Step 1 - Meet a Community and Its Arts Flashcards
Think about…
…what a community is
Start a…
…community arts profile (CAP)
Take a first…
…glance at a community
Take a first glance…
at a community’s arts
Outside-In
important events/liminal states marked by artistic communication
Outside-In (sources)
Schechner, Richard. 2006.Performance Studies: An Introduction. 2nd ed. London: Routledge. pp. 52-88 [ch. 3, “Ritual”].
Turner, Victor. 2004 (1969). “Liminality and communitas.” The Performance Reader, ed. Henry Bial, London and New York: Routledge. 79-87.
Chenoweth, Vida. 2001. Melodic Perception and Analysis, revised. Dallas: SIL. pp. 1-26.
Chenoweth (2001), Schechner (2006), Turner (2004)
Chenoweth, Vida. 2001. Melodic Perception and Analysis, revised. Dallas: SIL. pp. 1-26.
checklist for rituals/events likely to be marked
Schechner, Richard. 2006.Performance Studies: An Introduction. 2nd ed. London: Routledge. pp. 52-88 [ch. 3, “Ritual”].
rituals as liminal performances
Turner, Victor. 2004 (1969). “Liminality and communitas.” The Performance Reader, ed. Henry Bial, London and New York: Routledge. 79-87.
communitas
Inside-out
recognizing characteristics of arts themselves
emic view
Inside-out (main points)
distinctive performance context; contract/expand density of info; assume more/special knowledge; special formal structure; elicit unusual responses; require unusual expertise
distinctive performance context (sources)
Saville-Troike, Muriel. 2002. The Ethnography of Communication: An Introduction. Blackwell Publishing Ltd. pp. 1-9. , Bauman (1992, “Performance”)
Saville-Troike (2002)
recognizable boundaries that set off from “normal” events, and distinctive features like role changes among participants [see also Stone, 1979, above]
Bauman, Richard, ed. 1992. Folklore, Cultural Performances, and Popular Entertainments. Oxford: Oxford University Press. 29-40.
aesthetically marked, heightened mod of communication, framed as special display for audience; see also Milton Singer’s observations about cultural performances = scheduled, temporally bounded, spatially bounded, programmed, coordinated, heightened public occasions
Explore a community’s…
…social/conceptual life
looking for anthropological categories (sources)
McKinney (2000), Hargrave (1993), Ferraro/Andreatta (2011)
Use _______ to learn more
research methods
participant observation, learning by watching while doing, learning by doing (sources)
Hood, Mantle. 1960. “The challenge of bi-musicality.” Ethnomusicology 4(2):55-59., Hughes-Freeland (1999), Johnston & Orwig (1999)
Hood, Mantle. 1960. “The challenge of bi-musicality.” Ethnomusicology 4(2):55-59.
bimusicality
Hughes-Freeland (1999)
participant observation is “determined by a process of planning and intention, which is disrupted by accidents and enhanced by serendipity”
Johnston & Orwig (1999)
be aware/build off own learning style
Interviews; learn by…
…asking
interviews (sources)
Spradley (1979), Jackson (1987)
Spradley (1979)
symmetrical turn taking; descriptive (straight); structural (domain), and contrast (sorting) questions; explain process to interviewee!
Jackson (1987)
purposeful but open-ended questions; balance directive and non-directive; give extra silence—time to think of something more to say….]
note-taking; learn by…
…writing
note-taking: 2 principles
concrete, verbatim
note-taking (sources)
Myers, Helen, editor. 1992. Ethnomusicology: An Introduction. New York: W.W. Norton & Co. pp. 21-49., Spradley (1980)
Myers, Helen, editor. 1992. Ethnomusicology: An Introduction. New York: W.W. Norton & Co. pp. 21-49.
two kinds of notes (jottings initially; expanded notes later)
Spradley (1980)
note taking; coding and analysis
audio/video recording (source)
SEM (2001)
other research methods
photography, all kinds of published sources including local ones!
