Teach-ins as Performance Ethnography

2016 ◽  
Vol 9 (4) ◽  
pp. 489-514 ◽  
Author(s):  
Nancy E. Spencer ◽  
Matt Adamson ◽  
Sasha Allgayer ◽  
Yvette Castaneda ◽  
Matt Haugen ◽  
...  
Keyword(s):  
Performance Ethnography

scholarly journals Art, Age & Health: A Research Journey about Developing Reminiscence Theatre in an Age-Exchange Project

2013 ◽  
Vol 2 (2) ◽  
Author(s):  
Rikke Gürgens Gjærum
Keyword(s):  
Focus Group ◽  
Life Stories ◽  
Research Practice ◽  
Performance Ethnography ◽  
Focus Group Interviews ◽  
Science And Art ◽  
Theatre Production ◽  
Art Based Research ◽  
Group Interviews ◽  
Artistic Research

In this article, the researcher studies how it is possible to develop a reminiscence theatre production in an age-exchange project, created with life stories from pensioners, and how the audience experiences the performance. The article is based on six focus group interviews with nine pensioners, a theatre production and a “reminiscence café” between the audience and the actors, arranged after the performance. The researcher designed the study, “The aged as a resource”, based on guidelines for performance ethnography, art-based research, practice-led research and artistic research, in order to combine science and art, which could be said to represent two different epistemological traditions.

scholarly journals An Autoethnographic Performance: The Researcher’s Story of Hysterectomy and Menopause as Act of Resistance and Activism

2021 ◽  
pp. 194084472110428
Author(s):  
Grace O' Grady
Keyword(s):  
Large Scale ◽  
Medical Discourse ◽  
Private Life ◽  
Visual Images ◽  
Performance Ethnography ◽  
Early Menopause ◽  
Human Voice ◽  
One Year ◽  
Relations Of Power ◽  
The Voice

One year after beginning a large-scale research inquiry into how young people construct their identities I became ill and subsequently underwent abdominal surgery which triggered an early menopause. The process which was experienced as creatively bruising called to be written as “Artful Autoethnography” using visual images and poetry to tell a “vulnerable, evocative and therapeutic” story of illness, menopause, and their subject positions in intersecting relations of power. The process which was experienced as disempowering called to be performed as an act of resistance and activism. This performance ethnography is in line with the call for qualitative inquirers to move beyond strict methodological boundaries. In particular, the voice of activism in this performance is in the space between data (human voice and visual art pieces) and theory. To this end, and in resisting stratifying institutional/medical discourse, the performance attempts to create a space for a merger of ethnography and activism in public/private life.

Performing Theatre and Democracy

2021 ◽  
pp. 87-98
Author(s):  
Leila Henriques
Keyword(s):  
South Africa ◽  
South African ◽  
Research Methodology ◽  
Embodied Experience ◽  
Performance Ethnography ◽  
Theatre History ◽  
Political Narrative ◽  
The Many ◽  
The Individual ◽  
Individual Perspective

This collection of performances that is linked to this chapter was created as part of the MA exchange project between NTNU and DFL (Drama for Life). Students used performance ethnography as a method for generating performance material in answer to the challenge of building democracy through theatre. South Africa has a rich theatre history that has always engaged with the South African political narrative. Through developing an understanding of the many theatre-making processes that created this unique history, as well as through exploring other contemporary South African performances, students created and tracked their own research methodology so that they were able to hold up a mirror to the world around them. While each performance captured the individual perspective of the performer, they also engaged directly and indirectly with broader South African realities. The course consisted of four components, each shaped by the individual’s journey into their own research methodology. These were: generating material, interpreting the material, rehearsing the material and performing the material. This submission consists of a framing statement written by the lecturer as well as a collection of ten performances that include a short framing statement from each performer. Permission was obtained from all the students to showcase their work apart from one student who has submitted it under a pseudonym. Out of this exploration and through a practical laboratory, students created an embodied experience that addressed the notion of democracy. The value of the work was to gain a fresh embodied perspective of democracy in South Africa. It spoke to our unique South African theatre-making legacy, but also challenged and disrupted our understanding of what democracy is and how it might be performed.

Nice Girls Gone Blue

2017 ◽  
Author(s):  
Hannah Schwadron
Keyword(s):  
White Women ◽  
Jewish Woman ◽  
The Body ◽  
Jewish American ◽  
Performance Ethnography ◽  
At Will ◽  
Jewish Mother ◽  
A Performance

This chapter foregrounds a performance ethnography among New York’s Jewish neoburlesque and cabaret spoofs on the Hanukkah circuit from 2011 to 2016. By looking at what the body does to mock and modify stereotypes of the Jewish woman, it frames the ways that performers utilize physical humor to critique harmful images of the unsexy hag, Jewish mother, and Jewish American princess, while posing new identity gags. Yet in performing Otherness from positions of race privilege, Jewish neoburlesquers distance themselves from the very epochs they evoke, securing their status as white women who can presumably put on and take off Otherness at will.

Performance ethnography as an approach to health‐related education

2010 ◽  
Vol 18 (3) ◽  
pp. 373-388 ◽  
Author(s):  
David Carless ◽  
Kitrina Douglas
Keyword(s):  
Performance Ethnography ◽  
Health Related

scholarly journals DANCESCAPE IN SAYAW BARONG PERFORMANCE OF BAJAU SAMA

2021 ◽  
Author(s):  
Mohammed Iqbal Badaruddin ◽  
Zaimie Sahibil ◽  
Luqman Lee ◽  
Simon Soon
Keyword(s):  
Material Culture ◽  
Martial Arts ◽  
Sacred Space ◽  
Belief System ◽  
Traditional Healing ◽  
Cultural Value ◽  
Performance Ethnography ◽  
Martial Art ◽  
And Performance ◽  
Symbolic Performance

Sayaw barong is one of the traditional performances for the Bajau Sama ethnic in Kota Belud, Sabah. With parang barong itself as a primarily customised weapon, this symbolic performance represents the war dance in Bajau martial arts locally and used as an offensive and defensive technique (buah/jurus silat) that merges in different streams (aliran) of silat such as silat kuntau, silat sping/sprint, silat betawi, and silat Nusantara. Through participants’ observation and performance ethnography, this particular style and technique encompasses the identity of Bajau Sama martial art through artistic movement as a representation that is also performed during other traditions such as wedding ceremonies, traditional healing, or funeral as their own cultural value. By referring to The Fan Theory suggested by Schechner, it shows how this tradition links and connects to other elements in sacred space such as ritualization, shamanism, rites and ceremonies. This paper also discusses the use of parang barong as a material culture and how its appearance helps the efficacy of the performance. The concept of sacred-scapes, death-scapes and kinetic-scapes take shape as tangible and intangible in order to understand this particular custom and how it fits in the Bajau identity as their own art of defence traditions. It also shows the Bajau Sama belief system that creates space in ritual including initiations, customs and celebrations.

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