment through ambivalence to contentment).”
Murdock, George P. et al. 2004. Outline of Cultural Materials, 5th ed. with modifications. New Haven, CT: Human Relations Area Files, http://www.yale.edu/hraf.
OCM
Nettl, Bruno. 2005. The Study of Ethnomusicology: Thirty-one Issues and Concepts. New Edition. Urbana: University of Illinois Press. 1-15.
Transmission & Change, Continuity "• Ethnomusicologists tend to try to preserve traditions, but music has a naturally changeable quality. • When recovering old or lost traditions, there is change but no continuity (2005:278). • Nettl hypothesizes that some components of music always change while others are static (2005:289). Musical gray-out (we referred to it in class as ""McDonaldization"")--he's not worried about it. • With the increase of modernization and cultural and musical change, ethnomusicologists have become more interested in change. • There are four kinds of change: (1) complete change, abandoned for another (very rare), (2) radical change (new form and elements can still be traced to old in some way), (3) change as part of the music’s essential character (most societies expect some kind of variation from composers), and (4) allowable variation that is actually not perceived by the host culture as change. Ethnomusicologists usually focus on change as part of the music’s essential character (#3). • Musical change is slowest in 1) societies with little technology, 2) musical systems that have developed a certain perfection to adapt to the host culture, 3) during the part of a change cycle that is slow, and 4) domains of culture that show little change, such as religion. • Music often changes when society doesn’t change and vice versa. • There seems to be a need for musics to exhibit both change and stability. A music can either be focused on innovation or variation, but usually not both. >>>- looking for universals - power and domination of men over women, "
Petersen, Michelle. 2013. “Scripture Relevance Dramas.” In Worship and Mission for the Global Church: An Ethnodoxology Handbook, James R. Krabill, Gen. Ed. Frank Fortunato, Robin P. Harris, and Brian Schrag, Eds. [Chapter 143] 473-480.
Kingdom Goals (2), make Scripture relevant to culture through localized drama; Improve New Works (6); Community Check
“People respond best when they see God is not a foreigner, but His ways are at home in their culture and in their daily lives/personal contexts.
Defines them, organizes by type, explains essential elements, provides pointers, gives suggestions for coaching, describes ways to improve new works.
Four main types of Scripture Relevance Dramas
1) parables/stories
2) historical biblical events
3) local stories with biblical parallels
4) problem stories from everyday life
Three essential elements
• Interesting IDEAS, CHARACTERS, and ACTIONS
(these last two being the ““feet”” of the drama)
Need to know
• How to introduce play, how to present the main point/moral, length, number of stories, introduction of actors; stakeholders, how to send invitations, how to do community checks before and after.”
Priest, Robert J. 1994. “Missionary Elenctics: Conscience and Culture.” Missiology 22:3, 291-315.
elenctics, and the importance of conscience (missinonary, local person, etc.)
Rice, Timothy.2003. “Time, Place, and Metaphor in Musical Experience and Ethnography.”Ethnomusicology47(2): 151-179.
creativity + time
“• Influence from anthropology: analyze “shifting temporal, social, and cultural bases” of musical experiences and intercultural context.
• Rice proposes subject-centered ethnography with the subject as “a thoroughly social and self-reflexive being” (2003:157)
• Musical experience exists in a three-dimensional space including metaphor, time, and location.
The world is in constant flux (colonialism, electronic media, travel, all contributing). Three dimensions to describe individual’s music experience:
1. LOCATION–settings/places/nodes of social and musical behavior, OR perception of space as phenomenal/behavioral; ideal/material; container/network/grid (from Curry)
2. TIME (x2)–chronological/historical (so people can hold previous beliefs) OR experimental/phenomenological; need both, because experience now is partly conditioned by experience in the past
3. METAPHOR–what people perceive the music to be (art, cognition, entertainment, therapy, social behavior, commodity, referential symbol, text for interpretation) (p. 165)
Note diagram on p. 161: Y-axis is metaphor, X-axis is location (individual through virtual), and hypotenuse is time periods”
Richards, Paul. 1972. “A Quantitative Analysis of the Relationship between Language Tone and Melody in a Hausa Song,” African Language Studies 13 (1972): 137-161.
Music (4B); Content, relationship b/w meldoy, rhyth, and sung text (Song Text + Speech Surrogates)
Rowe, Julisa. 2004.A Guide To Ethnodramatology: Developing Culturally Appropriate Drama In Cross-Cultural Christian Communication: A Comparative Study Of The Dramas Of Kenya, India And The United States.Portland, Oregon: Western Conservative Baptist Seminary. xviii-xix, 5-7, 271-274, 282-286, and Appendix J.
Drama (4C), contextualization, “no universal forms of drama,” combine cultural and Christian values, don’t neglect indigenous means of communication through arts
“• Indian artists are considered enemies of the church, except for the Catholic and (to some degree) the Lutheran Churches.
• Rowe recommends using Vernacular and Parallel theatre forms to address issues in a relevant way and Classical and Folk theatre forms to reach the masses with a new message.
• Folk theatre warrants the most exploration for perpetuating the gospel. Ex: Kenyan storytelling; Bharatanatyam, Chavittunatakam, and Kuchipudi from Indian culture.
Drama consists of 12 signal systems, 11 of which are non-verbal, and each of them is culturally defined!
Purpose of resource: help scholars discover and understand art forms in a culture.
““One cause of nominalism faced by churches worldwide is the suppression or neglect of indigenous means of communication through art forms”” (xviii).
Church in India doesn’t usually like attempts at redeeming traditional or classical art for Christian communication.
All Hindu actors who performed the Gospel of Matthew eventually came to Christ.”
Ruskin, Jesse D, and Timothy Rice. 2012. “The Individual in Musical Ethnography.” Ethnomusicology56(2): 299-327.
Individuals/informants source of knowledge, share personal experience related to social and cultural principles; fuller picture obtained through ethn. research and informant stories (multiple angles); Artists (Step 4C) are autonomous actors and worth investigating
“• Geographical, ethnic/kinship, institutional, and genre-affinity groups have music as part of their social and cultural systems.
What is a musical ethnography? (1) asks/answers questions about meaning/function of music in culture and society; (2) based on fieldwork as indispensable method
Four typical ways individuals have been treated in ethnographies:
1. Innovators
2. Important roles
3. Ordinary individuals
4. Anonymous audience members
Individuals are generally central to ethnographies (even though meaning of name refers to ‘peoples’ of the world). Why? (1) we work with individuals; (2) individuals work out identities in creating social structures; (3) value the exceptional; (4) highlight individual agency and difference [in last quarter century; KMH: Westerners, anyway]
May be used by those who focus on culture sharing certain ideas as specific examples; used by those who focus on lines of fragmentation as representatives of those groups.
Author’s direct or indirect encounter, or both.
Narrative strategies: (1) biography; (2) assisted autobiography; (3) dialogue; (4) polyvocality (not grounded in context); (5) analysis of texts/performance.
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Saurman, Mary E. 1993. “Music: A Bridge to Literacy.” Notes on Literacy 19(3):34–42.
music helps people retain information more easily, used in music therapy and has literacy applications
