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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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Davis, Haggerty Luane Ruth. "Adjusting The Margins: Building Bridges Between Deaf and Hearing Cultures Through Performance Arts." [Yellow Springs, Ohio] : Antioch University, 2006. http://www.rit.edu/~lrdnpa/diss/www/home/home.html.
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Thesis (Ph.D.)--Antioch University, 2006.Title from PDF t.p. (viewed Mar. 29, 2007). Advisor: Carolyn B. Kenny. Keywords: performance ethnography, drama, Deaf theater, leadership, cultural identity, ethnographic research. Includes bibliographical references (p. 278-285 ).
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Holgate, Jane. "Transcultural tango : an ethnographic study of a dance community in the East Midlands." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/12260.
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This thesis examines the practice of an Argentine Tango dance community in the East Midlands, England. It is an ethnographic study whose objectives are to investigate this instance of a local transcultural dance practice in order to learn about participants’ motivations; their experience of and identification with Argentine Tango; and the meanings produced in the process of their participation. As a social dancer, teacher and insider researcher, I employ embodiment as a key methodological strategy in order to engage with and share the experience of dancing with participants; to gain sensory understanding and bodily knowledge of the practice; and in the process to gain access to further avenues of meaning-making amongst participants. The study considers questions arising directly from my teaching role to do with the transmission and reproduction of the dance, authenticity, the production of meaning, the construction and performance of identity and the imaginative construction of post-modern cultural practices. The nature of space and place is considered, as is Turner’s distinction between liminoid and liminal activity with regard to ritual and communitas in relation to Argentine Tango. Alongside participant discussions, I explore various perspectives on the cosmopolitan appropriation and exoticisation of Argentine Tango; the diffusion, re-territorialisation and globalisation of Argentine Tango since the late 1980s. Data was produced using ethnographic tools, including video recording, shared reviewing and feedback from participants. The thesis analyses findings to show how participants project narratives of the imagination into their dancing, thereby providing frameworks of meaning which crucially underpin and sustain this practice. These imagined narratives are compared to journeys, both literal and of the imagination, enabling the creative construction of new identities, the exploration of self in relation to others and an escape from everyday life in postmodernity.
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Tumelty, Bridget Patricia. "In their own performance : an ethnographic study of mothers' accounts of interactions with professionals at a children's centre." Thesis, University of Wolverhampton, 2018. http://hdl.handle.net/2436/621954.
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This study is concerned with how mothers, who have been referred to a children's centre for support with parenting, interpret their interactions with professionals including midwives, health visitors, social workers and family support workers. Previous studies have concentrated on unhelpful, "them and us" othering practices, this project aimed to consider mothers' interpretations of interactions, exploring verbal and non-verbal interactions as well as identifying what interactions with professionals that were helpful or not and why? To explore mothers' stories, I designed an arts based performance ethnographic methodology. Through the use of theme boards and stream of consciousness writing in a drama group context, text was collected over an eighteen month period from 16 mothers. Initial review, editing and distilling of text was carried out with participants, generating 18 scenes for a play performed together in front of a live audience. Text not used in the play was further analysed using narrative analysis and produced an overarching metaphor of a 'dance of compliance'. The dance explores images of mothers navigating steps of vulnerability, risk and compliance. Inhabiting the dance were many overlapping victimizing narratives exposing stories of parenting support presented as life enhancing in a context of scarcity. I found that the women kept dancing not because they were empowered but because the dance is obligatory, driven by the systematic production of unhelpful signs that come to constitute their reality. Theoretical perspective/s used in analysis highlight how children's centres could become a space for symbolic exchanges of support bringing into the light steps of fortitude and humanity. Recommendations for practice centre on the need for professionals to engage in empathic interactions whist always looking for opportunities for mothers to participate in the day to day activities of parenting support.
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Donelan, Katriona Jane, and n/a. "The Gods Project: Drama as Intercultural Education. An Ethnographic Study of an Intercultural Performance Project in a Secondary School." Griffith University. School of Vocational, Technology and Arts Education, 2005. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20060609.111246.
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This thesis investigates the role of drama in the intercultural education of young people. It considers the relationship between the fields of drama education, intercultural performance and ethnography. The drama curriculum is explored as a site of intercultural learning and performance pedagogy. The thesis also examines the place of ethnography as an embodied, participatory practice in intercultural drama pedagogy and performance research. The study is placed in a context of international exchange and cultural pluralism, and is framed by debates about intercultural performance and the appropriation and representation of cultural narratives. This investigation of interculturalism within the drama curriculum is grounded in an ethnographic study conducted in Melbourne, Australia in a multicultural secondary school community. The study documents the experiences of approximately forty young people who participated in an African drama and performing arts project called The Gods Project. Jean, a Kenyan performing artist who was undertaking a two-year residency in the school, led the intercultural performance project. Participants were involved in drama and performing arts workshops, an African creative arts camp and a performance of a play, The Gods are not to Blame, by Nigerian playwright Ola Rotimi. The interpretative account of the project draws on ethnographic data from the first year of Jeans residency in the school and six months of intensive fieldwork in the second year of her residency. It also includes longitudinal data that was collected from a group of participants up to four years after the project. I collaborated with Jean and with a group of senior students, who volunteered to be student co-researchers, to record and analyse the diverse experiences of participants in The Gods Project and to interpret its educational, social, and aesthetic impact within the school context. Jeans pedagogy of intercultural story telling within the drama classroom and her role as a cultural guide throughout the project was explored. As a participatory ethnographic researcher, drama educator and assistant director, I worked alongside Jean and the students as they played with, talked about, resisted, created, adapted, subverted, embodied and performed intercultural performance texts. Drawing on Turner (1982) and Schechner (1988), I conceptualised The Gods Project as an intersecting social and aesthetic drama. The phases of social drama and ritual were used as a framework for the data analysis and as a structure for the narrative account of the project. Turners concepts of the liminal/liminoid and communitas were applied to the participants experiences at the creative arts camp and within the workshop and performance space. Dark play was identified as the young peoples response to the difficult social drama they were involved in; their subversive play provided a way to engage with the strangeness of the cultural material and the plays dark story and themes. The participants dramatic play informed the emerging aesthetic drama and facilitated their intercultural meaning making. The students efforts to make sense of and interpret a performance text embedded in a Yoruba context resemble the task of an ethnographer attempting to understand and represent socio-cultural experiences. The study demonstrates that through a process of collaborative intercultural reflexivity, ethnography can enhance intercultural drama education. The pedagogical features of The Gods Project are related to Turners concept of performance ethnography and the role of a cultural guide in intercultural teaching and learning is highlighted. With the guidance of their Kenyan teaching artist many of the young people engaged with different socio-cultural perspectives, actively explored new cultural performance conventions and art forms, and experienced the complexities of intercultural representation. The study reveals evidence of significant social, personal, intercultural and artistic learning outcomes for participants within this school-based performance project. However, the study also reveals the difficulties and challenges of implementing an innovative intercultural project within a school context. It demonstrates that kinaesthetic, playful, embodied and performative experiences are central to intercultural teaching and learning.
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Haji-Mohamad, Siti Mazidah Binti. "Rooted Muslim cosmopolitanism : an ethnographic study of Malay Malaysian students' cultivation and performance of cosmopolitanism on Facebook and offline." Thesis, Durham University, 2014. http://etheses.dur.ac.uk/10871/.
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This thesis analyses the potential of Facebook as well as offline social interactions and experiences in cultivating cosmopolitan sensibilities and the performance of cosmopolitanism in both online and offline spaces. Cosmopolitanism has received immense attention in academia but its discourse is slow to incorporate everyday online experiences. In today’s world, when the use of social network sites such as Facebook have become commonplace, it is imperative that use of such a site, and its ensuing experiences, be included in the field of cosmopolitanism studies. This thesis contends for its inclusion and has chosen Facebook as the site from which to study UK-based Malay Malaysian students’ online experiences, in order to investigate the potential of the site in cultivating the students’ cosmopolitan sensibilities and cosmopolitan performances together with the students’ offline experiences. This thesis emphasises the need for the voices of the individuals to be heard, and their experiences to be understood within their own contexts. By capturing their voices, the nuances in their use of the site, their cosmopolitan sensibilities and performances could be obtained. To achieve this, an ethnographic approach that employed semi-structured interviews and online observation is used. This research has captured the voices of the respondents and found a specific form of cosmopolitanism that is influenced by their dominant Malay Muslim context, so creating what this thesis author has labelled as rooted Muslim cosmopolitanism. This concept refers to a form of cosmopolitanism rooted in the students’ Malay Muslim identity; the online and offline contexts they are in which are a replication of the host society’s contexts and their own home contexts. The discussion centres on the students’ negotiation of Malay Muslim identities in both online and offline contexts. This thesis contributes a different angle to the understanding of cultural religious cosmopolitanism for Malaysian and the general cosmopolitanism discourse, through a number of elements including: online experiences, international students as cosmopolitan actors and everyday experiences. An analytical framework was employed that separates cosmopolitan sensibilities and performance by using the six dynamics of online cosmopolitanism: self-reflexivity; motivation; affordances and features; self-disclosure and self-censorship; collapsed contexts and audience; and privacy, as well as a call for rethinking what cosmopolitanism and cosmopolitan are.
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Pierce, India. "My Pew, Your Pulpit: An Ethnographic Study of Black Christian Lesbian Experiences in the Black Church." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338383170.
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Lindh, Kristofer. "Performance at the Edge of Apocalypse : An ethnographic study of collective identity construction in a neo-nationalist social movement in Sweden." Thesis, Stockholms universitet, Socialantropologiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-145007.
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In several countries of the Global North, right-wing parties are successfully mobilizing public support, influencing political debates and introducing arguments and rhetorics that draw on xenophobia, populism and ethnocentrism, ostensibly with a purpose to amplify the “national order of things” (Malkki 1992). This thesis addresses this development by providing an ethnography, based fieldwork, of the Swedish social movement Folkets Demonstration, which arranges anti-government manifestations on squares most usually in Stockholm. Drawing on classical theories on performance by Victor Turner and Erving Goffman, I investigate how the demonstrations of the movement facilitate the construction of a collective identity of “the people”, which also includes exploring the world view of the demonstrators. As I argue, through the socio-emotionality of the demonstrations, the movement conducts a cultural performance of national cohesion vis-à-vis the Swedish national community, cosmologically perceived as on the edge of an apocalypse due to immigration and the alleged cosmopolitanist agenda of the government. In addition, I argue that the demonstrations can be understood as strategically managed towards idealized performances of democracy. Hence, the demonstrations can be considered regressive-utopian performances of a national-democratic community, furthermore embedded in a polarization between “the people” and “the elite” and through which the collective identity of “the people” is constructed.
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Ventre, Mary Tibbals. "An ethnographic study of eight dual-career families: their responsibility for and performance and negotiation of household and childcare tasks." Diss., Virginia Polytechnic Institute and State University, 1988. http://hdl.handle.net/10919/77752.
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This qualitative study documented how household and child care task-sharing in eight dual-career families is allocated and negotiated. There were two specific aspects of shared tasks: responsibility for tasks as well as performance of tasks. Flexibility of spouses· employment as it affects task sharing was an important variable. used ethnographic methods to analyze the data from four interviews and two participant observations with each family. Findings described the balance of task sharing in the families: two families shared the total family workload equally; five families strive to share the total workload but fall just short of that goal; and in one family the wife is the primary household and child care worker; the husband helps her. Standards for household and child care tasks are very similar for each set of spouses; differences lead to task negotiation. I present the spouses’ strategies for negotiating household tasks. The findings also include spouses’ career commitment, influences on spouses’ task sharing and the importance of flexibility of employment for dual-career family life. In seven of the eight dual-career families, whose wives earned 40% of more of family income, sharing of household and child care tasks was very high: in these families, the husbands performed at least half of the household and child care tasks. Task responsibility if shared equally in only one family; wives remain the family executives. Career commitment was strong in all but two spouses: these two were considering quitting work at some time to take care of children. The two families who share the total family workload equally use more cooperative negotiation strategies than the other families use. The spouse who has the most flexible employment performs more household and child care tasks than the other spouse does.
Note: All names of informants are fictitious. Some facts about the families have been changed to protect their identities.Ph. D.
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Herrmann, Andrew F. "Every Story Paints a Picture Don't It? Writing Stories of Comic Shopes, Barbershops, and Other Ethnographic Stops." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/789.
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Herrmann, Andrew F. "Every Story Paints a Picture Don't It? Writing Stories of Comic Shopes, Barbershops, and Other Ethnographic Stops." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/801.
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Abreu, Carolina de Camargo. "Experiência Rave: entre o espetáculo e o ritual." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-20082012-102051/.
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Debruçado sobre dez anos de anotações etnográficas em festas raves, esse trabalho foca brechas e rasuras: no universo extraordinário da festa irrompem questões não-resolvidas da vida cotidiana. Neste sentido, parte da desconfiança sobre a instauração de uma fantástica realidade absoluta e paralela pela festa, e trata de sua fragilidade e de seu inacabamento. Observa experiência rave atento a ruídos e esquecimentos, explorando pontos de contato entre a antropologia, os estudos da performance e o pensamento de Walter Benjamin. Esta pesquisa é disparada por fragmentos residuais de meu trabalho de campo em festivais raves de trance music realizados em cenários de natureza exuberante, praias idílicas, no entorno de cachoeiras, locais geralmente bastante distantes das atividades da vida cotidiana urbana. Nesses lugares tão próximos ao paraíso imaginado por muitas pessoas, outra imagem de sonho emerge: a Tribo Global. Agrupamento de uma cultura transnacional, a tribo global rave é construída através dos encontros das festas de música eletrônica e uma intensa troca pela Internet. Pela dinâmica social da festa irrompem utopias, esperanças e tensões.Reading the ten years of ethnographic notes of rave parties, this work focuses on the lapses of the fantastic universe created by the party where some unresolved questions of everyday life comes to light. It comes from question of establishment of an absolute and a parallel reality of the party and deals with its own fragility and incompleteness. It proposes to attend to the experience of rave focusing on the noise and the forgotten elements in the performance that creates the party exploring points of contact between anthropology, performing arts and the Walter Benjamins thought. This research starts from residual fragments of the notes of my fieldwork in the Brazilians festivals - parties of trance music - that characteristically take place in wild nature scenarios, idyllic beaches, belong falls and forests, territories far way of day-by-day activities of urban way of life. Those are places very closed of an image of heaven, where other dreams image emerges: the Global Tribe. This global tribe is a grouping of a transnational culture, building in the encounters of electronic music parties around the world and an intensive exchange by the internet. Through the very especial social dynamic of the party emerge utopias, hopes and tensions.
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Cabezas, Pino Angélica. "'This is my face' : audio-visual practice as collaborative sense-making among men living with HIV in Chile." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/this-is-my-face-audiovisual-practice-as-collaborative-sensemaking-among-men-living-with-hiv-in-chile(43b02bdb-70d9-466f-ab41-4cd0ce0d86d1).html.
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The research project 'This is my Face: Audio-visual practice as collaborative sense-making among men living with HIV in Chile' is an interdisciplinary project that explores 'collaborative mise en-scène' as a method to further understand the sense-making processes around the biographical disruption caused by HIV. It combines Anthropology and Arts methods as part of the PhD in Anthropology, Media and Performance, a practice-based program that fosters interdisciplinary approaches to the production of original knowledge, based on self-reflexive and critical research practices (The University of Manchester, 2018). Relying on the specific competences of photography and film and the co-creation of an ethnographic context based in hermeneutic reflexivity, the collaborators on the project created and explored representations of critical life events, in order to make sense of the disruption HIV brought to their lives. The collaborators were highly stigmatised individuals living with HIV, which hindered their possibilities for sharing narratives and for reflection, and as such, made it more difficult for them to come to terms with a diagnosis they described as a 'fracture' in their lives. This project analyses the creative process of 'collaborative mise-en-scène' as a way to provide further opportunities for reflexivity and sense making, a method that departs from their everyday face-to-face encounters as means of understanding what they are going through. Representations of life events emerged from our practice, as well as evocations, which provided a means by which to understand their experiences with HIV, and opened up ways to resignify their past experiences and projections of the future. Photography and film offered their specific expressive competences to the project, but also gave the possibility of making visible the collaborators' experiences in order to promote a dialogue with others, moving beyond our creative encounters. Therefore, their evocations became 'statements' of what it means to live with HIV in Chile, and at the same time, by taking part in its creation, it provided access to the particularities of the sense-making process in which those images were embedded. This collaborative creative process opened up ways to highlight the relevance for sense-making in face-to-face encounters, demonstrating that hermeneutic reflexivity as a practice-based form of mutual questioning can promote a critical engagement with life trajectories and with others beyond our practice.
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Kratavičiūtė-Ališauskienė, Aistė. "Analysis of formal and informal systems of performance evaluation: the case of the Office of the Prime minister of Lithuania." Doctoral thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140616_095755-05950.
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System of performance evaluation is an essential part of performance management and a major source of organizational control. Discussion about motivational/demotivational power of the formal and informal systems of performance evaluation for different personality types of employees opens a new page in the studies of human resource management. The following research question reflects the core of this thesis “To what extent the informal system of performance evaluation exists beside the formal system of performance evaluation and how do they operate as work motivators/demotivators for civil servants of different psychological types?”. The formal and informal systems of performance evaluation in the Office of the Prime Minister of Lithuania (OPML) are analysed using the theoretical research framework based on three different perspectives: sociology of law, human resource management and psychology. An ethnographic research, supplemented by the psychometric instrument HEXACO PI-R, is conducted to unfold the informal system of performance evaluation and to investigate its motivational/demotivation impact on two different personality types of OPML advisers (ORGANIZED and FLEXIBLE). The formal system is found to be a motivator for the ORGANIZED civil servants and demotivator for the FLEXIBLE advisers, while the informal system served as demotivator for all of the advisers who admitted its existence. In-depth interpretations of the doctoral dissertation research results are provided... [to full text]Veiklos vertinimo sistema yra neatskiriama veiklos valdymo dalis ir svarbus organizacinės kontrolės įrankis. Diskusijos apie formalios ir neformalios vertinimo sistemų motyvavimo / demotyvavimo galią skirtingų asmenybės tipų darbuotojams atveria naujas perspektyvas žmogiškųjų išteklių valdymo tyrimuose. Šios disertacijos esmę atspindi tyrimo klausimas „Kiek neformali veiklos vertinimo sistema egzistuoja šalia formalios veiklos vertinimo sistemos, ir kaip jos, kaip darbo motyvatoriai / demotyvatoriai, veikia skirtingų asmenybės tipų viešojo sektoriaus darbuotojus?“. Formali ir neformali veiklos vertinimo sistemos Lietuvos Respublikos Ministro Pirmininko tarnyboje (MPT) analizuojamos pasitelkiant teorinį tyrimo pagrindą, kuris yra paremtas trimis skirtingomis perspektyvomis: teisės sociologija, žmogiškųjų išteklių valdymu ir psichologija. Etnografinis tyrimas, kurį papildo psichometrinis įrankis HEXACO PI-R, atliktas siekiant identifikuoti neformalią veiklos vertinimo sistemą ir ištirti jos motyvacinį / demotyvacinį poveikį dviejų skirtingų asmenybės tipų(ORGANIZUOTIESIEMS ir LANKSTIESIEMS) MPT patarėjams. Nustatyta, kad formali sistema veikia kaip motyvatorius ORGANIZUOTIESIEMS patarėjams ir kaip demotyvatorius LANKSTIESIEMS valstybės tarnautojams, o neformali sistema demotyvuoja visus patarėjus, kurie pripažino, kad tokia sistema egzistuoja. Darbe analizuojami atlikto tyrimo rezultatai ir pateikiamos išvados.
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Reed, Delanna. "Telling Lesbian Teacher’s Stories through Performance Ethnography." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1290.
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Bidgood, Lee. "Ethnography and Czech Bluegrass." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1086.
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Liyala, Samuel. "Exploring performance ethnography to illuminate mobile banking capabilities in western Kenya : capability approach study." Thesis, De Montfort University, 2012. http://hdl.handle.net/2086/9024.
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This study is a qualitative examination on the impact of mobile banking, commonly known as MPESA on the lived experiences of the marginalised poor of Bukhalalire sub-location in western Kenya. Using Capability Approach as the guiding theoretical framework, this research project answers Denzin's (2003) call to performance, a performance which contributes to a more 'enlightened and involved citizenship'. It is 'revolutionary' in that it 'enlightens citizens to the possibilities' of MPESA by staging dramatic texts or performances rewritten from the interviews with the poor. These Performances make sites of oppression visible in the process, affirming an oppositional 'politics' that reasserts the value of self-determination and mutual solidarity. Here, the project explores Performance Ethnography to interrogate and evaluate specific, social, educational, economic and political processes as mechanisms that affect the adoption and successful implementation of MPESA as a poverty eradication strategy. The research work conducts focus groups to draw out dimensions of concerns which this research construes as a capability set, then interviews persons in poverty to establish, firstly, what the dimensions of concerns are and the relationship between them, effectively corroborating the findings from the focus group then secondly establish how MPESA is impacting on those dimensions of concern. The research then uses performances to bring to the front the voices of the poor, making visible sites of oppression in one sense and on another, sites of opportunities within MPESA. This exercise answers the research question in evidencing how Performance Ethnography illuminates dimensions of concerns within a Capability Approach study and as research tool it provokes the interviewer and the interviewee to self examination and reflection, seen thus, the performance becomes vehicle for moving persons, subjects, performer, and audience members in new, critical, 'political' spaces, a space of hope that transcends the conservative politics of neoliberalism rescuing the radical democracy. As such, it 'tells a true and previously untold tale' effectively calling for social transformation.
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Menrath, Stefanie Margot. "Anonymity performance as critical practice in electronic pop music : a performance ethnography." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18730/.
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Through practices of anonymity electronic music culture has advanced a critique of the institution of star personality in pop music. This study investigates how academic research can learn from such pop music-related critical practices. As it becomes an object of academic knowledge, the notoriously anti-representational electronic music culture calls for an experimental research methodology. This performance ethnography experiments, in the tradition of activist and performative anthropology, with research practice as performance. Resisting the tendency to objectify culture as a factual research object, this study explores the processuality and performativity of cultural research matter: instead of substantial, post-personal anonymity states, the practice of fabricating anonymity in electronic pop music (in discourse and sound) is its starting point. From there, it focuses on anonymity performances – institution-critical practices of star personality that operate within the discursive and media institutions of pop music. Adopting a symmetrical methodology, two personality-critical projects from the field of electronic pop music are addressed as laboratory cases and consulted for their tactical operations. Their anonymity performance practices – tactical persona performance, fake or collaborative imagination of a musical persona – take the form of immanent and particulate ‘critical practice’ (Butler, Foucault). Rather than distancing themselves from their ‘object’ of critique, these laboratory cases engage in concrete, affirmative or self-critical performances of pop stardom. Their resistance to the frameworks of identification and discursivity in pop both engages with and corrodes the epistemic-constitutional level of the field of pop music. How can researchers learn from such musico-artistic knowledge practices? Guided by its laboratory cases, this study proceeds from a detached reading of an electronic pop music live performance as a (poststructuralist) study of persona construction in pop music to become an engaged performance ethnography. Performance is incorporated as critical academic practice through a reflexive and increasingly performative writing style. The study concludes with the advocation of an ethnographic research format derived from one laboratory case: the collaborative investigation of imaginary research objects as a radical implementation of the performative turn in the cultural studies of music.
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Parlati, Luigia. "Faire le slam : une ethnographie des pratiques poétiques collectives entre Paris et Marseille." Thesis, Paris Sciences et Lettres (ComUE), 2018. http://www.theses.fr/2018PSLEH169.
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Cette recherche porte sur une pratique de création poétique, le slam, qui est née à la fin des années 1980 aux États-Unis et qui est aujourd’hui largement répandue dans plusieurs pays, notamment en France. Si le succès de public (en 2006) d’artistes comme Grand Corps Malade est la forme plus reconnaissable de cette pratique de par sa médiatisation, il existe une hétérogénéité de « formes slam » et de pratiques qui sont devenues l’objet de cette thèse. Un slam de poésie est un espace de parole ouvert à tous et il est organisé selon différents dispositifs, de la compétition au « micro ouvert » et dans plusieurs typologies de lieu (bar, salle de spectacle, bibliothèques, espaces publics). Toute personne ayant un texte à dire (qui peut être écrit au préalable ou pas) peut donc le faire devant un public, sans qu’on lui impose aucune contrainte de style ou de contenu. Cette simplicité apparente du fonctionnement du slam vient interroger en réalité plusieurs types de « frontières » qui font sens pour certains acteurs du monde de la création littéraire (poésie écrite/poésie à voix haute), de l’éducation linguistique (parler littéraire/parler ordinaire) et de la formation du goût artistique (excellence/banalité). Mais les slameurs et slameuses rencontré.e.s dans mes enquêtes entre Paris et Marseille (ainsi qu’à l’internationale), témoignent d’un autre monde commun, où l’expérimentation verbale, vocale et performative coexiste avec le désir de partager librement la parole ou de s’engager dans une démarche artistique. Croisant les discours des acteurs avec la doxa et la littérature sur le sujet, cette thèse a pour ambition de proposer des analyses situées de cette pratique poétique collective, afin de rendre compte de son extrême disponibilité à accueillir tout acte de parole dite à voix haute et en public. C’est une recherche qui se donne pour objectif d’au moins mettre à jour les nœuds, tensions et enjeux suscités par cette liberté du slam à être agencé et participéThis research focuses on poetry slam, a practice of poetic performance, born in the late 1980s in the United States and now widespread in several countries, including France. If the public success (in 2006) of artists such as Grand Corps Malade is the most recognizable form of this practice through its media coverage, there is a heterogeneity of "slam forms" that have become the subject of this thesis. Poetry slam is an open platform and it is organized according to different approaches, from competition to "open microphone" and in several kinds of places (bar, stages, libraries, public spaces). Anyone with a text to say (which can be written in advance or not) can therefore do it in front of an audience, without any injunction of style or content. This apparent simplicity of poetry slam actually questions several types of "boundaries" that make sense to some actors in the world of literary creation (written poetry/poetry readings), language education (literary/common language) and artistic creation (excellence/triviality). But the slammers I’ve met in my fieldwork between Paris and Marseille (as well as abroad), participate of another common world, where verbal, vocal and performative experimentation cohabit with the desire to freely share their words or being engaged in an artistic endeavor. Crossing the discourses of the actors with the doxa and literature on the subject, this thesis aims to propose some analysis based on this collective poetic practice, in order to account for its extreme readiness to accommodate any speech act aloud and in public. This research aims to at least elucidate the tensions and issues raised by poetry’s slam freedom to be empowered and be engaged
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Lennox, P. Solomon. "Narratives of performance : an interdisciplinary qualitative ethnography investigating the storied lives of amateur and professional boxers." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4060.
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This thesis identifies the shared pool of narrative resources, which constitute the public discourses and cultural meanings of the sport of boxing, in order to examine how individual boxers engage with them when performing their narrative identities. It is argued that the shared pool of narrative resources for boxing contain myths and legends that are taken for granted and yet heavily invested in by boxers and academics alike. This project explores how individual boxers engage with these resources in order to make sense of their own experiences and to formulate their narrative identity. The thesis asks how a thorough investigation of the shared narrative resources, and their use by boxers, provides new insights into what the sport of boxing means to boxers, and how shared resources are engaged with in order to perform idiosyncratic ontological narratives. This project makes a unique contribution, as it is the first project of its kind to fully consider the relationship between the individual accounts provided by boxers and the narrative resources available to them. It pays particular focus to the narrative resources as they relate to amateur and professional boxers alike. Through a performance ethnography, and qualitative inquiry approach, research data was collected and co- constructed over a period of three years. This data informed the reading of boxing texts in order to ascertain what the shared pool of narrative resources were for boxers, and how individuals used and engaged with them. This project found that the narrative resources of boxing were powerful, persuasive, and provided vocabularies of motives for individual boxers. The shared pool of resources, whilst constitutive of the cultural 2 meanings of boxing, were engaged with by individual boxers to tell stories about the desire for transformation, communion, respect and generativity.
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Harvey, Harvey Blevins Madison D. Soyini. "Mines-bodies a performance ethnography of Appalachian coal mining /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,187.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2006.Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Communication Studies (Performance Studies)." Discipline: Communication Studies; Department/School: Communication Studies.
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Linke, Irina. "Gender – Bilder – Sanaa. Eine Ethnographie." Doctoral thesis, Humboldt-Universität zu Berlin, 2017. http://dx.doi.org/10.18452/18196.
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Diese Studie erkundet den Zusammenhang von Gender und Bilderpraktiken in Sanaa vor dem Hintergrund der globalen Zirkulation von Bildern. Von Geschlechtersegregation gekennzeichnet und an der Peripherie globaler Bilderproduktion liegend, bietet sich der Jemen für die Erforschung des Spannungsfelds von Bildern und Gender an. Betrachtet wird insbesondere, wie Jemenitinnen öffentliche Bilder entschleierter Frauen auf eigene Vorstellungen von Sittsamkeit und Unsichtbarkeit beziehen und wie öffentliches Erscheinen von Frauen verhandelt wird. Ein filmischer Zugang führt zur Betrachtung der performativen Dimension von Bildern. Gefilmte Mikrosituationen werden nach einem hermeneutischen Verfahren interpretiert, das sich am Prozess-, Interaktions- und Diskursverlauf der gefilmten sozialen Praxis orientiert. Sprache wird kontextualisiert und zu Bildern in Bezug gesetzt. Befunde zur Rolle des Umgangs mit Bildern bei der Geschlechterkonstitution offenbaren drei zentrale Themen. Erstens sind Bilderpraktiken von Frauen dynamische und konflikthafte Prozesse, in denen Frauen genderspezifische Räume und Rollen aushandeln. So werden beispielsweise jemenitische Frauen, die im Fernsehen erscheinen, dem Anderen zugeordnet, visuelle Elemente öffentlicher Bilder von Frauen werden heruntergespielt. Zweitens gefährden Bilder die Geschlechtersegregation. Indem das Verbot für Frauen, sich zu sehen zu geben, auch Bilder umfasst, wird das subversive und transgressive Potenzial von Bilderpraktiken deutlich. Es wird deutlich, dass sich hinter früheren wissenschaftlichen Befunden zum islamischen Bilderverbot teilweise genderbezogene Blickverbote verbergen. Drittens folgt die Suche jemenitischer Frauen nach dem eigenen Bild einer Dialektik von Sichtbarkeit und Unsichtbarkeit, denn oft erreichen Frauen öffentliche Sichtbarkeit durch die Repräsentation von Unsichtbarkeit. Diese Ergebnisse verdeutlichen die Notwendigkeit performativer Ansätze bei der Erforschung von Bildern und Medienpraxen.This ethnographic study explores the intersection of gender and image usage in Sanaa, Yemen, against the background of the global circulation of images. Yemen is a gender-segregated society at the periphery of image production and provides a powerful context in which the phenomena of this intersectionality can be captured and analyzed. Of particular relevance is the means by which Yemeni women relate public images of unveiled women to their requirement of modesty in front of men outside their close families. Within this setting, the negotiation of women’s public appearance is studied. A filmic approach leads to a consideration of the performative dimensions of images. Filmed micro-situations are interpreted according to a hermeneutic method, informed by the procedural, interactive and discursive aspects of social practice. Using this methodology, spoken language is contextualized and related to image practices. Findings on the role of image practices in gender constitution concern three main themes. First, image practices are found to be dynamic and conflictual as gender-specific social spaces and roles are negotiated. For example, Yemeni women who appear on TV are often attributed to the Other, and on the level of language, visual elements of public images of women are downplayed. Second, images pose challenges for gender segregation. As prohibitions on women allowing themselves to be seen in person extend to their images, the subversive and transgressive potential of image practices become apparent. Interestingly, this reveals that some prohibitions on images in the Islamic context discussed by previous researchers are in fact gendered restrictions on looking at women. Finally, the search of Yemeni women for an image of self follows a dialectic between visibility and invisibility. Often those women who reach public visibility do so by representing invisibility. This work demonstrates the need for performative approaches to the study of images and media practices.
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Gratch, Ariel Alexander Craft Renee. "Haunting stories of abuse revealing ghosts through critical performance ethnography /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1804.
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Thesis (M.A.)--University of North Carolina at Chapel Hill, 2008.Title from electronic title page (viewed Dec. 11, 2008). "... in partial fulfillment of the requirements for the degree of Master of the Arts in the Department of Communication Studies." Discipline: Communication Studies; Department/School: Communication Studies.
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Velichkina, Olga V. "Playing panpipes in Southern Russia : history, ethnography, and performance practices /." The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487949508371538.
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Kaastra, Linda Tina. "Systematic approaches to the study of cognition in Western art music performance." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/678.
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This dissertation presents an instrumentalist’s perspective on cognition and meta-cognition in music performance. The goal of the study is to identify and apply methods of inquiry that are phenomenologically resonant with instrumental practice. The first chapter, situating the study in the context of the writer’s musical training, examines ways of studying and representing performance knowledge. The second chapter presents a case study of the preparation of Tōru Takemitsu’s Masque for Two Flutes (1959-1960). Using grounded theory methodology, this chapter investigates the role of gesture in the negotiation of musical understanding. Chapters 3 through 5 draw on Herbert H. Clark’s joint activity theory of language use to conceptualize music-making, taking into account context, process, and other domains of musical activity. Finally, Chapter 6, in addition to re-defining "virtuosity" for the 21st century instrumentalist, presents a set of philosophical considerations for cognitive studies in music performance.
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Chao, Chi-Fang. "Dancing and ritualisation : an ethnographic study of the social performances in southern Okinawa, Japan." Thesis, University of Surrey, 2001. http://epubs.surrey.ac.uk/675/.
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Santoro, Patrick. "At the Mercy of Ruin: Performative Sites/Sights of Landscapes and Loss." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/dissertations/187.
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While scholars of ruin have long foregrounded the importance of imagination in encountering sites of ruin, they have failed to provide concrete examples of their own imaginative experiences. This dissertation is a collection of aesthetically rendered moments at various sites of ruined landscapes and of the autobiographical (in)sights of loss I have gleaned in their presence. In speaking from a concept I refer to as the autobiographical imaginative--a performative exchange between land and self where life narratives are summoned as a result of land's presence--this project weaves biographical stories of landscapes and others with stories of my own autobiography. As such, the work utilizes multiple interpretive, ethnographic methods and representational strategies, including documentary ethnography, autoethnography, performative writing, and performance auto/ethnography, as a means of illustrating the dialogic, reflexive, evocative, and fluid relationship among researched and researcher, site and self. In doing so, it reveals how land can signify lived experience, extending the traditional geography-centered notion of landscapes toward the creation of memoryscapes, bodyscapes, and mediascapes.
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Granelli, Steven M. "Being Good at Playing Bad: Performance of the Heel in Professional Wrestling." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1499337139540751.
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Silva, André Carlos Conrado Inácio da. "Imagens que falam: uma investigação fotoetnográfica da performance cultural goianiense (2014-2016)." Universidade Federal de Goiás, 2016. http://repositorio.bc.ufg.br/tede/handle/tede/6389.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The word performance was popularized and became appellant in everyday human being. However, they make use of it without understanding the size and strength she has. . The performance takes place in all areas of our life, she runs the kitchen at the time of cooking, in sports, at work, on the floor, finally the performance is a term loaded with meanings and synthesis shows that our life is structured with ways behavior and gestural expression that a social attitude that is evident in daily living. The dissertational work images that speak: A pictorial ethnographic research goianiense cultural performance (2014-2016), sought to demonstrate how to constitute the daily lives of the city of Goiania cultural performance of passers-by that it circulating in their day-to-day. For this, we used the Photoethnography in a collection of images made through photographs taken at various points of the city, which were later transformed into lick lick and taken for public reception in the same places where photographed form. With the reception process we seek to identify the goianiense or goianiense recognize the images its own cultural performance or not. So in the receptive process we conducted interviews with the receiver public that were later used for data analysis on procedural research. This time, the results led to a gestural performance goianiense and goianiense that became evident in his statements on the existence of an identity - performative than is to be a goianiense or goianiense. This work is an invitation to get to know how to built and present in living daily "be goianiense".
A palavra performance se popularizou e tornou-se recorrente no cotidiano do ser humano. No entanto, fazem uso da mesma sem entenderem a dimensão e força que ela tem. A saber que performance ocorre em todos os espaços de nossa vida, ela ocorre na cozinha no ato de cozinhar, no esporte, no trabalho, no andar, enfim, a performance é um termo carregado de sentidos e em síntese demonstra que a nossa vida está estruturada com modos de comportamentos e gestuais que expressam uma postura social que se evidencia no viver cotidiano. O trabalho dissertativo Imagens que falam: uma investigação fotoetnográfica da performance cultural goianiense (2014-2016) buscou demonstrar como se constitui no viver cotidiano da cidade de Goiânia a performance cultural dos goianienses que por ela circulam no seu dia a dia. Para tanto, fizemos uso da fotoetnografia em uma coleta de imagens realizada por meio de fotografias feitas em diversos pontos da cidade que, posteriormente, foram transformadas em l ambe -l ambes e levadas para recepção do público nos mesmos locais onde foram fotografados. Com o processo de recepção, buscamos identificar se o goianiense ou a goianiense reconheceria nas imagens a sua própria performance cultural ou não. Assim, no processo receptivo, realizamos entrevistas com o público receptor que foram posteriormente usadas para análise de dados no processual da pesquisa. Dessa feita, os resultados obtidos nos levaram a conhecer uma performance gestual do goianiense e da goianiense que foi construída desde a formação da cidade, e eles afirmaram nos depoimentos a existência de uma performance que constitui a identidade – performática do que viria a ser um goianiense ou uma goianiense. O presente trabalho é um convite à reflexão sobre o viver cotidiano do “goianiense”.
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Weyand, Larkin Gene. "The Walkabout in an Alternative High School: Narrative as a Social Practice for Reflection on and Analysis of Experience." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1468241129.
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Konopinski, Natalie. "Ordinary security : an ethnography of security practices and perspectives in Tel Aviv." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/4166.
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Anthropological approaches to contexts of violence and conflict often focus on the exceptional and extraordinary moment of violence or its memory, leaving little room for the ordinary ways in and through which much conflict is lived. How might conflict and violence permeate ordinary practice, daily events and experience? What about the mundane and anticipatory moments through which violence may be predicted, anticipated and waited upon? This thesis explores ordinary security perspectives and practices among Jewish-Israelis in Tel Aviv. It is based on 21 months of ethnographic fieldwork among security guards, civil guards and city residents between 2005 and 2007 as they do and discuss bitachon (security). Participant observation with street-level security staff, with civil guard patrols and within the critical activities and conversations at a local neighbourhood kiosk café all explore practices, perspectives and experiences of security. This thesis argues that security practices that are often invoked as a precaution against danger and a provider of protection may paradoxically produce a sense of even more danger, uncertainty and insecurity. Security is not only about spectacular conflicts or strategic concepts but is also engaged with and experienced through mundane and ordinary social life. As well as claiming to protect the nation-state or managing strategic threats, security is also a kind of practice and emotion; an atmosphere, activity, and a feeling. Security is not only about extraordinary events and explosive situations, but also about a particular kind of waiting; an uncertain and boring anticipation of potential violence to come. It may be less about performance, legibility, or defence against dangerous others, than the identification of intimate and illegible populations, the playing out of racialized notions of danger and the ethno-nationalist uncertainties of the nation-state. In this context, collective anxieties and insecurities may be brought about not by the scale or magnitude of security threats, but by the perceived incapacity and protective impotence of the state. This thesis contributes to the anthropology of conflict and violence, the anthropology of Israel/Palestine and urban anthropology more generally. It points towards ways in which anthropology may meaningfully contribute to and enter dialogue with security studies, and argues in favour of an ordinary approach to the analysis of conflict and security.
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Herrmann, Andrew F. "Dialectical Tensions, Relationship Dissolution, and Writing the New Ethnography." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/787.
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Sandström, Edvin. "The Convaluation of Performance Art : A Study of Peer Recognition Among Performance Artists." Licentiate thesis, Uppsala universitet, Sociologiska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-345083.
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Processes and forms of valuation, evaluation and valorization are important for bringing contemporary social life in order. In this thesis, I study the values of the small and autonomous avant-garde of the art-world, performance art. In art worlds, arguably, we can expect to find the most extreme cases of activities which constantly aim at transgressing existing ideas of what is valued in this world, i.e., art. Performance art is an activity that contemplates the border between art and non-art, and that as an activity contributes to the constitution of this border. My focus is on the ongoing process, which is seen in a historical light. I look at the social structure that both enables and constitutes values. I argue that this process should be understood as a convaluation (Aspers 2008), a partial order with some temporal extension that enables coordination based on valuation and evaluation processes. I find that the convaluation of performance art is characterized by a switched role structure––meaning that actors operate as both artists and curators and as such, switch from being evaluated to evaluating others. The central value that constitutes the convaluation of performance art is bodily presence.
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Kossen-Veenhuis, Tomke Helga Marie Folkerts. "'The great thing about collaboration is that it never is perfect' : an ethnography of music and dance collaborations in progress." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25685.
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‘Art worlds’ (Becker 1982) tend to be treated as autonomous spheres but there have always been artistic enterprises that combine different art forms. Contemporary dance theatre is an example of such an intersection: the collaboration between music and dance worlds requires a network of different kinds of artists to produce a coherent artwork. This PhD research investigated the social interrelations of musicians and dancers and the development processes in a collaborative music-dance production. The artists are part of a multi-component network where all parties ideally need to cooperate closely in order to present a coherent artistic performance. In this context music and dance are codependent and an intrinsic understanding among the artists is expected. However, this is not inherent to all participants and projects. For artists from more than one discipline to make a coherent artwork means to challenge the conventional characteristics of their own art worlds (Cope 1976; Becker 1982). Otherwise barriers in communication and behaviour develop rapidly and irreparably. This study sought to understand the development of new music and dance productions and the involvement of their participants in a systematic way. This led to the investigation of cross-disciplinary communication, hierarchies and creative approaches. The research is based on two case studies, the ethnographies of work in progress of dance companies, using observation and interviews as the main methodology. The systematic study of the processes during collaborative work uncovered hindrances including limitations in the financial budget, committed production time and physical requirements of the artists and how those have been handled when approaching these projects. This study also defined differing expectations towards collaboration, varying listening approaches of musicians and dancers to music and differences in performance practice as challenges of the process. The overall aim was to provide new insights into the process of producing collaborative art works, improve the planning and execution of them and connect the academic fields of music and dance.
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Johnson, Matthew. "An Ethnography of the Bay Area Renaissance Festival: Performing Community and Reconfiguring Gender." Scholar Commons, 2010. http://scholarcommons.usf.edu/etd/3509.
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This performance ethnography analyzes the means by which performers at Tampa, Florida‘s Bay Area Renaissance Festival constitute community and gender through performance. Renaissance Festivals are themed weekend events that ostensibly seek to allow visitors to experience life in an English Renaissance village. Beginning with the theoretical assumption that performance is constitutive of culture, community, and identity, and undergirded by David Boje‘s festivalism, Richard Schechner‘s restored behavior, Victor Turner‘s liminoid communitas and Judith Butler‘s performative agency, The Festival is explored as a celebratory community that engages in social change through personal transformation.
Employing reflexive ethnography and narrative as inquiry, Chapter Two catalogues and analyzes a broad range of festival performances, from stage acts and handcraft production, to participatory improvisation, dance, and song. Playful and liminoid, these performances invite participants to make performance commitments and mutually to produce community through participative performance, celebratory objects, and the surrender of personal space.
Chapter Three argues that performances of alternative masculinities at festival play out against the backdrop of R.W. Connell‘s heteronormative masculinities. These alternative performances break down social barriers, promote self-definition, and provide agency in the embodiment gendered experiences. Likewise, Chapter Four features Festival‘s feminine performances that reveal the community to be a ―wench‘s world‖ privileging Judith Butler‘s notion of performative agency in order to enable communities of difference. The Wench, the Queen, and the Pirate She- ing all embody feminine power and serve as archetypes of feminine narratives that privilege self-definition. This study demonstrates Festival to be a women-centered community that engages in a mythopoeia of feminist history.
Acknowledging Festival as a multi-vocal community of mythopoets, this ethnography significantly extends the work of previous research on Renaissance Festivals. Rather than focusing on Festival performances as attempts at historical ―authenticity,‖ this study reveals Festival‘s mythological stance and the means by which performers embody mythology and archetype to their own purposes. Moving away from an audience centered discussion of performance, this study demonstrates how individual performers, through personal transformation, become agents of change through performance.
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Khan, Adnan. "Continuity and change in the performance of Pakhtunwali in Khyber Pakhtunkhwa, Pakistan." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/13845.
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Two major developments dating from the 1970s - the rise of migration to the Gulf and the Soviet invasion of Afghanistan – have led to a transformation of Pakhtun areas in Pakistan as well as in Afghanistan, bringing impacts on every aspect of the society, including the Pakhtun code of life, Pakhtunwali. The worsening security situation has led to a dearth of anthropological research in the Pakhtun regions in both countries. Most recent research relies on older outdated works and hence fails to take account of these momentous changes. For example, the dominant perspective still portrays Pakhtunwali mainly as a violent code involving revenge killings in feuds that are carried on for generations, which is no longer the case. My focus of study is a Pakhtun village in the Lower Dir district of Khyber Pakhtunkhwa province, Pakistan. The village lies outside the tribal areas and the main source of income of the local people is remittances from the Gulf. The remittances have changed the village social structure and resulting in an increase in the number of landholders and an erosion of traditional social structure. Because of these changes Pakhtunwali has transformed, adjusting to the new socio-economic and religio-political set-up. Under these changed conditions, the complex of customary practises known as gham khadee (sorrows and joys) has emerged as the most salient feature of Pakhtunwali. Gham khadee refers to a number of practises ranging from participation in funerals and weddings to mutual favours among people in various matters of daily life. The tenets of Pakhtunwali, e.g. badal (revenge) , melmastya (hospitality), khegada (doing good), and tarburwali (cousin rivalry) are all performed within gham khadee occasions. However, the prominence of gham khadee does not mean that other tenets, e.g., violent badal, have completely ended; rather, the practise of violent badal has decreased. This thesis investigates the diverse and changing patterns of social relations among Pakhtuns, with particular attention to the ways in which social relations are guided by the practise of gham khadee. Given that political position among Pakhtuns is tied to honour, this thesis also investigates how gham khadee and the doing of favours help leaders build up their profile as well as create a political following. I take the prominence now given to gham khadee to be a manifestation of Pakhtunwali in the contemporary Pakhtun society living under the state’s laws.
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Dawson, Lynda Margaret. "Girls behaving badly? : an ethnographic exploration of girls' micro performances of gender and behaviour in a state secondary school." Thesis, University of Exeter, 2016. http://hdl.handle.net/10871/28102.
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Previous academic research which focused on girls’ behaviour tended to do so by looking at behaviour in terms of the extremes: by either exploring the perceptions and experiences of girls who appear to behave well, or alternatively, by researching girls who are categorised as extreme misbehavers, in institutions such as Pupil Referral Units. This ethnographic study was undertaken in a state secondary school setting over one academic year. The research centred on girls who were in Years 10 and 11, and is an exploration of the micro performances of their behaviour in the school. The ethnographic nature of the research allowed an in depth focus on girls’ micro performances in school. The feminist influenced thesis seeks to explore girls’ constructions of gender, how this is negotiated alongside their wider performances as pupils in the school and is subsequently recognised (by themselves and others), as performances of particular behaviour. The research draws on Goffman’s (1959) conceptualisation of performance and impression management, Butler (1990), theoretical notions of performativity and Foucault’s (19757:1978) theories of power, discourse and surveillance, to explore how gender and behaviour are being understood in this context. The study sought to explore the world from the girls’ viewpoint to understand the complexity of their experiences more fully. The research examines not only how the girls were positioned in terms of their perceived behaviour, but also how they responded to this positioning (their resistance and accommodation of these positions, and the shifting nature of these positionings across time) and how these were often perceived in relation to particular gendered expectations. The originality of the research stems from findings about issues of self-harm, panic attacks, authenticity, social media, middle class girls and fighting, which lie in the rich and detailed empirical data arising from the study. The significance of these findings draws these multiple threads together, giving insight into gender positioning and behaviour, and the study privileges the girls’ voices as they discuss their feelings and the effects of these issues on them, complicating previous research.
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Swearingen, Elizabeth. "The performance of identity as embodied pedagogy : a critical ethnography of Civil War reenacting /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2004. http://uclibs.org/PID/11984.
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Thesis (Ed. D.)--University of California, Davis, 2004.Joint doctoral program with California State University, Fresno. Degree granted in Educational Leadership. Includes bibliographical references. Also available via the World Wide Web. (Restricted to UC campuses)
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Busby, Amy. "The everyday practice and performance of European politics : an ethnography of the European Parliament." Thesis, University of Sussex, 2014. http://sro.sussex.ac.uk/id/eprint/48830/.
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This inter-disciplinary thesis takes an ethnographic approach to the European Parliament (EP) in order to bring actors, agency, and social context into the study of MEP behaviour. It explores how MEPs practice politics at the everyday level inside the EP. The study approaches politics as an activity performed on a daily basis by individuals within particular social spaces. It takes an individual level and holistic approach to MEP behaviour by exploring their everyday practice of politics inside this institution. The thesis attempts to provide a deeper and more nuanced understanding of MEP behaviour than is currently available in the literature. The thesis primarily responds to gaps in the European Studies literature which mean we lack understanding of how MEPs practice politics within European structures as active, dynamic agents. The research design includes participant observation, elite interviews, and a survey. An inter-disciplinary theoretical framework is applied which combines tools from Goffman (1959), Wenger et al (2002), and Bourdieu (1990, 1977). It sees MEPs as actors accumulating capital and preparing backstage to give credible and thus persuasive performances to different audiences in this transnational political field and its habitus. This research particularly explores the role of the national party delegations and EP groups in MEPs' everyday practice of politics and the local meanings generated around these structures. The key narrative woven throughout this thesis concerns their role from participants' perspective. This thesis finds that these structures play a vital support role and that they can be conceptualised as collegial communities of practice in which members routinely exchange knowledge with trusted colleagues to enable them to cope with the work environment they face and to pursue their chosen interests more successfully.
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Reed, Delanna. "Reflection in the Mirror." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1286.
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Wiest, Róger Eduardo. "Juventudes ocupadas : um estudo etnomusicológico sobre as narrativas sonoras da resistência nas ocupações universitárias de 2016 em Porto Alegre." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/180844.
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Este estudo etnomusicológico, pautado pelo método etnográfico, busca explorar as dimensões sonoras dos manifestos e espaços de ocupação dos atuais movimentos de contestação estudantil ocorridos na Universidade Federal do Rio Grande do Sul (UFRGS) iniciados nos dois últimos meses de 2016, concomitantemente às mobilizações nacionais que geraram grande impacto na sociedade e na comunidade escolar e acadêmica. A partir da noção de narrativas sonoras baseadas em relatos e materiais audiovisuais proveniente do contato com os participantes, esta pesquisa se propôs a compreender as dinâmicas de participação dos sujeitos envolvidos na criação e difusão de performances nos espaços reais/virtuais, incluindo sites e redes de compartilhamento. O referencial teórico-metodológico foi construído a partir das perspectivas etnomusicológicas que abordam os estudos da performance (SEEGER, 2008), (LUCAS, 2013), (TURINO, 2008), (WONG, 2008), além de abordagens aliadas às interfaces dos Sound Studies como o ethos sônico cohabeiro (ZAMBIAZZI DOS SANTOS, 2015) e a realização de soundwalks (percursos sonoros) propostos pela acustemologia (FELD, 1982, 2001, 2004, 2015). O estudo dialoga com as contribuições teóricas recentes sobre o contexto dos protestos e movimentos de ocupação, bem como uma relação entre campos reais e virtuais (MILLER, 2012), (MANABE, 2015), (COOLEY, 2008) e com os estudos sobre as juventudes latino americanas (REGUILLO, 2000, 2012), (CANCLINI, 2011, 2012, 2105).This ethnomusicological study, based on the ethnographic method, seeks to explore the sound dimensions of the manifestos and spaces of occupation of the current student protest movements that occurred in the Federal University of Rio Grande do Sul (UFRGS) initiated in the last two months of 2016, concomitantly with the national mobilizations which have had a great impact on society and the school and academic community. Based on the notion of sound narratives based on reports and audiovisual materials from contact with participants, this research aimed to understand the participation dynamics of the subjects involved in the creation and diffusion of performances in real / virtual spaces, including websites and networks. sharing. The theoretical-methodological framework was constructed from the ethnomusicological perspectives that approach the performance studies (SEEGER, 2008) (LUCAS, 2013), (TURINO, 2008), (WONG, 2008) Sound Studies interfaces like a ethos sônico cohabeiro (ZAMBIAZZI DOS SANTOS, 2015) and the realization of soundwalks proposed by the acustemology (FELD, 1982, 2001, 2004, 2015). The study discusses recent theoretical contributions on the context of occupational protests and movements, as well as the relationship between real and virtual fields (MILLER, 2012), (MANABE, 2015), (COOLEY, 2008) and the studies on the Latin American youths (REGUILLO, 2000, 2012), (CANCLINI, 2011, 2012, 2105).