Step 1 - Meet a Community and Its Arts

Question 1

Think about…

Answer 1

…what a community is

Question 2

Start a…

Answer 2

…community arts profile (CAP)

Question 3

Take a first…

Answer 3

…glance at a community

Question 4

Take a first glance…

Answer 4

at a community’s arts

Question 5

Outside-In

Answer 5

important events/liminal states marked by artistic communication

Question 6

Outside-In (sources)

Answer 6

Chenoweth (2001), Schechner (2006), Turner (2004)

Question 7

Chenoweth (2001)

Answer 7

checklist for rituals/events likely to be marked

Question 8

Schechner (2006)

Answer 8

rituals as liminal performances

Question 9

Turner (2004)

Answer 9

communitas

Question 10

Inside-out

Answer 10

recognizing characteristics of arts themselves

Question 11

Inside-out (main points)

Answer 11

distinctive performance context; contract/expand density of info; assume more/special knowledge; special formal structure; elicit unusual responses; require unusual expertise

Question 12

distinctive performance context (sources)

Answer 12

Saville-Troike (2002), Bauman (1992, “Performance”)

Question 13

Saville-Troike (2002)

Answer 13

recognizable boundaries that set off from “normal” events, and distinctive features like role changes among participants [see also Stone, 1979, above]

Question 14

Bauman (1992, “Performance”)

Answer 14

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

Question 15

Explore a community’s…

Answer 15

…social/conceptual life

Question 16

looking for anthropological categories (sources)

Answer 16

McKinney (2000), Hargrave (1993), Ferraro/Andreatta (2011)

Question 17

Use _______ to learn more

Answer 17

research methods

Question 18

participant observation, learning by watching while doing, learning by doing (sources)

Answer 18

Hood (1960), Hughes-Freeland (1999), Johnston & Orwig (1999)

Question 19

Hood (1960)

Answer 19

bimusicality

Question 20

Hughes-Freeland (1999)

Answer 20

participant observation is “determined by a process of planning and intention, which is disrupted by accidents and enhanced by serendipity”

Question 21

Johnston & Orwig (1999)

Answer 21

be aware/build off own learning style

Question 22

Interviews; learn by…

Answer 22

…asking

Question 23

interviews (sources)

Answer 23

Spradley (1979), Jackson (1987)

Question 24

Spradley (1979)

Answer 24

symmetrical turn taking; descriptive (straight); structural (domain), and contrast (sorting) questions; explain process to interviewee!

Question 25

Jackson (1987)

Answer 25

purposeful but open-ended questions; balance directive and non-directive; give extra silence—time to think of something more to say….]

Question 26

note-taking; learn by…

Answer 26

…writing

Question 27

note-taking: 2 principles

Answer 27

concrete, verbatim

Question 28

note-taking (sources)

Answer 28

Myers (1992), Spradley (1980)

Question 29

Myers (1992)

Answer 29

two kinds of notes (jottings initially; expanded notes later)

Question 30

Spradley (1980)

Answer 30

note taking; coding and analysis

Question 31

audio/video recording (source)

Answer 31

SEM (2001)

Question 32

other research methods

Answer 32

photography, all kinds of published sources including local ones!