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Journal articles on the topic 'Ethnographic performance'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

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

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

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2

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

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

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

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

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4

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

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5

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

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

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6

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

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

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7

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

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8

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

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9

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

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10

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

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

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11

Valentine, Kristin Bervig, and Gordon Matsumoto. "Cultural Performance Analysis Spheres: An Integrated Ethnographic Methodology." Field Methods 13, no. 1 (February 2001): 68–87. http://dx.doi.org/10.1177/1525822x0101300104.

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12

Cavanagh, Sheila L. "Affect, Performance, and Ethnographic Methods inQueer Bathroom Monologues." Text and Performance Quarterly 33, no. 4 (October 2013): 286–307. http://dx.doi.org/10.1080/10462937.2013.823513.

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13

Koch, Julia. "Fieldwork as performance: being ethnographic in film-making." Anthropology Southern Africa 42, no. 2 (April 3, 2019): 161–72. http://dx.doi.org/10.1080/23323256.2019.1586555.

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14

Kazubowski-Houston, Magdalena. "quiet theater: The Radical Politics of Silence." Cultural Studies ↔ Critical Methodologies 18, no. 6 (December 4, 2017): 410–22. http://dx.doi.org/10.1177/1532708617744577.

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This article examines the potential of a transdisciplinary ethnographic approach that bridges ethnography, performance, storytelling, and imagination to contribute to an activist research practice within anthropology and other disciplines. It focuses on my current research project that studies, by means of dramatic storytelling, the impact of migration on Polish Romani women’s experiences of aging. In the dramatic storytelling sessions, the ethnographer and the interlocutor stepped into character and co-performed fictional stories loosely based on their own lives. Situating the project within the context of an “imaginative ethnography” that is concerned with people’s imaginative lifeworlds, and methodological experimentations at the ground level of fieldwork, this article discusses the ways the project challenged traditional conceptions of engagement and advocacy. It considers the silence—“quiet theatre”—that engulfed the interlocutor–ethnographer interactions in the storytelling sessions as a form of radical empathic politics that works through affect, projective approximation, and empathy. In doing so, the article proposes a conceptualization of interventionist research practice as a contextually specific particularity that takes to task the meanings of politics in academic activism.

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Crosby, Jill Flanders, Brian Jeffery, Marianne Kim, and Susan Matthews. "Secrets Under the Skin: Blurred Boundaries, Shifting Enactments, and Repositioning in Research-Based Dance in Ghana and Cuba." Congress on Research in Dance Conference Proceedings 2014 (2014): 59–69. http://dx.doi.org/10.1017/cor.2014.10.

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This roundtable reflects on the processes of de-centering from multiple lenses and temporal placements inside the research and creative process. It is based on a collaborative, intermedia, and multitemporal contemporary performance/art installation informed by long-term ethnographic research of dance and ritual in Ghana and Cuba. Roundtable participants will excavate the process of conducting the research and creating the installation that continues to exhibit internationally at venues ranging from art galleries and libraries to rural research field sites. The installation offers a matrix of layered artistic exploration grounded in ethnographic inquiry that does not sit squarely inside a singular discipline. Inherently transdisciplinary, with multiple entanglements and porous boundaries, it offers “interpretive frictions” at the borders of ethnography, performance, material culture, research-based choreography, and embodiment of lived experience.

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16

Spry, Tami. "A “Performative-I” Copresence: Embodying the Ethnographic Turn in Performance and the Performative Turn in Ethnography." Text and Performance Quarterly 26, no. 4 (October 2006): 339–46. http://dx.doi.org/10.1080/10462930600828790.

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17

Kogut, Kate Berneking. "Framed: A Personal Narrative/Ethnographic Performance/One-Woman Show." Journal of American Folklore 118, no. 467 (2005): 90–104. http://dx.doi.org/10.1353/jaf.2005.0004.

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18

Aushana, Christina. "Seeing Police: Cinematic Training and the Scripting of Police Vision." Surveillance & Society 17, no. 3/4 (September 7, 2019): 367–81. http://dx.doi.org/10.24908/ss.v17i3/4.8676.

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While contemporary ethnographies on policing describe the use of televisual and cinematic images as ancillary police training materials (Manning 2003; Moskos 2008), few studies have examined how these visual texts shape the practice of patrol work. One of my primary aims as an ethnographer is to find different ways of understanding everyday policing by bringing the materials that construct officers’ visual worlds under ethnographic analysis. These materials include cinematic images used in police academies to teach police recruits how to see like police officers. Attending to cinema’s mobility in training facilities where trainees learn how to screen situations, bodies, and encounters in the field can offer new insights into understanding police vision. I proceed with the knowledge that Antoine Fuqua’s 2001 film Training Day has been screened in San Diego’s police academy. While Training Day reproduces the kinds of visual practices that are part and parcel of policing praxis, I argue that an ethnographic reading of the film offers critical insight into what happens when an idealized police vision “meets the ground” in practice. I explore the productive tension between cinematic models like Training Day and everyday patrol work through an analysis of the “precarious cinema” of policing, a concept I use to understand how police officers’ engagements with Training Day reflect and reveal a mode of police vision that is often blind to the experiences of the policed, and the performance of ethnography as a visual profiling practice that offers new conceptual frames for approaching how these blinds spots manifest in the visual worlds of patrol officers. In a time when police violence and police brutality are invariably subject to the camera’s scrutiny and a scrutinizing public, the political stakes for an increasingly visible police vision include contending with, accounting for, and being answerable to its own visibility.

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19

Dempsey, Corinne. "Reading and Writing (to) the Devi: Reflections on Unanticipated Ritualized Ethnography." Method & Theory in the Study of Religion 21, no. 1 (2009): 28–39. http://dx.doi.org/10.1163/157006809x416797.

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AbstractThis article relates an event that effectively erases the distinguishing markers between the practices of fieldwork, writing, and ritual. This merging of performance genres provides an opportunity to consider three themes that surface regularly in recent ethnographic and ritual theory: bodily knowledge, reflexivity, and indeterminacy. In this article I will explore how these themes are relevant not only to ritual and ethnographic practice in general but to rituals performed at a Sri Lankan goddess temple in the town of Rush outside Rochester, New York, where I have conducted fieldwork since 1998. My aim in speaking about ritual and ethnography in the same breath, framed by my experience of collapsing practices, is to highlight what these endeavors have to say about our multifaceted ways of perceiving and knowing.

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20

Sallis, R. "Ethnographic performance: a change agent for drama teaching and learning." Research in Drama Education: The Journal of Applied Theatre and Performance 19, no. 3 (July 3, 2014): 313–25. http://dx.doi.org/10.1080/13569783.2014.928011.

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21

Gamliel, Tova. "Visualising traditional performance: ‘co-directed observation’ as an ethnographic tool." Visual Studies 26, no. 3 (November 2011): 198–212. http://dx.doi.org/10.1080/1472586x.2011.610941.

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22

Makumbirofa, Ruth. "Nhimbe/ilima performance as peace-building activity: An ethnographic enquiry." Journal of Arts & Communities 8, no. 1 (October 1, 2016): 61–73. http://dx.doi.org/10.1386/jaac.8.1-2.61_1.

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23

Laube, Stefan. "Material Practices of Ethnographic Presence." Journal of Contemporary Ethnography 50, no. 1 (October 31, 2020): 57–76. http://dx.doi.org/10.1177/0891241620968268.

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Ethnographic research is a thoroughly material matter, but the involvement of material things in performing ethnographic methods is hardly investigated. Referring to my own research in various fields of digitalized work, I offer a reflexive analysis of the material production of ethnographic presence. In particular, I reflect on how clothing, field notes, and a camera contribute to making ethnographic research noticeable for and accessible to participants. Taking a practice theory perspective, the article conceptualizes ethnographic presence as a situated performance based on the dramaturgical and embodying contributions of material things. My analysis challenges the idea of openness as an ideal of research ethics that could be realized independently of the material and situated circumstances of fieldwork. It also shows that the material making of ethnographic presence offers particular methodological benefits including epistemic partnerships, insights from staged behavior, and the facilitation of ethnographic data collection.

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24

Entwistle, Paul Andrew. "Hypnosis as performance autoethnography in qualitative sociological research." Journal of Organizational Ethnography 9, no. 3 (March 12, 2020): 249–63. http://dx.doi.org/10.1108/joe-07-2019-0029.

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PurposeThe purpose of this paper is to introduce to sociologists the concept of dissociative hypnosis and to demonstrate the potential that this discipline has for obtaining or deriving biographical narratives in ethnographic and autoethnographic studies.Design/methodology/approachThe paper presents brief comparative histories of the development of hypnosis and of performance autoethnography to highlight the degree of consonance between these apparently, disparate modalities, in their struggle for acceptance and respectability. The intensely introspective, emotional and experiential nature of hypnosis and self-hypnosis narratives is then compared with the personal descriptions and applications of the autoethnographic process as depicted in the sociological literature, to illustrate the parallels between the two modalities. The paper concludes with a review of the potential problems and limitations inherent in using hypnosis as a memory recall modality in sociological research studies.FindingsThis paper argues that the exploratory and revelatory nature of information accrual during dissociative altered-state hypnosis closely resembles that during performance autoethnography, and that hypnosis could therefore be usefully employed as an additional and novel (ethno-) autobiographical tool in sociological and ethnographic research.Originality/valuePerformative autoethnography has now become a firmly established route to obtaining a valid and intensely personal autobiographical history of individuals or groups of individuals. However this is the first publication to propose hypnosis as an alternative approach to deriving ethnographic and autoethnographic biographical narratives.

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Magnat, Virginie. "A Traveling Ethnography of Voice in Qualitative Research." Cultural Studies ↔ Critical Methodologies 18, no. 6 (December 3, 2017): 430–41. http://dx.doi.org/10.1177/1532708617742407.

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This interdisciplinary exploration of voice seeks to open a space for the nondiscursive performative power of vocality in qualitative research. In the first part, I focus on anthropology and ethnographic practice to identify the ways in which “voice” gets muted when transformed by scriptocentrism (see Dwight Conquergood) into a conceptual abstraction or a metaphor. Given anthropology’s colonial legacy and the implication of ethnographers in what Anthony Kwame Harrison defines as the project of literatizing non-literate societies, I argue that the potentially scriptocentric dimension of ethnographic practice must be taken seriously in light of the travels of ethnography across disciplines and its increasingly widespread usage within qualitative inquiry. In the second part, I foreground philosopher Adriana Cavarero’s critique of the devocalization of logos in Western philosophy and its analysis by interdisciplinary voice studies scholar Konstantinos Thomaidis, who investigates the systematic exclusion, marginalization and silencing of voice through Eurocentric constructions of logos as reason and as language. By means of an imaginary visit to ancient Greece, I scrutinize Plato’s anxiety vis-à-vis performance through an ethnographic encounter with the Ion, a dialogue between Socrates and a well-known champion of rhapsodic contests. On the basis of this performative ethnographic fieldwork, I suggest that conducting qualitative research on the significance and relevance of vocality today requires listening to, engaging with, and learning from the voices of ancient and contemporary oral cultural practitioners.

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Hye-young Jo, SoonheeKwon, and 서덕희. "An ethnographic study on the academic performance of children of migrants." Korean journal of sociology of education 18, no. 2 (June 2008): 105–34. http://dx.doi.org/10.32465/ksocio.2008.18.2.005.

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Chawla, Devika. "The First Disciple: A Generative Autobiographical Performance From an Ethnographic Field." Cultural Studies ↔ Critical Methodologies 7, no. 4 (November 2007): 357–77. http://dx.doi.org/10.1177/1532708607305036.

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Gleason, Sean. "Appalachian Affects: Fieldwork as Material Ecology." Cultural Studies ↔ Critical Methodologies 20, no. 5 (July 17, 2019): 460–67. http://dx.doi.org/10.1177/1532708619863454.

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This essay—based on fieldwork with off-grid homebuilders in the Mid-Ohio River Valley—recognizes ethnography as a more-than-human ecology of habit, rhythm, and affect. I begin by describing some of the materials, species, and affects I encountered during this fieldwork to show how Appalachian history, geography, and habit influenced my performance of sensory ethnography. From these anecdotes, field notes, and vignettes, I theorize ethnographic fieldwork as, first and foremost, a rhythmic attunement to place and bodies, especially nonhuman ones. In turn, I argue for a practice of fieldwork that roots human experience within a vibrant material ecology of more-than-human forces.

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29

Young, Hershini. "April Sizemore-Barber. Prismatic Performances: Queer South Africa and the Fragmentation of the Rainbow Nation." Modern Drama 64, no. 3 (August 1, 2021): 388–90. http://dx.doi.org/10.3138/md.64.3.br7.

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A series of fascinating case studies, April Sizemore-Barber’s Prismatic Performances contributes to the growing field of South African performance studies. While in need of greater theoretical and historical contextualization, this is a well-written and engaging text, based on meticulous ethnographic research.

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Alexander, Bryant Keith. "Gendered Labor." International Review of Qualitative Research 1, no. 2 (August 2008): 145–72. http://dx.doi.org/10.1525/irqr.2008.1.2.145.

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This project is an excerpt from an ongoing ethnographically based exploration of Black women hair care professionals in the Los Angeles area and the domesticity of public service. The work extrapolates and applies the narrated experiences of the Black woman hair care professional (BWHCP) into the interlocking spheres of race, culture, performance, and the social marketing of identity in both the formal and informal economy. The project is an experimental ethnography working at the intersections of critical and interpretive methodologies that foreground the author/ethnographer's critical and poetic reflections on the process of interpreting ethnographic data and the experience of engaging the cultural familiar. The project further argues that in the practices and cultural performances of these women — the local is political and the political is global.

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Marinho, Helena, Mónica Chambel, Alfonso Benetti, and Luís Bittencourt. "Experimental recreation practices: Restaging Constança Capdeville’s musical theatre work Don’t, Juan." Studies in Musical Theatre 14, no. 1 (April 1, 2020): 77–94. http://dx.doi.org/10.1386/smt_00020_1.

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The recreation or re-enactment of twentieth-century avant-garde musical theatre works involves a set of epistemological and methodological issues that can be addressed through practice-based procedures informed by archaeological, ethnographic and experimental perspectives. This article presents a discussion about the relevance of integrating these perspectives, departing from their application in a specific case study, the recreation of Don’t, Juan (1985), an experimental musical theatre work by the Portuguese composer, pianist and percussionist Constança Capdeville (1937‐92). This research proposes the blending of archaeology with the living experience of performance as an approach to a reconstruction project, with methods such as performative ethnography, experimental practice and embodied knowledge through performance operating as effective tools.

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Ismail, Iriani. "Remuneration and Performance." SHS Web of Conferences 86 (2020): 01034. http://dx.doi.org/10.1051/shsconf/20208601034.

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The aim of this study is to explain the role of remuneration in improving the performance of library employees. This study uses the qualitative method which the population is all employees numbering 17 people. Based on interactive analysis methods and ethnographic techniques, its took In-depth interview and observations. Using this analysis, the result showed that the remuneration has an important role in improving employees performance. Some internal and external factors influence it so that optimal performance is obtained. Generally, employees expect that the remuneration has been high to be accepted like as expected. Most employees demands such remuneration to meet their daily needs. External factors also has a strong role so the employees demand high, but not balanced with high performance.

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33

Bouvier, Hélène. "An Ethnographic Approach to Role-Playing in a Performance of Madurese Loddrok." Theatre Research International 19, no. 1 (1994): 47–66. http://dx.doi.org/10.1017/s0307883300018812.

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20 October 1986: the Rukun Kemala troupe is hired to perform at a wedding in Kalianget Barat, its home village from 8.30 p.m. to 2.30 a.m. In a courtyard between two houses, the stage is erected on poles, with a floor of woven bamboo panelling; one whole side will collapse in the middle of the night under the strain of the actors' entrances and exits, without so much as the performance being interrupted. The gamelan orchestra begins to play at 8.30 p.m. exactly, as contracted. Fifty minutes later, slides are projected onto the lowered stage curtain depicting names of the head and leading members of the troupe together with words of welcome to the audience. At 9.30 p.m. the curtain is raised for the first time to reveal a ten-minute dance number: four female dancers appear before the monumental split gates of a Hindu kingdom bathed in red light and strobe effects with Catherine wheels whirling. Next, photos of clowns are projected while the public is harangued to take an active participation in the forthcoming elections, family planning and family education organizations. The curtain rises again to reveal a painted backdrop depicting a street scene in an imaginary modern town, to accompany the clown programme which lasts forty minutes. A final set of slides, ten minutes long, this time shows the actors dressed in the costumes of the characters they are about to portray, with a brief introduction to the story by the scriptwriter. At 10.30 p.m. the curtain opens on the first scene of the play which will last four hours without an interval: ‘Black Mask, in the Story of Yuliati Awaiting Happiness’ (Topeng Hitam dalam kisah Yuliati menanti bahagia).

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Peters, J. S. "Drama, Primitive Ritual, Ethnographic Spectacle: Genealogies of World Performance (ca. 1890 - 1910)." Modern Language Quarterly 70, no. 1 (January 1, 2009): 67–96. http://dx.doi.org/10.1215/00267929-2008-030.

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35

Smith, Julia A., and Claire England. "An ethnographic study of culture and performance in the UK lingerie industry." British Accounting Review 51, no. 3 (April 2019): 241–58. http://dx.doi.org/10.1016/j.bar.2019.02.002.

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36

Jarillo, Sergio. "How Malinowski sailed the Midnight Sun: the academic conference as ethnographic performance." Journal of the Royal Anthropological Institute 27, no. 2 (April 17, 2021): 360–83. http://dx.doi.org/10.1111/1467-9655.13539.

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37

Sullivan, Bruce. "How Does One Study a “Masterpiece of the Oral and Intangible Heritage of Humanity”? Ethnographic Reflections on Kerala's Kūtiyāttam." Method & Theory in the Study of Religion 21, no. 1 (2009): 78–86. http://dx.doi.org/10.1163/157006809x416841.

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AbstractThis article presents issues encountered in ethnographic fieldwork in Kerala, south India, on a tradition of Sanskrit theatre called Kūtiyāttam. Key issues include recent changes in both the audience and performing troupes as Kerala's society has become more egalitarian, and reduced ritual activity by priests. Kūtiyāttam has been transformed from a devotional offering in temples to a cultural performance viewed as an art form. Ethnographic research on this tradition has contributed to international recognition and patronage. In this case, ethnographic fieldwork affects both the researchers and the subjects of their research.

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Shaffer, Jonathan, and Todd Darnold. "HR practices and counterproductive behaviors: a meta-ethnographic study." Journal of Managerial Psychology 35, no. 7/8 (September 14, 2020): 589–602. http://dx.doi.org/10.1108/jmp-02-2020-0062.

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PurposeDrawing on the resource-based view (RBV) of the firm and the norm of reciprocity, this paper examines the relationship between high-performance human resources practices (HPHRPs) and employee counterproductive work behavior (CWB), and whether HPHRP interact with coercive control systems to predict these outcomes.Design/methodology/approachUsing meta-ethnographic data collected from 149 organizational ethnographies, the authors test the hypotheses that (a) HPHRP are negatively related to CWB and (b) HPHRP and coercive control interact such that the relationship between HPHRP and CWB is weaker when coercive control is high.FindingsThe analysis finds that HPHRP and coercive control interacted such that HPHRP was negatively associated with CWB, but only when coercive control was low. When coercive control was high, the relationship between HPHRP was negated.Practical implicationsThe results suggest that HPHRP are negatively related to counterproductive behaviors; but when coercive control systems are strong, the potential benefits of HPHRP in terms of reducing CWB may be lost.Originality/valueThis study examines the relationship between HPHRP and a comprehensive set of CWB. By examining the interaction between HPHRP and coercive control, the authors add to literature demonstrating that the effects of HPHRP may be dependent on an organization’s operational strategy. Finally, our use of meta-ethnographic data offers a methodological approach that may increase the generalizability of our findings.

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Simonneau, Claire. "Understanding the Weak Performance of Technology in Urban Management." International Journal of E-Planning Research 3, no. 3 (July 2014): 20–37. http://dx.doi.org/10.4018/ijepr.2014070102.

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The article questions the appropriation of existing urban planning and management tools in Sub-Saharan Africa, through a multiple case study: the implementation of a land information system (or simplified cadastre) in three cities in Benin. An ethnographic exploration of the use of the tool is conducted. The first section presents the historical context of the design of land information systems, framed by the urban management paradigm, and unwarranted confidence in new technologies. The second section presents the theoretical framework and the methodology of the research, inspired by public policy analysis and development anthropology. The third section describes findings of the multiple case studies. A vicious circle is highlighted, made up of: lack of political support, obsolescence, and decline of cost-effectiveness. The fourth section discusses the results of the ethnographic inquiry. These are, essentially, the interpretation of the paradoxes, blockages, and conflicts in the implementation of the tool in light of social, political and economic dynamics that take place at the local level, although unexpected by the creators of the tool.

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Davidson, Lindy Grief. "Would You Like a Map?" Departures in Critical Qualitative Research 5, no. 1 (2016): 23–36. http://dx.doi.org/10.1525/dcqr.2016.5.1.23.

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Parents of seriously ill children struggle to traverse both the physical and emotional spaces of hospitals. Off the Map, a performance born out of an ethnographic research project and personal experience, employs a digital map to explore the institutional guidance offered to parents of hospitalized children. In this article, the script from Off the Map is integrated with text from a classroom discussion about the performance, ethnographic interviews with parents of seriously ill children, and a theoretically-grounded discussion of cartography as a performance metaphor. Implications for practice include a call for parents and practitioners to consider multiple ways of mapping healthcare spaces and experiences.

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Horn, Christine. "Making sense: Experiential engagements with ethnographic photographs." Museum and Society 15, no. 3 (January 9, 2018): 301–23. http://dx.doi.org/10.29311/mas.v15i3.2542.

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This article examines the role of embodied and performative knowledge in the museum environment, with a particular focus on ethnographic photographs. The study is based on the return of several hundred ethnographic photographs from the Sarawak Museum to Indigenous communities in rural Malaysia, where they had been taken by museum photographers from the early 1950s onwards. Aside from the oral narratives that emerged during the discussions and interviews, contextual knowledge was provided in embodied form. The return of the photographs to people in the source communities prompted the re-enactment of activities, re-telling of stories and production of cultural heritage to which the photographs referred. Such embodied knowledge, defined as knowledge preserved through performance and embodied activities, relates to the multi-vocal narratives about objects that museums are increasingly trying to include in their exhibitions. In this article I argue for a greater and more experimental use of sensory means to convey information about artifacts to museum audiences. Keywords:Ethnographic photographs, Photography, Embodied knowledge, museum archives, Sarawak, Southeast Asia

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Glebova, E. V. "Review of the catalog «Ulchi» from the collection of the Khabarovsk Regional Museum n.a. N.I. Grodekov." VESTNIK ARHEOLOGII, ANTROPOLOGII I ETNOGRAFII, no. 2 (49) (June 5, 2020): 173–79. http://dx.doi.org/10.20874/2071-0437-2020-49-2-16.

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The article presents the analysis of the catalog «Ulchi» by the Khabarovsk Regional Museum n.a. N.I. Gro-dekov. The performance of the local museum is considered in the context of all-Russian experience of cataloging of the museum collections, which is of a particular importance for historical science. The author examines the program of scientific cataloging of the museum collections, featuring the traditional culture of almost all indigenous peoples of the Russian Far East. We conclude that the series of ethnographic catalogues of the museum has made a significant contribution to the Far East museum studies and ethnography. The new catalog «Ulchi» pre-sents the largest ethnographic collection of the museum, which characterizes the material and spiritual culture of one of the eight indigenous populations of the Lower Amur River Region — the Ulchi. The catalog includes 808 ethnographic artifacts — household items, clothes, fishing and hunting equipment, items of ritual culture, shaman-ism and family relations of the Ulchi (19th–21st c.). Specific sections include more than 300 photographs and nega-tives (19th–20th c.), as well as detailed background information. Some artifacts, such as ritual sculptures, shaman clothing and attributes, utensils for ritual rites, ancient devices for fishing etc., are published for the first time. The catalog was prepared by a large team of authors involving Ulchi craftsmen and linguists. The catalog «Ulchi» introduces new materials into scientific discourse, and it can serve as a source for comparative ethnographic, historical and museum studies analysis. It has been emphasized that the newly published catalog of the Kha-barovsk Regional Museum n.a. N.I. Grodekov allows representatives of this people to connect with their own cul-tural heritage; it contributes to the formation of their historical memory and identity.

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Banham, Martin, and Johannes Fabian. "Power and Performance: Ethnographic Explorations through Proverbial Wisdom and Theatre in Shaba, Zaire." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 27, no. 2 (1993): 293. http://dx.doi.org/10.2307/486075.

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Omodele, Oluremi, and Johannes Fabian. "Power and Performance: Ethnographic Explorations through Proverbial Wisdom and Theater in Shaba, Zaire." African Studies Review 35, no. 3 (December 1992): 128. http://dx.doi.org/10.2307/525136.

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B., S., and Johannes Fabian. "Power and Performance. Ethnographic Explorations through Proverbial Wisdom and Theatre in Shaba, Zaire." Yearbook for Traditional Music 24 (1992): 172. http://dx.doi.org/10.2307/768491.

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Saldaña, Johnny. "Ethical Issues in an Ethnographic Performance Text: the ‘dramatic impact’ of ‘juicy stuff’." Research in Drama Education: The Journal of Applied Theatre and Performance 3, no. 2 (September 1998): 181–96. http://dx.doi.org/10.1080/1356978980030205.

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Whitney, Elizabeth. "Coming (Back) to Performance Studies: A Slightly Fictionalized Ethnographic Narrative (in Three Parts)." Text and Performance Quarterly 34, no. 4 (May 13, 2014): 382–85. http://dx.doi.org/10.1080/10462937.2014.916413.

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Taylor, Christopher C., and Johannes Fabian. "Power and Performance: Ethnographic Explorations through Proverbial Wisdom and Theater in Shaba, Zaire." Ethnohistory 39, no. 2 (1992): 238. http://dx.doi.org/10.2307/482424.

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Sallis, Richard James Thomas. "Ethnographic Performance and Drama Education: A Meaningful Communication Between Researcher, Teacher, and Student." Youth Theatre Journal 28, no. 1 (January 2, 2014): 3–17. http://dx.doi.org/10.1080/08929092.2014.898003.

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Negretti, Natalia. "O INDETERMINADO CRAVADO DO TEMPO: UMA PERFORMANCE DA SENSAÇÃO PERANTE O OFÍCIO-PESQUISA NO REVELAR DAS FOLHAS." Cadernos do LEPAARQ (UFPEL) 17, no. 33 (May 9, 2020): 212–22. http://dx.doi.org/10.15210/lepaarq.v17i33.16176.

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Este ensaio discorre acerca da relação entre pesquisa etnográfica e emoções a partir de um compilado de práticas que envolveram uso de imagens em campo, de registros fotográficos de interlocutores e um fazer afetivo em torno de tais lembranças aplicado à técnica da fitotipia. Neste sentido, o trabalho localiza o entroncamento de afetoe pesquisa, corroborando os estudos sobre etnografia, antropologia e imagem como espaço contínuo e estendido à esfera-ofício da pesquisa e circulação.Abstract: This essay discusses the relationship between ethnographic research and emotions from a compilation of practices that involved the use of field images, photographic records of interlocutors and an affective make around such memories applied to the technique of phytotyping. In this sense, the work locates the connection of affection and research, corroborating the studies on ethnography, anthropology and image as a continuous space and extended to the sphere of trade of research and circulation.

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