We Listen Together

2017 ◽  
Vol 6 (2) ◽  
pp. 92-97
Author(s):  
Craig Gingrich-Philbrook
Keyword(s):  
Performance Studies ◽  
Ways Of Knowing

In this brief essay, the author responds to a performative panel of essays by students of Devika Chawla. He situates his reading of the event betwixt and between typical modes of performance studies research, demonstrating how the panelists reveal narrative's power to reflect on the layering of time, power and privilege, and ways of knowing.

Performers, Structure, and Ways of Knowing

2020 ◽  
pp. 3-18
Author(s):  
Daphne Leong
Keyword(s):  
Performance Studies ◽  
Music Theory ◽  
Ways Of Knowing ◽  
Video Frame ◽  
Musical Structure ◽  
Theme And Variations ◽  
Knowing That ◽  
Subjective Agency ◽  
And Performance ◽  
Violin And Piano

This opening chapter presents the book’s overarching project: the illumination of relations between analysis and performance through theorist-performer collaborations on twentieth-century works. The project is set in the context of two distinct though overlapping disciplines: the tradition of relating analysis and performance within the field of music theory, and the field of musical performance studies. Musical structure, on which the book focuses, is broadly defined as relations among parts and whole, emerging through interactions of objective materials and subjective agency. Ways of knowing that arise in the course of relating analysis and performance are encapsulated by wissen (knowing that), können (knowing how), and kennen (knowing, as in knowing a person). The book’s title and form (a theme and variations) are briefly described. Two rehearsal vignettes (from Crumb’s Four Nocturnes for violin and piano and Shende’s Throw Down or Shut Up!), the first accompanied by a performance video, frame the chapter.

(Performance Is) Metaphors as Methodological Tools in Qualitative Inquiry

2010 ◽  
Vol 3 (2) ◽  
pp. 163-172 ◽  
Author(s):  
W. Benjamin Myers ◽  
Bryant Keith Alexander
Keyword(s):  
Social Justice ◽  
Performance Studies ◽  
Critical Reflection ◽  
Ways Of Knowing ◽  
Qualitative Inquiry ◽  
Embodied Experience ◽  
Special Issue ◽  
Knowing That ◽  
Heterogeneous Ensemble ◽  
Key Questions

In his germinal essay, “Of Caravans and Carnivals: Performance Studies in Motion” Dwight Conquergood (1995) uses the compelling metaphor of a caravan to describe performance studies; a “commitment to praxis, to multiple ways of knowing that engage embodied experience with critical reflection … a caravan: a heterogeneous ensemble of ideas and methods on the move” (pp. 139–140). This expanded discussion on the relation between performance and metaphor first presented at the 2009 Qualitative Inquiry Congress asked each of the original participants to develop new metaphors for performance that open up an aspect or understanding of performance that is underdeveloped, underutilized or untapped. Key questions were explored in discussion: How are these metaphors provocative and what to they provoke? How do metaphors work in understanding performance in performance studies? What is the critical service these metaphors make in/as qualitative inquiry? How do or can these metaphors be made to work for social justice? Whose interests are served by particular metaphorical constructions? This Special Issue includes a section entitled “New Metaphors for Performance” which included the original metaphors offered by Ronald Pelias, David Hanley-Tejada, W. Benjamin Myers, Season Ellison, Lesa Lockford, Shauna MacDonald, D. Soyini Madison, and Della Pollock. The second section entitled, “Listeners/Respondents” includes generative autobiographical metaphors, from key audience members as their experiences/ responses to and in dialogue with the originating metaphors presented in the panel (Christopher N. Poulos, John T. Warren, Nicole Defenbaugh, Tami Spry, Karin Schlücker, Claudio Moreira, and Hari Stephen Kumar).

Gender, politics, and psychology's ways of knowing.

1995 ◽  
Vol 50 (3) ◽  
pp. 162-163 ◽  
Author(s):  
Jeanne Marecek
Keyword(s):  
Ways Of Knowing ◽  
Gender Politics

Embodied and Conceptual Self-Awareness as Distinct Ways of Knowing and Growing

PsycCRITIQUES ◽  
2010 ◽  
Vol 55 (10) ◽  
Author(s):  
Harris L. Friedman
Keyword(s):  
Ways Of Knowing ◽  
Self Awareness

Cultural Diversity and Critical Dietetics: A Scholarship of Cross-Cultural Engagement

2016 ◽  
Vol 3 (2) ◽  
pp. 23-31
Author(s):  
Craig Alan Hassel
Keyword(s):  
Ways Of Knowing ◽  
Cross Cultural ◽  
Knowledge Systems ◽  
Human Society ◽  
Health Issues ◽  
Post Colonial ◽  
Cultural Engagement ◽  
Cultural Perspectives ◽  
Culturally Different ◽  
Classical Chinese Medicine

As every human society has developed its own ways of knowing nature in order to survive, dietitians can benefit from an emerging scholarship of “cross-cultural engagement” (CCE).  CCE asks dietitians to move beyond the orthodoxy of their academic training by temporarily experiencing culturally diverse knowledge systems, inhabiting different background assumptions and presuppositions of how the world works.  Although this practice may seem de- stabilizing, it allows for significant outcomes not afforded by conventional dietetics scholarship.  First, culturally different knowledge systems including those of Africa, Ayurveda, classical Chinese medicine and indigenous societies become more empathetically understood, minimizing the distortions created when forcing conformity with biomedical paradigms.  This lessens potential for erroneous interpretations.  Second, implicit background assumptions of the dietetics profession become more apparent, enabling a more critical appraisal of its underlying epistemology.  Third, new forms of post-colonial intercultural inquiry can begin to develop over time as dietetics professionals develop capacities to reframe food and health issues from different cultural perspectives.  CCE scholarship offers dietetics professionals a means to more fully appreciate knowledge assets that lie beyond professionally maintained parameters of truth, and a practice for challenging and moving boundaries of credibility.

Track 2.a Introduction

2019 ◽  
Vol 2 (1) ◽  
Author(s):  
Sucharita BENIWAL ◽  
Sahil MATHUR ◽  
Lesley-Ann NOEL ◽  
Cilla PEMBERTON ◽  
Suchitra BALASUBRAHMANYAN ◽  
...  
Keyword(s):  
Case Studies ◽  
Local Knowledge ◽  
Ways Of Knowing ◽  
Social Contexts ◽  
Knowledge Systems ◽  
Theoretical Frameworks ◽  
Native Communities ◽  
Cultural Systems ◽  
Local Practices

The aim of this track was to question the divide between the nature of knowledge understood as experiential in indigenous contexts and science as an objective transferable knowledge. However, these can co-exist and inform design practices within transforming social contexts. The track aimed to challenge the hegemony of dominant knowledge systems, and demonstrate co-existence. The track also hoped to make a case for other systems of knowledges and ways of knowing through examples from native communities. The track was particularly interested in, first, how innovators use indigenous and cultural systems and frameworks to manage or promote innovation and second, the role of local knowledge and culture in transforming innovation as well as the form of local practices inspired innovation. The contributions also aspired to challenge through examples, case studies, theoretical frameworks and methodologies the hegemony of dominant knowledge systems, the divides of ‘academic’ vs ‘non-academic’ and ‘traditional’ vs ‘non-traditional’.

A Performative Memoric Investigation of YoungGiftedandFat

2016 ◽  
Vol 5 (1) ◽  
pp. 51-62
Author(s):  
Sharrell D. Luckett ◽  
Audrey Edwards ◽  
Megan J. Stewart
Keyword(s):  
African American ◽  
Performance Studies ◽  
African American Females ◽  
Stage Manager ◽  
The Arts ◽  
Assistant Director ◽  
Power Negotiations ◽  
Research Collective

In 2013, Sharrell D. Luckett formed the Performance Studies & Arts Research Collective, which encourages members to explore their identities through the arts. Around this time, Audrey Edwards and Megan J. Stewart—both African American females and Collective members—became interested in autoethnography, and Luckett invited them to study closely with her. In this performative essay, Luckett, Edwards, and Stewart implicitly highlight various power negotiations enacted as professor/student, actress/stage manager, actress/assistant director, and mentor/mentee, while all working on their own autoethnographies, and while working collectively on Luckett's autoethnographic performance: YoungGiftedandFat.

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