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Relevant bibliographies by topics / Ethnographic performance

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Academic literature on the topic 'Ethnographic performance'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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Journal articles on the topic "Ethnographic performance"

1

Kazubowski-Houston, Magdalena, and Virginie Magnat. "Introduction: Ethnography, Performance and Imagination." Anthropologica 60, no. 2 (December 17, 2018): 361–74. http://dx.doi.org/10.3138/anth.2017-0006.

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This introduction to the thematic section entitled “Ethnography, Performance and Imagination” explores performance as “imaginative ethnography” (Elliott and Culhane 2017), a transdisciplinary, collaborative, embodied, critical and engaged research practice that draws from anthropology and the creative arts. In particular, it focuses on the performativity of performance (an event intentionally staged for an audience) employed as both an ethnographic process (fieldwork) and a mode of ethnographic representation. It asks: can performance help us research and better understand imaginative lifeworlds as they unfold in the present moment? Can performance potentially assist us in re-envisioning what an anthropology of imagination might look like? It also inquires whether working at the intersections of anthropology, ethnography, performance and imagination could transform how we attend to ethnographic processes and products, questions of reflexivity and representation, ethnographer-participant relations and ethnographic audiences. It considers how performance employed as ethnography might help us reconceptualise public engagement and ethnographic activism, collaborative/participatory ethnography and interdisciplinary research within and beyond the academy. Finally, this introduction provides a brief overview of the contributions to this thematic section, which address these questions from a variety of theoretical, methodological and topical standpoints.

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Henson, Bryce. "“Look! A Black Ethnographer!”: Fanon, Performance, and Critical Ethnography." Cultural Studies ↔ Critical Methodologies 20, no. 4 (March 25, 2019): 322–35. http://dx.doi.org/10.1177/1532708619838582.

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This article engages the possibility of a critical Black ethnography and a performative fugitivity. Drawing on the author’s ethnographic research, it examines the tension between being a racialized and gendered person and becoming an ethnographic self. This tension rises when critical Black ethnographers are visually rendered outside the domain of the ethnographer, a category forged against the template of Western White male subjects. Instead, they are interchangeable with the populations they perform research with and suspect to performances of racialized and gendered violence. This opens up an emergent politics for the possibility of a critical Black ethnographer who alters how ethnographic practice is undertaken to grapple with the realities of race and gender by the critical Black ethnographer in the field. That said, the critical Black ethnographer must reconcile being Black, becoming an ethnographer, and what it would mean to be a critical Black ethnographer. To do so, this article draws on Frantz Fanon and situates him as both a performer and a critical ethnographer to analyze how does a critical Black ethnographer engage with performance, performativity, and the performative.

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Hartblay, Cassandra. "This is not thick description: Conceptual art installation as ethnographic process." Ethnography 19, no. 2 (August 21, 2017): 153–82. http://dx.doi.org/10.1177/1466138117726191.

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What happens when an ethnographer takes up the idiom of contemporary art installation to explore an ethnographic problem? Building on performance ethnography as developed by Dwight Conquergood and D. Soyini Madison, in which the research process itself is cultural performance, this article describes a methodological innovation that encourages a rethinking of ethnographic outputs. Contemporary art installation is generative as well as representational, and challenges ethnographers to think by doing. This article describes one such project to show that while a minimalist installation aesthetic does not on the surface constitute ‘thick description’ in the Geertzian sense, it can be a generative part of a dialogic practice of ethnographic knowledge production. Integrating the interpretive tradition with feminist disability studies, my argument is that art installation offers a possible mode for ethnographers to work through ideas, solicit participation from academic audiences and research participants, create semiotic relationships, and come to know by doing.

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Pratt, Stephanie. "OBJECTS, PERFORMANCE AND ETHNOGRAPHIC SPECTACLE." Interventions 15, no. 2 (June 2013): 272–85. http://dx.doi.org/10.1080/1369801x.2013.798476.

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Theodosopoulou, Irene. "Semiotic approaches to “traditional music”, musical/poetic structures, and ethnographic research." Semiotica 2019, no. 229 (July 26, 2019): 123–50. http://dx.doi.org/10.1515/sem-2017-0123.

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AbstractThis text is a first attempt of approaching traditional music, musical/poetic structures and ethnographic research semiotically. The basic elements of traditional music (motives, rhythms, phonetics, performance speeds, modal systems, musical instruments, repertoire), the musical/poetic structures with morphological types and formulas (musical and poetic), musical and non-musical codes (verbal and nonverbal) during a musical performance (nods, movements, etc.) as well as the ethnographic research itself with its own “performances” (discussions with musicians, recordings, transcriptions, analyses) constitute groups of “signs” and codes that, combined together, create complex frames of meanings and re-definitions not only among musicians and revelers but also among ethnographers and their interlocutors and among ethnographic “texts” and their representations after multiple readings. This text presents elements that emerged after an enduring field research in Crete (1998–2008). The use of semiotics in the study of traditional music and musical analysis can constitute a useful analysis tool for ethnographic research from planning to composing ethnographic “texts” (texts, transcriptions, analyses). This text highlights the necessity of initiating a dialogue concerning the aspects and perspectives of a semiotic approach to musicology and music ethnography.

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Hutchings, W. Karl, and Lorenz W. Brüchert. "Spearthrower performance: ethnographic and experimental research." Antiquity 71, no. 274 (December 1997): 890–97. http://dx.doi.org/10.1017/s0003598x0008580x.

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Even after decades of spearthrower studies, researchers have relatively little reliable data on spearthrower performance, and yet prehistoric lifeways are often reconstructed through consideration of the capabilities of such weapon systems. Experimental study and considered dependence on ethnographic knowledge clarify the realities of the spearthrower in use.

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Silverman, Helaine. "Introduction: Performance, Tourism, and Ethnographic Practice." Anthropology Humanism 30, no. 2 (December 2005): 113–15. http://dx.doi.org/10.1525/ahu.2005.30.2.113.

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Silverman, Helaine. "Introduction: Performance, Tourism, and Ethnographic Practice." Anthropology and Humanism 30, no. 2 (December 2005): 113–15. http://dx.doi.org/10.1525/anhu.2005.30.2.113.

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Saldaña, Johnny. "Playwriting with Data: Ethnographic Performance Texts." Youth Theatre Journal 13, no. 1 (May 1999): 60–71. http://dx.doi.org/10.1080/08929092.1999.10012508.

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Jacobs, Rachael. "Stories told and performed: a methodology for researching drama assessment in schools." Qualitative Research Journal 20, no. 1 (July 12, 2019): 19–33. http://dx.doi.org/10.1108/qrj-04-2019-0037.

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Purpose A methodology that combined ethnographies, including the ethnography of performance with narrative inquiry was used in a research project investigating the assessment of senior secondary Drama performance in Australia. The paper aims to discuss this issue. Design/methodology/approach After a temporal change in the research approach, it was decided that the research method needed to capture the Drama performance assessment phenomenon as it was lived and experienced. Findings As a result, methodological choices shifted from procedural documentation and document analysis to ethnographic observations that were able to capture the more nuanced aspects of the relationship between Drama performance and assessment, embracing tacit learning, agendas, cultures, experiences and understandings. Originality/value This paper reflects on the methodological dilemmas and choices made when studying artistic and aesthetic texts in the classroom, and poses considerations for future researchers conducting inquiries in aesthetically rich learning environments.

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Dissertations / Theses on the topic "Ethnographic performance"

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Ordóñez, Maria Belén. "Ethnographic post-productions, situating emergent identities through a performance." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0007/MQ42250.pdf.

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Esposito, Paola. "Butoh dance in the UK : an ethnographic performance investigation." Thesis, Oxford Brookes University, 2013. https://radar.brookes.ac.uk/radar/items/d7f4ed96-d3a4-416a-b658-b925a758d168/1/.

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The aim of this thesis is to investigate the social and cultural significance of butoh dance beyond its original context of postwar Japan. In order to do so, the thesis explores ideas, practices and experiences of butoh dancing among contemporary–Japanese as well as non-Japanese –practitioners: primarily the Oxford-based butoh dance company Café Reason, which constituted the main case study for the research. The ethnographic particularities of butoh, as defined by its practitioners, provided the core of the investigation. That is, a common notion among teachers and students of this dance form is that butoh has no conclusive form or style. They also say that butoh is defined by its very defying of definitions. Thus, the central question that runs through the thesis is: ‘How does butoh, a dance that resists codification and classification, continue to be practised and reinvented?’ The central hypothesis of the thesis is that the core of butoh lies in its perceptual, rather than its formal, constitution and articulation. In order to test this hypothesis I engaged an unorthodox methodology that, by explicitly mobilizing sensory engagement in the processes of training and performing butoh, brought my own experience to the centre-stage of the analysis. In turn, the methodological focus on the senses unveiled the sophisticated aesthetic dimensions of butoh dancing, especially its reliance on tactile-kinesthetic perception. Based on these methodological premises, a review of butoh training and performances allowed an approach to the semantic and perceptual ‘indeterminacy’ of the butoh body. The latter is typically associated with unintelligible levels of experience: in the form of either intense, and often ‘anti-social,’ emotional states, or augmented, near-religious, states of awareness. These findings led me to identify ‘emotion’ and ‘otherness’ as the core experiential dimensions of butoh dancing, which, in turn, explains its continuity and significance as an art form. Ultimately, butoh’s synthesis of ‘art’ and ‘spirituality,’ or of ‘dance’ and ‘therapy,’ allows the analysis to situate this cultural phenomenon in a continuum between ritual and aesthetic performance, with different butoh dancers placing themselves at different positions within this spectrum.

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Polymeropoulou, Marilou. "Networked creativity : ethnographic perspectives on chipmusic." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:2c16d1ac-10c8-4493-b624-ebe5be41c9f4.

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This thesis examines creativity as manifested in an online and transnational network of musicians who compose chipmusic, a kind of electronic music characteristic of 1980s early home computers and videogame sounds. The primary argument is that creativity in chipmusic worlds is networked, meaning that it is dispersed across various activities that are labelled as creative: chipmusic-making, technology-hacking practices that underpin the music, digital cultural practices such as use of social media, online releases, crowdsourcing, staged and screened performances, and any other activity related to chipmusic. The thesis examines the ways in which networked creativity is mediated in the chipscene from an interdisciplinary methodological viewpoint informed by ethnomusicology, anthropology, and sociology. Although the chipscene is geographically dispersed across more than thirty countries worldwide, the chipscene network is well-connected. Communication and music circulation practices of chipmusicians are enabled by the internet. This thesis primarily discusses chipmusic culture that suggests a rich context where creativity discourse is as intensely diverse as the chipscene itself, in which it is embedded. In looking at the creative process and performance practices, I employ a mixed methods approach based on ethnographic research methods and social network analysis, to examine how intrinsic and extrinsic aspects of chipmusic-making, such as ideology, cultural values, network infrastructure, chiptune poetics and aesthetics, distribution of creative roles, authenticity, differentiation, genre dynamics, and intellectual property issues, shape creativity.

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Vautier, Caroline Michelle. "Regulatory performance, identity and emotion work : an ethnographic study of an infertility clinic." Thesis, University of Warwick, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.418140.

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Stanko, Olivia Corine. "An ethnographic study of communication and gender performance in a modern day Latino wedding." Scholarly Commons, 2012. https://scholarlycommons.pacific.edu/uop_etds/805.

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This study examines how culture, gender roles, and economics intersect at a contemporary Mexican-American wedding. Prior studies have focused on one factor but did not examine how all three can affect a wedding. The bride in this study tries to negotiate challenges between her Mexican-American culture and her American culture. This research is an example of how culture is en grained in everything and how it plays out through a wedding. This ethnography was done through first hand observations and interviews. The purpose of this study was to examine communication in a contemporary Mexican-American wedding and communication issues found at the intersection of gender, ethnicity, and culture. The research also examined how participants supported or broke traditional gender roles along with consequences.

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Guglielmo, Federica. "Moral citizenship : an ethnographic exploration of the category of victimhood in post-genocide Rwanda." Thesis, Brunel University, 2016. http://bura.brunel.ac.uk/handle/2438/13751.

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In order to foster social reconciliation in the aftermath of the 1994 genocide, the Rwandan government has implemented a judiciary system and established a national commemoration period. More importantly, in order to eradicate the ideological foundation of the genocide, the government has outlawed ethnicity as a cornerstone of genocidal propaganda. Ethnography shows that these efforts have been only partially successful and that ethnicity occupies a central, silent space at the centre of Rwandan national politics and social interaction. In this work, I shed light over the entanglement between the memory of the genocide and social identities in Rwanda. I explore the ways in which ordinary Rwandans re-situate their ethnic background through moral categories that surface from the government’s historical narrative of the genocide and of the events that led to it. I analyse the means through which this narrative is established, the judicial enforcement and the memorialisation of the genocide, to illustrate the patterns of blame and legitimacy that saturate these historical constructions. Within these contexts, I explore the ways in which individuals exercise tactical agency in order to re-place their ethnic past in relation to these narratives. Drawing on in-depth ethnographic fieldwork, I argue that the government’s narrative of the genocide constitutes a moral landscape in relation to which actors acquire — or are denied — instances of victimhood. Negotiation over these instances take the form of accusatory practices which, more or less explicitly, are used in everyday life to define selfhood and otherness with respect to the genocide. My research shows how, cutting across former ethnic boundaries, the category of victimhood represents a form of empowerment, which dialectically depends on the identification of perpetratorship.

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Malik, Saadia I. "Exploring aghani al-banat a postcolonial ethnographic approach to Sudanese women's songs, culture, and performance /." Ohio : Ohio University, 2003. http://www.ohiolink.edu/etd/view.cgi?ohiou1053018989.

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Poss, Nicholas Frederick. "The communication of verbal content on the Hmong Raj : an ethnographic analysis of performance practice." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1176223389.

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Malik, Saadia I. "Exploring Aghani Al-Banat: A Postcolonial Ethnographic Approach to Sudanese Women’s Songs, Culture, and Performance." Ohio University / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1053018989.

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Satterfield, Andrea McKenzie. "The assimilation of the marvelous other : reading Christoph Weiditz's Trachtenbuch (1529) as an ethnographic document." [Tampa, Fla.] : University of South Florida, 2007. http://purl.fcla.edu/usf/dc/et/SFE0001971.

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Books on the topic "Ethnographic performance"

1

Haycox, M. S. Organizational performance in the printing industry: An ethnographic study. London: North East London Polytechnic, 1987.

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2

Power and performance: Ethnographic explorations through proverbial wisdom and theater in Shaba, Zaire. Madison, Wis: University of Wisconsin Press, 1990.

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3

Jairazbhoy, Nazir Ali. The Bake restudy in India, 1938-1984: The preservation and transformation of performance in Tamilnadu, Kerala, and Karnataka : an ethnographic video monograph. Van Nuys, Calif. (13659 Victory Blvd., Suite 577, Van Nuys 91491): Apsara Media for Intercultural Education, 1991.

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4

Slyomovics, Susan, and Judy Burns. Feminist ethnography and performance. Edited by Tisch School of the Arts. Women & Performance Project. New York, N.Y: Women & Performance Project, Inc., at New York University/Tisch School of the Arts, Dept. of Performance Studies, 1990.

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5

University of London. School of Oriental and African Studies., ed. Professional music-making in London: Ethnography and experience. Aldershot: Ashgate, 2004.

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Critical ethnography: Method, ethics, and performance. Thousand Oaks, CA: Sage, 2004.

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Critical ethnography: Method, ethics, and performance. 2nd ed. Thousand Oaks, Calif: Sage Publications, Inc, 2012.

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Institute, Lumbini International Research, ed. The Sherpa Dhumji Masked Dance Festival: An ethnographic description of the 'great liturgical performance' as celebrated annually according to the tradition of the Lamaserwa clan in the village temple of Gonpa Zhung, Solu. Lumbini: Lumbini International Research Institute, 2008.

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9

Ott, Marion. Aktivierung von (In-)Kompetenz: Praktiken im Profiling--eine machtanalytische Ethnographie. Konstanz: UVK Verlagsgesellschaft mbH, 2011.

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Everyday arias: An operatic ethnography. Lanham, MD: AltaMira Press, 2005.

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Book chapters on the topic "Ethnographic performance"

1

Denzin, Norman K. "A Critical Performance Pedagogy That Matters." In Ethnographic Worldviews, 235–52. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-6916-8_17.

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Kim, Kyoung-hwa Yonnie. "The ‘Insider’s View’ in Media Studies: A Case Study of the Performance Ethnography of Mobile Media." In Ethnographic Worldviews, 205–15. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-6916-8_15.

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Montaña, Silvia. "Case 2: Colombia—An Ethnographic Study of Digital Journalistic Practices." In Global Journalism Practice and New Media Performance, 146–60. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137440563_12.

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Johnson, Michelle C. "Grotto Water and Potato Chips: Turnerian Ethnographic Performance as Pedagogical Resistance." In Experiential and Performative Anthropology in the Classroom, 117–34. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41995-0_8.

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Scott, Julie-Ann. "Chapter 11: Epilogue—The Next Performance Ethnographic Show in Pursuit of Hyper-Embodiment." In Embodied Performance as Applied Research, Art and Pedagogy, 187–90. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-63661-0_12.

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Denzin, Norman K. "Performance ethnography 1." In Performance Autoethnography, 72–86. Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781315159270-5.

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Dong, Jiqing, and Graham H. Turner. "The ergonomic impact of agencies in the dynamic system of interpreting provision: An ethnographic study of backstage influences on interpreter performance." In Benjamins Current Topics, 95–121. Amsterdam: John Benjamins Publishing Company, 2018. http://dx.doi.org/10.1075/bct.101.06don.

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Soyini Madison, D. "Performed Ethnography 1." In The Routledge Companion to African American Theatre and Performance, 341–47. New York, NY : Routledge, 2019. |: Routledge, 2018. http://dx.doi.org/10.4324/9781315191225-68.

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Nicholson-Sanz, Michelle, and Teilhard Paradela. "Ethnography in/as Performance: On the Politics and Ethics of Ethnography in International Performance Research." In International Performance Research Pedagogies, 109–21. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-53943-0_8.

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Richards, Sarah. "Chóng ér fēi: Cultural Performances of Belonging in Intercountry Adoptive Families." In Ethnographic Research and Analysis, 53–76. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-58555-4_4.

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Conference papers on the topic "Ethnographic performance"

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Hadzantonis, Michael. "The Malaysian Wayang Kulit, the Malay Language, and their Anthropological shifts." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.4-3.

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This paper seeks to discuss and expose the correlations between a shifting Wayang Kulit puppet performance in Malaysia and the shifting Malay language over the past half century, that is, from the late 1960s until the present time. The Wayang exhibited a patent shift in its poetics, in its use and type of symbolisms, in its social, cultural and spiritual purpose, and in its representation of community. The paper determines ways in which the Malay language experienced change by observing government mandate to 'rehabilitate' the Malay people, and to employ discourses of rehabilitation so to alter the cultural industry in Malaysia, yet to the detriment of language, social cohesion, and cultural performance in Malaysia. For this the data consists of a multi year ethnography of the Wayang both inside and outside of Kuala Lumpur, cases studies of Wayang Kulit dalangs (puppeteers), observing and conducting Wayang Kulit performances, and documenting language diachronic change. Ultimately, the paper finds that owing to language planning and policy in Malaysia, both cultural performance and language, that is, the written, the standardized, and vernacular have seen significant shift over the past half century, and that these shifts have correlated with altered ideologies in Malaysia that align with intentions to commercialize the country and to increase the mercantile efficiency of the Malay and the Malaysian people.

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Karabulut, Süleyman, and Ozge Celikoglu. "An ethnography of the design studio: Exploring social interactions and performances in studio environment through Goffman’s dramaturgical approach." In Design Research Society LearnXDesign 2019. Design Research Society, 2019. http://dx.doi.org/10.21606/learnxdesign.2019.01106.

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Karabulut, Süleyman, and Ozge Celikoglu. "An ethnography of the design studio: Exploring social interactions and performances in studio environment through Goffman’s dramaturgical approach." In Design Research Society LearnXDesign 2019. Design Research Society, 2019. http://dx.doi.org/10.21606/learnxdesign.2019.09106.

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Hadzantonis, Michael. "Becoming Spiritual: Documenting Osing Rituals and Ritualistic Languages in Banyuwangi, Indonesia." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.17-6.

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Banyuwangi is a highly unique and dyamic locality. Situated in between several ‘giants’ traditionally known as centres of culture and tourism, that is, Bali to the east, larger Java to the west, Borneo to the north, and Alas Purwo forest to the south, Banyuwangi is a hub for culture and metaphysical attention, but has, over the past few decades, become a focus of poltical disourse, in Indonesia. Its cultural and spiritual practices are renowned throughout both Indonesia and Southeast Asia, yet Banyuwangi seems quite content to conceal many of its cosmological practices, its spirituality and connected cultural and language dynamics. Here, a binary constructed by the national government between institutionalized religions (Hinduism, Islam and at times Chritianity) and the liminalized Animism, Kejawen, Ruwatan and the occult, supposedly leading to ‘witch hunts,’ have increased the cultural significance of Banyuwangi. Yet, the construction of this binary has intensifed the Osing community’s affiliation to religious spiritualistic heritage, ultimately encouraging the Osing community to stylize its religious and cultural symbolisms as an extensive set of sequenced annual rituals. The Osing community has spawned a culture of spirituality and religion, which in Geertz’s terms, is highly syncretic, thus reflexively complexifying the symbolisms of the community, and which continue to propagate their religion and heritage, be in internally. These practices materialize through a complex sequence of (approximately) twelve annual festivals, comprising performance and language in the form of dance, food, mantra, prayer, and song. The study employs a theory of frames (see work by Bateson, Goffman) to locate language and visual symbolisms, and to determine how these symbolisms function in context. This study and presentation draw on a several yaer ethnography of Banyuwangi, to provide an insight into the cultural and lingusitic symbolisms of the Osing people in Banyuwangi. The study first documets these sequenced rituals, to develop a map of the symbolic underpinnings of these annually sequenced highly performative rituals. Employing a symbolic interpretive framework, and including discourse analysis of both language and performance, the study utlimately presents that the Osing community continuously, that is, annually, reinvigorates its comples clustering of religious andn cultural symbols, which are layered and are in flux with overlapping narratives, such as heritage, the national poltical and the transnational.

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