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Books on the topic 'Ethnographic performance'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 February 2022

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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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6

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

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7

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

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8

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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10

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

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11

Seize the dance!: BaAka musical life and the ethnography of performance. New York: Oxford University Press, 1998.

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12

Edkvist, Ingela. The performance of tradition: An ethnography of Hira Gasy popular theatre in Madagascar. Uppsala: Dept. of Cultural Anthropology and Ethnology, Uppsala University [distributor], 1997.

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13

Reynolds, Dwight Fletcher. Heroic poets, poetic heroes: The ethnography of performance in an Arabic oral epic tradition. Ithaca, N.Y: Cornell University Press, 1995.

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14

Reynolds, Dwight Fletcher. Heroic poets, poetic heroes: The ethnography of performance in an Arabic oral epic tradition. Ithaca, N.Y: Cornell University Press, 1995.

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15

Oleg, Ulyashev, ed. Hidden rituals and public performances: Traditions and belonging among the post-Soviet Khanty, Komi and Udmurts. Helsinki: Finnish Literature Society, 2011.

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16

Siikala, Anna-Leena. Hidden rituals and public performances: Traditions and belonging among the post-Soviet Khanty, Komi and Udmurts. Helsinki, Finland: Finnish Literature Society / SKS, 2011.

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17

Landis, Kevin, and Suzanne Macaulay. Cultural Performance: Ethnographic Approaches to Performance Studies. Red Globe Press, 2017.

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18

Cultural Performance: Ethnographic Approaches to Performance Studies. Red Globe Press, 2017.

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19

Bakan, Michael B. Toward an Ethnographic Model of Disability in the Ethnomusicology of Autism. Edited by Blake Howe, Stephanie Jensen-Moulton, Neil Lerner, and Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.2.

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This essay proposes an ethnographic model of disability in contradistinction to existing social and medical models. Building from an ethnomusicological study of the Artism Ensemble, a neurodiverse music performance collective comprising children on the autism spectrum, their coparticipating parents, and professional musicians of diverse musicultural lineage, it discusses issues of autistic self-advocacy, Disability Studies and rights, the anthropology of autism, and epistemological and pragmatic debates and consequences of competing autism discourses and philosophies. The essay argues that musical projects like Artism hold the capacity to contribute productively and meaningfully to the causes of autistic self-advocacy and quality of life, transforming public perceptions of autism from the customary tropes of deficit and disorder to alternate visions of wholeness, ability, and acceptance. Artism is also addressed from a critical vantage point that demonstrates its partial entrenchment in some of the very same negating constructs it ostensibly resists and defies.
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20

Weiss, Sarah. Ritual Soundings. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042294.001.0001.

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This book documents ways in which women’s performance practices engage with and localize world religions while creating opportunities for women’s agency. This study draws on the rich resources of three disciplines: ethnomusicology, gendered studies of religion, and religious music studies. It is a meta-ethnography formed by comparisons among different ethnographic case studies. The book analyses women’s performances at religious events in cultural settings spread across the world to demonstrate the pivotal roles women can play in localizing the practice of world religions, exploring moments in which performance allows women the agency to move, however momentarily, beyond culturally determined boundaries while revealing patterns that suggest unsuspected similarities in widely divergent religious contexts. With the rise of religious fundamentalism and with world politics embroiled in debate about women’s bodies and their comportment in public, ethnomusicologists and other scholars must address questions of religion, gender, and their intersection. By reading deeply into, but also across, the ethnographic detail of multiple studies, this book reveals patterns of similarity between unrelated cultures. It invites ethnomusicologists back into comparative work, offering them encouragement to think across disciplinary boundaries and suggesting that they can actively work to counter the divisive rhetoric of religious exceptionalism by revealing the many ways in which religions and cultures are similar to one another.
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21

Ethno-Playography: How to Create Salable Ethnographic Plays, Monologues, & Skits from Life Stories, Social Issues, and Current EventsFor all Ages with Samples for Performance. ASJA Press, 2007.

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22

Bosse, Joanna. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039010.003.0001.

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This book examines the transformative potential of ballroom dance, and especially how it can make anyone become beautiful. Drawing on ethnographic fieldwork with a local community of amateur ballroom dancers from the Regent Ballroom and Banquet Center in Savoy, Illinois, the book explores the intersection of notions of beauty and experience—the act of becoming beautiful through performance. It considers the ethnographic trope of becoming beautiful as an “expression” in the sense suggested by Victor Turner and Edward Bruner in their anthropological work on experience. It demonstrates how the contemporary performance of ballroom dance among amateurs generates feelings of positive personal transformation, of becoming beautiful. The book also discusses the dance hall as a social space where disparate groups come together to move in synchrony, along with the ways in which race, class, and gender converge in ballroom dancing. Finally, it provides detailed ethnographic data on the formation of affinity groups.
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23

Cultural Struggles: Performance, Ethnography, Praxis. University of Michigan Press, 2013.

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24

Ramnarine, Tina K., ed. Global Perspectives on Orchestras. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.001.0001.

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This book adopts global perspectives on orchestras. It draws on ethnographic, historical and comparative approaches to analyze a variety of orchestral traditions (such as symphony, steel, Indonesian gamelan, Indian film and Vietnamese court). It discusses how orchestras are embedded in socio-historical and economic contexts, and highlights intercultural, compositional and rehearsal processes. The chapters describe orchestral creativity and performance politics. Key considerations are how orchestral musicians work together and organizational infrastructures shaping the orchestra as an institution. Orchestral musicians' testimonies are included to give practitioners' views. The study of orchestras contributes to developing global music histories and comparative theorization within ethnographic disciplines. This book offers timely insights into the connections between orchestras, colonial histories, postcolonial practices, and comparative theorizations to generate appreciation of orchestral performance as a creative, political and social practice.
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25

Madison, D. Soyini. Critical Ethnography: Method, Ethics, and Performance. SAGE Publications, Incorporated, 2011.

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26

Madison, D. Soyini. Critical Ethnography: Method, Ethics, and Performance. Sage Publications, Inc, 2005.

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27

Critical Ethnography: Method, Ethics, and Performance. SAGE Publications, Inc, 2019.

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28

Critical Ethnography: Method, Ethics, and Performance. Sage Publications, Inc, 2005.

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29

Stirr, Anna Marie. Singing Across Divides. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190631970.001.0001.

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An ethnographic study of music, performance, migration, and circulation, this book examines how forms of love and intimacy are linked to changing conceptions of political solidarity and forms of belonging, through the lens of Nepali dohori song. The book describes dohori: improvised, dialogic performed poetry that is sung, in which a witty repartee of exchanges is based on poetic couplets with a fixed rhyme scheme, often backed by instrumental music and accompanying dance, performed between men and women, with a primary focus on romantic love. The book tells the story of dohori’s relationship with changing ideas of Nepal as a nation-state, and how different concepts of national unity have incorporated marginality, in the intersectional arenas of caste, indigeneity, class, gender, and regional identity. In the aftermath of Nepal’s ten-year civil war, changing political realities, increased migration, and circulation of people, media, and practices are redefining concepts of appropriate intimate relationships and their associated systems of exchange. Through multi-sited ethnography of performances, media production, circulation, reception, and the daily lives of performers and fans in Nepal and the United Kingdom, this book examines how people use dohori to challenge (and uphold) social categories, while also creating affective solidarities.
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30

Sturman, Janet L. Preserving Territory. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037207.003.0007.

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Ethnographic focus on identifying shared cultural practice often obscures the fact that many times such choices result from individual desire and taste. This chapter illustrates the importance of such personal choices and explores a means for including individuality in an explanation of shared cultural practice, similar in some ways to what the anthropologist Lila Abu-Lughod has called “the ethnography of the particular.” Despite variations in performance practices, O'odham listeners uniformly value waila because it connects them to each other and “makes them happy.” The focus on how and why waila musicians play the accordion the way they do show how the music also links O'odham to non-O'odham and to much wider social, musical, and even economic circles. Yet even as waila musicians engage with the non-O'odham world, they simultaneously hold it at bay.
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31

Professional Music-Making in London: Ethnography and Experience. Taylor & Francis Group, 2017.

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32

Pryce, Paula. The Monk's Cell. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190680589.001.0001.

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Based on long-term ethnographic research with Christian monastics in the United States and a dispersed network of interdenominational non-monastic Christian contemplatives, The Monk’s Cell shows how religious practitioners combined social action and intentional living with intellectual study and inter-religious practices to modify their ways of knowing, sensing, and experiencing the world. Paula Pryce developed innovative “intersubjective” fieldwork methods to explore how these opaque, often silent communities practiced a paradoxical combination of formalized ritual and intentional “unknowing” to cultivate a powerful sense of communion in everyday life. Organized by the metaphor of a seeker journeying toward the inner chambers of a monastic chapel, the book explores the fine details of how “communitas” actually occurs, including the relationship of agency and habitual behavior in practitioners’ attempts at transforming consciousness. Depicting the interplay of social diversity and cohesiveness in the unwieldy dynamism of pluralistic society, The Monk’s Cell develops a novel theory of variable knowledge types, including the key role of ambiguity. These American Christians’ ability to fuse so many spheres of knowledge and to live contemplatively challenges the often taken-for-granted segregation of the religious and the secular in the contemporary world. This study contributes to the anthropologies and epistemologies of Christianity, perception, and embodiment. It extends American ethnography by its use of new methods for studying silence, ritual, and performance, and by focusing on a highly educated, professional Euro-American community that is rarely the subject of ethnographic research and is often assumed to be the demographic most likely to reject religion.
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33

Rahier, Jean Muteba. The Festival of the Kings in Santo Domingo de Ónzole. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037511.003.0004.

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This chapter provides ethnographic interpretations of the performances of the three-day-long (January 6–8) Festival in Santo Domingo de Ónzole. The principal activity on January 6 is the act of the president, which involves two groups of disguised actors. The first is the group of cucuruchos. They number about twenty and include the women of the committee who prepared the Play. The second protagonist of the act is the group composed of a dozen adolescents and young men who are disguised as soldiers and called “the troop” (la tropa). The principal activity of January 7 is the begging performance by cucuruchos going from house to house, which evokes the descriptions of European medieval carnival. January 8 is dedicated to the negritos and the cayapas, although some reyeras disguised as whites are still participating in the activities. January 8 is also called el día de todos, “the day of everybody.”
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34

Menrath, Stefanie Kiwi. Anonymity Performance in Electronic Pop Music: A Performance Ethnography of Critical Practices. Transcript Verlag, 2019.

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35

Lucas, Glaura. Drums in the Experience of Black Catholicism in Minas Gerais, Brazil. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.11.

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This chapter examines the role of the drums and their music in the formation and development of an Afro-Christian ritual called congado, in Minas Gerais, Brazil. Being the main means for social interactions, music is viewed as a privileged context for the protection, reconstruction, performance, and transmission of spiritual and other cultural knowledge among Africans and their descendants since colonial times, and thus for the reinterpretation of the Catholic faith. Historical and contemporary forms of the congado ritual are discussed, based on ethnographic research of present-day rituals, on a study of the literature on Bantu cultures and on slavery in Brazil, and on analysis of the drums’ performances. The main argument is that music has been used by participants as a conscious means of cultural resistance and survival, being a strategic context for keeping interactions and exchanges with their ancestors as well as for intra-group communication and social relations.
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36

Ethnographies of Islam: Ritual Performances and Everyday Practices. Edinburgh University Press, 2012.

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37

Dupret, Baudouin, Thomas Pierret, Paulo G. Pinto, and Kathryn Spellman-Poots. Ethnographies of Islam: Ritual Performances and Everyday Practices. Edinburgh University Press, 2013.

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38

Denzin, Norman K. Performance Ethnography: Critical Pedagogy and the Politics of Culture. Sage Publications, Inc, 2003.

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39

Performance Ethnography: Critical Pedagogy and the Politics of Culture. Sage Publications, Inc, 2003.

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40

Prakash, Brahma. Cultural Labour. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199490813.001.0001.

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Folk performances reflect the life-worlds of a vast section of subaltern communities in India. What is the philosophy that drives these performances, the vision that enables as well as enslaves these communities to present what they feel, think, imagine, and want to see? Can such performances challenge social hierarchies and ensure justice in a caste-ridden society? In Cultural Labour, the author studies bhuiyan puja (land worship), bidesia (theatre of migrant labourers), Reshma-Chuharmal (Dalit ballads), dugola (singing duels) from Bihar, and the songs and performances of Gaddar, who was associated with Jana Natya Mandali, Telangana: he examines various ways in which meanings and behaviour are engendered in communities through rituals, theatre, and enactments. Focusing on various motifs of landscape, materiality, and performance, the author looks at the relationship between culture and labour in its immediate contexts. Based on an extensive ethnography and the author’s own life experience as a member of such a community, the book offers a new conceptual framework to understand the politics and aesthetics of folk performance in the light of contemporary theories of theatre and performance studies.
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41

Batiste, Stephanie L. Affect-ive moves. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.014.

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This chapter argues that the African American dance practice of krumping editorialized in the 2005 David LaChapelle film RIZE defines a space of home as a system of feeling in early twenty-first-century Los Angeles. It offers the notion of kinetic affect as a means of understanding dancers’ charismatic formation of community within dance practice and its spaces. Krump dancing reveals a rich world of love and pain that characterizes life in black Los Angeles. The dancers’ commando-style ownership of venue, content, embodiment, and performance presentation challenge the confining spaces of ethnographic film, urban disenfranchisement, and stereotype.
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42

Ramnarine, Tina K. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199352227.003.0001.

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This Introduction outlines various examples of ensemble performance to highlight diverse practices in the world of orchestras. It poses a fundamental question: What is an orchestra? It raises issues around collective creativity and social agency, which provide thematic foci in relation to a diversity of orchestral practices. Discussion on the conceptual aspects of adopting global perspectives on orchestras highlights comparison as a mode of theorization. The relevance of a comparative approach lies in its capacity to draw together diverse ethnographic case-studies. The Introduction thus provides a framework for reading this volume and it points out some of the conceptual connections between its chapters.
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43

Atkinson, Paul. Everyday Arias: An Operatic Ethnography. AltaMira Press, 2006.

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44

Engelhardt, Jeffers. Congregational Singing, Orthodox Christianity, and the Making of Ecumenicity. Edited by Jonathan Dueck and Suzel Ana Reily. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199859993.013.25.

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This chapter offers an ethnographic and historical analysis of the many church-musical overlaps and exchanges between Orthodox and non-Orthodox Estonians. It traces several tunes through a broad variety of Estonian denominational hymnals and post-Soviet performance settings, showing a substantial historical overlap that happens in Estonian church musical practice across Lutheran, Orthodox, and other Protestant groups. This overlap creates musical commonalites in practice, “ecumenicities,” that speak to the “secular” backdrop of Estonian Christianity. In this chapter, “secularity” suggests a public culture and model of citizenship long constituted with relation to multiple Christianities (or multiple religions). That modern secularity is also a backdrop for the ethnomusicological study of world Christianities, Orthodox and otherwise.
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45

Kisliuk, Michelle. Seize the Dance: BaAka Musical Life and the Ethnography of Performance. Oxford University Press, USA, 2006.

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46

Phelan, Helen. Singing the Rite to Belong. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190672225.001.0001.

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Why do so many people feel part of something bigger than themselves when they sing with others? How does listening to people sing, especially in certain ritual contexts, give us this same feeling? With this book, singer and scholar Helen Phelan draws on over two decades of musical and educational research to explore the agency of singing in fostering experiences of belonging through ritual performance. Set against the backdrop of “the new Ireland” of the late twentieth and early twenty-first centuries, it charts Ireland’s growing multiculturalism, changing patterns of migration, the diminishing influence of Catholicism, and synergies between local and global forms of cultural expression in its investigation of rights and rites of belonging. Richly autobiographical and autoethnographic, it examines a range of religious, educational, civic, and community-based rituals, including religious rituals of new migrant communities in “borrowed” rituals spaces; baptismal rituals in the context of the Irish citizenship referendum; rituals that mythologize the core values of an educational institution; a ritual laboratory for students of singing; and community-based festivals and performances. These close to the ground narratives peel back the physiological, emotional, and cultural layers of singing to investigate how it functions as a potential agent of belonging. Each chapter engages theoretically with one of five core characteristic of singing (resonance, somatics, performance, temporality, and tacitness) anchored in ethnographic descriptions of performed rituals. In doing so, it builds a persuasive theory of ritually framed singing as a potent tool in the creation of inclusive communities of belonging.
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47

Designing Collaborative Systems: A Practical Guide to Ethnography (Computer Supported Cooperative Work). Springer, 2003.

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48

Banerji, Anurima. Dance and the Distributed Body. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.42.

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This chapter considers the links between contemporary Odissi dance and one of its antecedents, mahari naach, the dance of female ritual specialists associated with the Jagannath temple in Puri, a center of pilgrimage in Odisha, India. The author argues that mahari naach produced a notion of the “distributed body” by engaging in an intersubjective relationship with the animated figure of the deity and the personified architectural space that served as the venue for dance practice. Combining ethnographic, historical, and philosophical sources, this interdisciplinary analysis critically examines the ideations of embodiment in Odisha’s religious culture to understand how a distinct notion of corporeality emerges in ritual activity—and considers the failure of the modern concert form to fully reenact it, despite its desire to appropriate past performance.
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49

Stirr, Anna Marie. Violence, Storytelling, and World-Making in Song. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190631970.003.0008.

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This chapter examines belonging in light of gendered violence, hope, and aspirations, as experienced in the dohori field and performed in dohori songs. Set among professional dohori singers who have toured throughout Nepal and internationally, it is an examination of domestic violence remembered, the difficulties involved in speaking about it, and the performance practices and narrative forms that enable individuals to navigate the intimate politics of family relations at the intersection of public and private, and articulate potential alternatives to norms. As the final ethnographic chapter, this chapter returns to the village dohori songfest as a central site for singers’ performed expression, closing the circle of migration and mobility for a moment in time, as long as the song goes on.
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50

Ahlgren, Angela K. Taiko Scenarios. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199374014.003.0003.

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The Minneapolis-based taiko group Mu Daiko challenges notions of Minnesota as uniformly white and ideas about Asian America as a coastal phenomenon. The chapter uses ethnographic interviews, participant observation, and performance analysis to argue that taiko outreach (low-tech engagements, often with an educational aim) creates familiar scenarios that reveal pervasive racial attitudes toward Asian Americans. Building on Diana Taylor’s “scenarios of discovery,” the chapter demonstrates the ways taiko outreach sometimes reinforces the idea that Asians are perpetual foreigners, while at other times they create opportunities for meaningful connections between performers and audiences. A focus on the group’s Korean American adoptee members prompts a challenges easy definitions of Asian America and the Midwest and highlights Minnesota as a key site for Asian American cultural production.
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