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WA Comprehensive Exams 2017 > RMWA ideas & authors > Flashcards

RMWA ideas & authors Flashcards

1
Q

my learning styles

A

relational, structured

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2
Q

relational learning style description

A

relating to people, variety, help others develop

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3
Q

relational learning style research methods

A

participant observation, learning an art form, interviews using open questions

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4
Q

structured learning style description

A

systematic and organized approaches, practical, hands-on-learning

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5
Q

structured learning style research methods

A

ehnographic interview using open questions, jottings, audio and video recordings with metadata included, research published sources: ethnographies, biographies, autobiographies, anthropological studies concerning that community

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6
Q

citation for learning styles

A

Johnston and Orwig 1999

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7
Q

citation for learning an art form (reflexive field work)

A

Titon 2009

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8
Q

citation for interviewing with open questions

A

Jackson 1987

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9
Q

citation for researching using published sources

A

Ruskin and Rice 2012

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10
Q

main theoretical background to guide my research

A

symbolic anthropology

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11
Q

features of symbolic anthropology (4)

A

how and what the artistic activity reveals about the culture, analyzing symbols provide insights into the makeup of the community, reflexively compare different instantiations of the genre to note similarities and differences, arts as means of communication engrained in culture

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12
Q

citation for arts as communication methods engrained in culture

A

Blacking 1992

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13
Q

definition of creativity

A

when people within a community create a new AGE which is valued by the community according to their standards of evaluation

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14
Q

citations for creativity

A

Toynbee 2003; Csikszentmihalyi 1996

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15
Q

research methods for creativity

A

determine who creates, how they create, what is acceptable as new, what symbolic systems are used to create new works, what gatekeepers need to be involved

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16
Q

research questions for creativity (10)

A

Who created it? How is it different from others? How much flexibility is allowed? Who can introduce new aspects? How to learn the genre? Improvisation allowed? Who performs? How does the audience react? What seems new? How does the audience feel about the innovations?

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17
Q

concerns related to language

A

What languages used? How does that relate to cultural identity?

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18
Q

Coulter 2011 quote concerning language

A

Evaluation of language use and cultural practices might reveal insights into the community’s cultural identity

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19
Q

research methods for language

A

record AGE and discuss languages used (mother-tongue? dialect? borrowed words? LWC used and why? did text/lyrics effectively communicate the message? How are the vernacular and LWC used in the arts?

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20
Q

purpose of studying transmission and change

A

knowing and understanding learning styles and how arts are used help gain insights into worldview

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21
Q

citation for arts in the community aid in understanding the culture

A

Beaudry 2008

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22
Q

research methods for transmission and change

A

learn an art form, analyze recordings from different time periods (differences and similarities), analyze performance with older performers, read published resources from different time periods, interview performers of different ages

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23
Q

research questions for transmission and change

A

How are you taught? How are you corrected? How has the art form changed over time?

24
Q

definition of cultural dynamism

A

how stable and malleable elements work together

25
Q

Couler 2016 RMWA class quote on cultural dynamism

A

Artistic traditions thrive when both stable and malleable elements are strong

26
Q

research methods for cultural dynamism

A

interview artists of different generations, analyze recordings to note differences and similarities, ask how much flexibility is allowed in the performance

27
Q

research questions for cultural dynamism (3)

A

What parts of the performance/work must be present to make it an acceptable performance? What parts of the performance may be modified and are loosely organized? What participatory discrepancies are acceptable?

28
Q

citation for participatory discrepancies

A

Keil 1995

29
Q

definition of identity and power

A

Using the arts to communicate messages of identity to the local and wider communities

30
Q

research methods for studying identity and power

A

observation, jottings, note taking; interview artists to determine their purpose; analyze lyrics of songs to discover open or coded messages, note gender issues

31
Q

citation for open or coded messages

A

Shelemay 2001

32
Q

citation for gender issues

A

Alaghband-Zadeh 2015

33
Q

definition of aesthetics and evaluation

A

what the community considered good, pleasing, satisfying; how the culture evaluates AGE to determine if it has achieved its intended purpose

34
Q

citation for aesthetics not being universal

A

Merriam 1964

35
Q

citation for evaluating according to whether it has met its intended purpose

A

Fitzgerald and Schrag 2014

36
Q

research questions for aesthetics and evaulation

A

How do people of different ages, genders, status correct others? How are oral verbal arts used for correction?

37
Q

citation as proverbs as means of correction

A

Unseth 2008

38
Q

citation for stories as means of correction

A

Evans-Pritchard 1967

39
Q

research methods for aesthetics and evaulation

A

view recordings with community members to determine what was pleasing/disturbing, learn an art form noting corrections and advise, read biographies and autobiographies of artists to determine how they developed and how they pleased audiences

40
Q

research questions for aesthetics and evaulation

A

What was pleasing? What was disturbing? What was done well? Which was done better than the other?

41
Q

citation for bi-musicality

A

Hood 1960

42
Q

definition of time

A

how time affects the performance and how it fits into the life cycle calendar of the community

43
Q

research questions for time

A

How do the performers experience the performance? How does the audience experience the performance? How often is this AGE performed? Why are performances held at different times? How do they know how to follow the shape of the event through time? How do they practice the piece? How do they feel time - linear, cyclical, flowing

44
Q

three types of time

A

linear, cyclical, flowing

45
Q

research methods for time

A

attend performances and jot observations concerning how performers and audience experience time, watch recordings with performers asking how they felt time, how they knew how to perform at different points in time, take notes over a 2-year period when rituals/AGEs take place

46
Q

citation for importance of researching rituals

A

Schechner 2013

47
Q

definition emotions

A

the arts are powerful means of expressing and affecting emotions

48
Q

citation for the arts affecting emotions

A

Huron 2006

49
Q

citation for the arts expressing emotions

A

Schrag 2013

50
Q

research methods for emotions

A

participate in rituals and observe how emotions are expressed then jot notes, discuss with friends after experiencing rituals with them concerning their own emotions and emotions expressed of others, record events then analyze with insiders

51
Q

research questions for emotions

A

How are emotions expressed physically? What does lack of expressed emotions mean?

52
Q

What kinds of issues would you research in a community?

A

historical background of the people, geographic location, population, ethnic identity markers, common communication methods, means for sharing artistic creations

53
Q

What general questions would you ask about the community?

A

geographic center, location of performing group, members living in the diaspora

54
Q

What anthropological areas of interest would you investigate?

A

language, social structure, communication methods, how they share their artistic creations

55
Q

What questions would you ask about the artists in the community?

A

How did you learn your art? How are you viewed by the community? How does your voice count in community decisions?

56
Q

citation for social behavior of artist

A

Merriam 1964

WA Comprehensive Exams 2017 (15 decks)

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