Performed Ethnography And Communication

Performed Ethnography and Communication explores the relationships between these three key terms, addressing the impact of ethnography and communication on the cutting edge of performance studies. Ranging from digital performance, improvisation and the body, to fieldwork and staged collaboration, this volume is divided into two main sections: "Embodied technique and practice," which addresses improvisation, devised theatre-making, and body work to consider what makes bodies move, sound, behave, mean, or appear differently, and the effects of these differences on performance; "Oral history and personal narrative performance," which is concerned with the ways personal stories and histories might be transformed into public events, looking at questions of perspective, ownership, and reception. Including specific historical and theoretical case studies, exercises and activities, and practical applications for improvisation, ethnography, and devised and digital performance, Performed Ethnography and Communication represents an invaluable resource for today’s student of performance studies, communication studies or cultural studies.

Whilst exploring the ethics of ethnography, this book illustrates the relevance of performance ethnography across disciplinary boundaries, exploring links between theory & method, various theoretical concepts & a number of methodological techniques.

Methods for the Ethnography of Communication is a guide to conducting ethnographic research in classroom and community settings that introduces students to the field of ethnography of communication, and takes them through the recursive and nonlinear cycle of ethnographic research. Drawing on the mnemonic that Hymes used to develop the Ethnography of SPEAKING, the authors introduce the innovative CULTURES framework to provide a helpful structure for moving through the complex process of collecting and analyzing ethnographic data and addresses the larger "how-to" questions that students struggle with when undertaking ethnographic research. Exercises and activities help students make the connection between communicative events, acts, and situations and ways of studying them ethnographically. Integrating a primary focus on language in use within an ethnographic framework makes this book an invaluable core text for courses on ethnography of communication and related areas in a variety of disciplines.

One of the world's most distinguished authorities on qualitative research establishes the connection of performance narratives with performance ethnography and autoethnography, the linkage of these formations to critical pedagogy and critical race theory, and the histories of these formations.

This book is a manifesto. It is about rethinking performance autoethnography, about the formation of a critical performative cultural politics, about what happens when everything is already performative, when the dividing line between performativity and performance disappears. This is a book about the writing called autoethnography. It is also about what this form of writing means for writers who want to perform work that leads to social justice. Denzin’s goal is to take the reader through the history, major terms, forms, criticisms and issues confronting performance autoethnography and critical interpretive. To that end many of the chapters are written as performance texts, as ethnodramas. A single thesis organizes this book: the performance turn has been taken in the human disciplines and it must be taken seriously. Multiple informative performance models are discussed: Goffman’s dramaturgy; Turner’s performance anthropology; performance ethnographies by A. D. Smith, Conquergood, and Madison; Saldana’s ethnodramas; Schechter’s social theatre; Norris’s playacting; Boal’s theatre of the oppressed; and Freire’s pedagogies of the oppressed. They represent different ways of staging and hence performing ethnography, resistance and critical pedagogy. They represent different ways of "imagining, and inventing and hence performing alternative imaginaries, alternative counter-performances to war, violence, and the globalized corporate empire" (Schechner 2015). This book provides a systematic treatment of the origins, goals, concepts, genres, methods, aesthetics, ethics and truth conditions of critical performance autoethnography. Denzin uses the performance text as a vehicle for taking up the hard questions about reading, writing, performing and doing critical work that makes a difference.

Gathers the essential essays of Dwight Conquergood, performance studies scholar, ethnographer, and activist

Opening Acts provides new, rigorous ways to analyze communication and culture through performance. It offers cutting-edge readings of everyday life, space, history, and intersections of all three, using a critical performance-based approach. Key Features: Familiarizes readers with the core elements and commitments of performance-based analysis Links performance-based analysis to theoretical and analytical perspectives in communication and cultural studies Provides engaging examples of how to use performance as a critical tool to open up communication and culture combines the best features of two classroom formats. Like a reader, it offers a menu of diverse approaches to performance-based analysis. Like a monograph, these approaches are organized into a coherent conceptual and pedagogical frame. Explicitly links developments in performance theory and methodology to current theories and methodologies in communication and cultural studies. Its topical organization mirrors those theoretical and methodological concerns most likely to engage students and scholars: how to analyze practices of everyday life, history, space, and intersections of all three. Opening Acts works across the divisions of communication and cultural studies, including elements of interpersonal, organizational, and rhetorical communication, feminism, critical pedagogy, ethnography, and visual studies.