In terms of Madison, 2012, Chapter 9: Case Studies, describe one of the researcher's (Joan, Robert or Nia) application of the performance paradigm?
Since I have been following Joan closely throughout this semester, I will write about Joan. Joan incorporated performance into her ethnographic process by performing the results of her fieldwork. She used dramatic readings to read the interviews of her participants. She had performers interpret her data through stage pictures. She used representational scenes to show the audience what she had seen during her data collection. Joan also used presentational scenes to showcase the ideas and themes she had seen during her fieldwork.
Wednesday, March 28, 2012
Reading Response 20
In terms of Madison, 2012, Chapter 8: Writing how will you use TODD (time, organization, & deep discipline) in your writing plan and implementation?
"For me and most of the other writers I know, writing is not rapturous. In fact, the only way I can get anything written at all is to write really, really shitty first drafts." Anne Lamott, Bird by Bird (1994).
I decided to start with this quote because I completely identify with it! I also teach writing based on a similar philosophy: writing is a process. It is never perfect, and revisiting what we've written later gives us a snapshot of where we were at at that particular moment in time. I love to save things I've written throughout my life and revisit them later. An essay from elementary school that won me a second place ribbon reminds me that I once knew very little about composing a paragraph but placed a lot of importance on having healthy options in the school cafeteria. A high school diary entry reminds me of the feeling of being infatuated with my first boyfriend. My undergraduate essays speak of a prideful young history student who thought she had all the answers. Writing is in its essence performance, yet for me it can be extremely difficult to begin the process. As a matter of fact, I'm writing this thinking that chapter four and five of my thesis were due this week and I have not been able to put any words on the page yet. So, with that in mind, on to the actual answer.
I plan on implementing TODD next week as I am on spring break at work. Next week I have set aside Wednesday, Thursday, and Friday morning (8-1) for writing these two chapters. The chapters are already outlined, and I know what I want to say, I am just nervous that it won't come out the way I want it to. I want to be proud of this project, and be able to create something that others will benefit from. That pressure, plus the time constraint, is driving me crazy with nerves. I know having time scheduled has releived some of that pressure, although I am still somewhat avoiding my chair...
"For me and most of the other writers I know, writing is not rapturous. In fact, the only way I can get anything written at all is to write really, really shitty first drafts." Anne Lamott, Bird by Bird (1994).
I decided to start with this quote because I completely identify with it! I also teach writing based on a similar philosophy: writing is a process. It is never perfect, and revisiting what we've written later gives us a snapshot of where we were at at that particular moment in time. I love to save things I've written throughout my life and revisit them later. An essay from elementary school that won me a second place ribbon reminds me that I once knew very little about composing a paragraph but placed a lot of importance on having healthy options in the school cafeteria. A high school diary entry reminds me of the feeling of being infatuated with my first boyfriend. My undergraduate essays speak of a prideful young history student who thought she had all the answers. Writing is in its essence performance, yet for me it can be extremely difficult to begin the process. As a matter of fact, I'm writing this thinking that chapter four and five of my thesis were due this week and I have not been able to put any words on the page yet. So, with that in mind, on to the actual answer.
I plan on implementing TODD next week as I am on spring break at work. Next week I have set aside Wednesday, Thursday, and Friday morning (8-1) for writing these two chapters. The chapters are already outlined, and I know what I want to say, I am just nervous that it won't come out the way I want it to. I want to be proud of this project, and be able to create something that others will benefit from. That pressure, plus the time constraint, is driving me crazy with nerves. I know having time scheduled has releived some of that pressure, although I am still somewhat avoiding my chair...
Reading Response 19
In terms of Madison, 2012, Chapter 7: Performance, what is the value of understanding ethnography through a performance paradigm?
If we are looking at a specific group of people and attempting to describe or analyze their way of life, we cannot overlook performance. A critical ethnographer will not simply leave out this part of the human experience, because it is a piece of the cultural puzzle. Performing allows us to reflect on our beliefs, ideals, and the things we value as a culture. It allows for expression without boundaries. Often in a performance piece, the person is able to express his or her self more than in their every day life due to sociocultural constraints. As a musician, I understand the importance of performance for life. When I am not performing music for others, I feel incomplete. It is a huge part of me and until someone has heard me play my violin, I feel like they don't really know me. A friend of mine heard me play a few weeks ago for the first time, and he was surprised that I had never mentioned that I play music. It made me laugh as it is not the same to tell someone you play music as it is to play music for them. Music allows me to express emotion without feeling judged or innappropriate. When looking at a culture, performance is key to understanding the members that make up that culture.
If we are looking at a specific group of people and attempting to describe or analyze their way of life, we cannot overlook performance. A critical ethnographer will not simply leave out this part of the human experience, because it is a piece of the cultural puzzle. Performing allows us to reflect on our beliefs, ideals, and the things we value as a culture. It allows for expression without boundaries. Often in a performance piece, the person is able to express his or her self more than in their every day life due to sociocultural constraints. As a musician, I understand the importance of performance for life. When I am not performing music for others, I feel incomplete. It is a huge part of me and until someone has heard me play my violin, I feel like they don't really know me. A friend of mine heard me play a few weeks ago for the first time, and he was surprised that I had never mentioned that I play music. It made me laugh as it is not the same to tell someone you play music as it is to play music for them. Music allows me to express emotion without feeling judged or innappropriate. When looking at a culture, performance is key to understanding the members that make up that culture.
Tuesday, March 6, 2012
Reading Response 18
After reading the article "Evaluating Ethnography: Qualitative Inquiry," I realized that if I am going to incorporate ethnographic research into my project, I must become a reflexive practitioner. I printed out the series of five questions to ask myself to ensure that I am doing scientific work, even though I may present my findings in a writing style that is more like literary writing. I will make sure I review the five questions as I am writing my project.
Reading Response 17
For this assignment, I chose to write a lesson plan for my World History students. One of the state standards asks them to look at Imperialism from the perspective of the colonizers and the colonized, so I wrote a plan in which students will portray both roles in an acting piece. The lesson plan is attached to this post.
Reading Response 15
Art-based research is a great way to avoid the ethical concerns of a written published ethnography due to its innately anonymous nature. Some types of art based research lend themselves to protecting the anonymity of the participants, such as painting or visual art. The ethnographer can represent his or her study participants without exposing their identities or subjecting them to further stereotyping. Likewise, presenting results in a theatrical manner or through fiction allows the ethnographer to weave in truth with fiction. This prevents members from being revealed because the reader or viewer does not know which parts are truth, and which parts are fiction.
Reading Response 14
Though each case study presented in Chapter Six of Critical Ethnography is unique and involves different ethical considerations, some of the ethical considerations apply to more than one of the studies. In both Joan and Robert's studies, there is a concern that the researchers will accidentally sensationalize the research participants. While Joan does not want to perpetuate the stereotype that African people are not "human," Robert is concerned that he will accidentally expose on of his participants and destroy his life. Whereas Joan worries about humiliating an entire group of people, Robert fears that he may destroy the life of one man by exposing his secret life. Both researchers face a dillema of exploiting their research participants without meaning to. Nia's ethical dillemna also plays a role in both Joan and Robert's studies. All three ethnographers are faced with the decision of what they can and should include in their published work while still protecting the causes and identities of their research participants.
Reading Response 13
In Chapters Four through Six of Critical Ethnography, the author discusses the ethics behind ethnography. I chose to write about Joan, since I wrote about her for my first reading responses.
After completing her fieldwork, Joan returns to the United States to begin writing her dissertation, an ethnographic study of a group of indigenous people in West Africa. As she begins the writing process, Joan feels guilty that she will be profiting from the horrific experiences the consltants have endured. She realizes that her words could be used to perpetuate negative stereotypes and that she is, in a way, exploiting the people she studied. Joan's professor suggests seven different methods for ensuring her population is represented without judgement and in a way that supports their cause instead of hurting it.
Joan began her study by becoming aware of a cause and becoming an advocate for that cause. She worked with her consultants to ensure a deep understanding of the cause. She made sure to offer suggestions "within the realm of dialogical performance" and not as ordered directions (pg. 152). Joan also stayed mindful of anonymity and confidentiality, ensuring that her subjects were sheilded from exposure. She coded names, places, and events so the public would not be able to identify individuals. Joan also researched the history behind the group she was studying, making sure to validate the cultural experiences instead of criticizing the people. She was a self-reflective practitioner, and spent time daily reflecting on her own biases and opinions. She stayed transparent regarding her own position as an advocate.
Joan took several precautionary measures to ensure the safety of her consultants; she avoided explicitly exploiting the West African group by following a prescribed set of methods to maintain ethical relations.
After completing her fieldwork, Joan returns to the United States to begin writing her dissertation, an ethnographic study of a group of indigenous people in West Africa. As she begins the writing process, Joan feels guilty that she will be profiting from the horrific experiences the consltants have endured. She realizes that her words could be used to perpetuate negative stereotypes and that she is, in a way, exploiting the people she studied. Joan's professor suggests seven different methods for ensuring her population is represented without judgement and in a way that supports their cause instead of hurting it.
Joan began her study by becoming aware of a cause and becoming an advocate for that cause. She worked with her consultants to ensure a deep understanding of the cause. She made sure to offer suggestions "within the realm of dialogical performance" and not as ordered directions (pg. 152). Joan also stayed mindful of anonymity and confidentiality, ensuring that her subjects were sheilded from exposure. She coded names, places, and events so the public would not be able to identify individuals. Joan also researched the history behind the group she was studying, making sure to validate the cultural experiences instead of criticizing the people. She was a self-reflective practitioner, and spent time daily reflecting on her own biases and opinions. She stayed transparent regarding her own position as an advocate.
Joan took several precautionary measures to ensure the safety of her consultants; she avoided explicitly exploiting the West African group by following a prescribed set of methods to maintain ethical relations.
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