Performance
Studies Methods
H42.2616.001 / Spring 2006
http://www.nyu.edu/classes/bkg/methods
Tuesday 3:30-6:15 pm
721 Broadway, Room 636
Department of Performance Studies
Tisch School of the Arts / New York University
Barbara Kirshenblatt-Gimblett
212-998-1628 T / 212-254-7885 F
bkg@nyu.edu
The course will work towards the development of Performance Studies methodologies
based upon interdisciplinary research paradigms (movement analysis, ethnomusicology,
ethnography, history, history,
orature, visual studies, ethnomethodology, among others) and the close
reading and analysis of exemplary studies. We will consider the conceptualization
and design of research projects in the context of theoretical and ethical
issues and in relation to particular research methods and writing strategies.
You will develop practical skills related to archival and library research,
ethnographic approaches, including participant observation and interviewing,
documentation and analysis of live performance, and analysis of documents
of various kinds, including visual material. Readings will address the
history of ideas, practices, and images of objectivity, as well as of
reflexive and interpretive approaches, relationships between science and
art, and research perspectives arising from minoritarian and postcolonial
experiences. You are encouraged to bring projects to the course, especially
ones that might develop into dissertations.
Work for the course will include weekly readings, written responses to
the readings that are to be posted to the electronic forum, and exercises.
At the end of the semester, you will submit a portfolio of all your work,
together with a letter reflecting on the work your did, your goals, what
you feel you accomplished, and what you want to continue to work on. Portfolio DUE: May 2 by 5:30 pm. No exceptions.
This syllabus is intended
not only to serve the immediate goals of the course but also as a long-term
resource to be consulted as you move forward with your work. Please consult
the syllabus online for updates and enrichments.
Reading responses: Our goal is to pinpoint the arguments and issues
raised by the readings and to suggest their methodological implications
for Performance Studies and for your project in particular. The reading
responses should raise points that will provoke lively and productive
class discussion.
Response
to the readings should be 1-2 pages. Please post the response by Monday
5:00 pm, to allow time for responses online before class.
Readings
and Resources
Virtual Reader
Book Order/Library Reserve
PSOnline
Workshop
Outline and Links
Research Logs
Online Posting and Discussion
PSMethods@forums.nyu.edu
PSMethods
forum web interface
PSMethods Blog
Schedule
1/17 Introduction
1/24 Performance as Research Method
1/31 Performance Documentation
2/7 Research Design
2/14 Dissertation proposal/ Grant Applications
I. Fieldwork Methods
2/21 Ethnography
2/28 Interviewing I
3/7 Interviewing II
3/14 Spring recess
3/21 Observation / Participant Observation / Field Notes I
3/28 Observation / Participant Observation / Field Notes II
II. Movement, Music, Visual Culture
4/4 Movement
4/11 Music
4/18 Visual Culture
II. Performance
History Methodologies
4/25 Performance History / Historiography
5/2 DUE: Portfolio. No exceptions.
Weekly Schedule
1/17 Introduction
Recommended
Latour, Bruno. 2004. Why Has Critique Run out of Steam? From Matters of Fact to Matters of Concern.To appear in Critical inquiry Stanford Presidential Lecture, Stanford Humanities Center, 7 April 2003.
1/24
Performance as Research Method
Read
Pearson, Mike, and Michael Shanks. 2001. Theatre/archaeology.
London/New York: Routledge.
Conquergood, Lorne Dwight. 2002. Performance
Studies: Interventions and Radical Research. TDR: The Drama
Review 46, no. 2: 145-56.
Explore
Brith Gof
Action Research Resources Reading
Guidelines
How do Pearson and Shanks define perfomance? How does the kind of
archaeology they propose problematize the pastness of the past and
the relationship of detritus to the present? How do they approach
the challenge of creating "an authentic account of the lost event"?
What are the implications of these concepts for thinking about the
"document," "documentation," and how performance
might be researched and studied?
Recommended
Zarrilli, P. 2002. Negotiating performance epistemologies: knowledges 'about', 'in' and 'for'. Studies in Theatre and Performance 21: 31-46.
PARIP (Practice as
Research in Performance). Department of Drama, Bristol.
Russell, Keith. 2000. Poetics
and Practice: Studio Theoria. Working Papers in Art and Design,
vol 1, The Foundations of Practice-Based Research. Proceedings of
the Research into Practice Conference.
Melrose, S. 2002. Entertaining
other options: Restaging "Theory" in the Age of Practice
as Research, Inaugural Professorial Lecture (delivered on 28 January
2002 at Middlesex University).
Lopez y Royo, Alessandra.
2002. Archaeology
& Performance (University of Surrey, Roehampton, United Kingdom)
Ray, Robert B. 1995. The avant-garde finds
Andy Hardy. Cambridge, Mass.: Harvard University Press.
Ulmer, Gregory L. 1994. Heuretics: the logic of invention.
Baltimore: John Hopkins University Press.
Becker, Howard Saul, and John Walton. 1975. Social science in the
work of Hans Haacke. Framing and being framed 7 works, 1970-75.
Eds. Hans Haacke, Howard Saul Becker, John Walton, and Jack Burnham,
145-52. Halifax: Press of the Nova Scotia College of Art and Design;
New York. New York University Press.
Bourdieu, Pierre, and Hans Haacke. 1995. Free exchange. Trans.
Randal Johnson. Stanford, Calif: Stanford University Press.
ONeill
M., Giddens
S., Breatnach P., Bagley
C., Bourne D., and Judge T.
2002.
Renewed methodologies for social research: ethno-mimesis
as performative praxis. Sociological Review 50, no. 1:
69-88.
Rosler,
Martha, M. Catherine de Zegher, Ikon Gallery, and Center for Women's
History and Culture, eds. 1998. Martha Rosler: positions in the
life world. Birmingham, England, Vienna, Austria, Cambridge, Mass:
Ikon Gallery. Generali Foundation. MIT Press.
Clifford,
James.
1981. On Ethnographic Surrealism. Comparative Studies in Society
and History 23, no. 4: 539-64
Schneider,
Arnd. 1993. The Art Diviners. Anthropology Today 9, no. 2: 3-9.
Calzadilla, Fernando and George E. Marcus,
Artists In the Field: Between Art and Anthropology.
In press.
Dorst,
John.
1987. Rereading Mules and Men: Toward the Death of the Ethnographer.
Cultural Anthropology 2, no. 3: 305-18.
Jules-Rosette, Bennetta. Black Paris: the African writers' landscape.
Urbana: University of Illinois Press; 1998.
Lewis, George E. 1996. Improvised music after 1950: Afrological and
Eurological perspectives. BMR [Black Music Research] Journal
16, no. 1: 91-122.
Smith, Anna Deavere. 1993. Fires in the mirror: Crown Heights,
Brooklyn, and other identities. New York: Anchor Books/Doubleday.
1/31 Performance Documentation
Guest: Ann E. Butler, Fales Archivist
Location: Fales Library and Special Collections, 3rd floor of Bobst Library (212-998-2596). We meet promptly at 3:30.
Read
Phelan, Peggy. 1993. The ontology of performance: representation without reproduction. Unmarked: the politics of performance. London: Routledge, pp. 146-66.
Taylor, Diana. 2003. Acts of transfer. The archive and the repertoire: performing cultural memory in the Americas. Durham, NC: Duke University Press, pp. 1-52.
Reason, Matthew. 2003. Archive or memory? The detritus of live performance. New Theatre Quarterly 73: 82-89.
Pavis, Patrice. 1997. The State of Current Theatre Research. Applied Semiotics 1, 3: 203, 230.
Ippolito, Jon. 2003. Accommodating the Unpredictable: The Variable Media Questionnaire, Permanence through Change: The Variable Media Approach (New York: Guggenheim Museum Publications, 2003), pp. 47-53. Case Study: Robert Morris, “Site,” 1964.
Visit: The Downtown Show: The New York Art Acene 1974-1984 at Grey Art Gallery and The Fales Library.
Explore:
Kicking Culture at Fales
SIBMAS (International Association of Libraries and Museums of the Performing Arts), International Directory of Performing Arts Collections and Institutions
Beyond Memory: Preserving the Documents of Our Dance Heritage, A Project of the
Dance Heritage Coalition, Washington, D.C., 1994. Revised 2001.
Radar Theory Site and especially the performance research and documentation section. Please be prepared to discuss at least two documentation projects/collections from the list on this site.
The Estate Project for Artists with AIDS
Digital Performance Archive
New York Public Library for the Performing Arts
Schomburg Center for Research in Black Culture
Gay and Lesbian Archives
Please explore at least two finding aids online for materials in the Downtown Collection, the Avant-Garde Collection, or the Judson Memorial Church Archive in The Fales Library and Special Collections.
Reading Guidelines:
How do the readings (and websites) configure the relationship of liveness, document, memory, and archive? Tease out the range of ways in which each of these terms is used and how they are related to one another. Assess the potential of Ippollito’s “variable media approach”? What are the methodological implications of each author’s approach to performance documentation for Performance Studies more generally and for your work in particular? How do you propose to think about the “archive” in relation to performance?
Recommended:
Pavis, Patrice. 2003. Analyzing performance : theater, dance, and film. Ann Arbor : University of Michigan Press.
Permanence through Change: The Variable Media Approach. New York: Guggenheim Museum Publications, 2003.
Performance Documentation: Annotated Bibliography
The Collaborative Editing Project to Document Dance. New York: Dance Division of the New York Public Library.
Johnson, Catherine J. and and Allegra Fuller Snyder. 1999. Securing Our Dance Heritage: Issues in the Documentation and Preservation of Dance. Washington, D.C.: Council of Library and Information Resources.
Library of Congress. 2002. Music, Theater, Dance: An Illustrated Guide--Theater, Dance, Music.
Jones, Amelia. 1997. Presence in Absentia: Experiencing Performance as Documentation, Art Journal 56, 4.
Auslander, Philip. 1997. Ontology vs. History: Making Distinctions Between the Live and the Mediatized. Third Annual Performance Studies Conference. Atlanta, Georgia.
Rye, Caroline. 2003. Incorporating Practice: A multi-viewpoint approach to performance documentation. Journal of Media Practice 3 (2): 115-123.
De Marinis, Marco. 1985. ' A faithful betrayal of performance': notes on the use of video in theatre. New Theatre Quarterly 1, no. 4: 383-89.
Dixon, Steve. 1998. Digits, Discourse, and Documentation: Performance Research and Hypermedia, TDR: The Drama Review 43, no. 1 (T161) (1999): 152-75.
Batty, Mark, Alan Beck, Christie Carson, Steve Dixon, David Hughes, Sophia Lycouris, Barry Russell and Barry Smith. 2003. Creating Digital Performance Resources: A Guide to Good Practice. London: Arts and Humanities Data Service.
Melzer, Annabelle. 1995. Best Betrayal: The Documentation of Performance on Video and Film, New Theatre Quarterly 11, 43: 147-150, 259-274.
Kaye, N., 1994. Live Art: Definition and Documentation, Contemporary Theatre Review 2, 2: 1-7.
Kershaw, Baz. 2000. Site Specifics: Performance, Place and Documentation. London: Routledge.
Varney, Denise and Rachel Fensham. 2000. More-and-less-than: liveness, video recording, and the future of performance. New Theatre Quarterly 16: 88-96.
Wagner, Anne M. 2000. Performance, video and the rhetoric of presence, October 91: 59-80, 133-161.
2/7 Research
Design
Read
Alford,
Robert R. 1998. The craft of inquiry. New York: Oxford University
Press. Pp. 11-54.
Haig, Brian. 1995. Grounded
Theory as Scientific Method. Philosophy of Education Yearbook.
Champaign, IL: Philosophy of Education Society.
Breuer, Franz, and Wolff-Michael Roth. 2003. Subjectivity and Reflexivity in the Social Sciences: Epistemic Windows and Methodical Consequences. Forum: Qualitative Sozialforschung / Forum: Qualitative Social Research 4, no. 2: 30.
Reading Guidelines and Assignment
How do these readings deal with: (1) the relationship of "theory,"
"method," and "research"? (2) the epistemolgical issues
of what can be known and how it can be known? (3) the nature of inference,
argument, and explanation? Outline a possible way to design the research
for your project in light of these readings?
Recommended
Booth, Wayne C., Gregory G. Colomb, and Joseph M. Williams. 1995. The
Craft of Research. Chicago: University of Chicago Press.
Bourdieu, Pierre, J.-C Chamboredon, Jean Claude Passeron, and Beate Krais.
1991. The craft of sociology: epistemological preliminaries. Berlin,
New York: Walter de Gruyter.
Clough, Peter, and Cathy Nutbrown. 2002. A
student's guide to methodology: justifying enquiry. London / Thousand
Oaks, Calif.: SAGE.
Kaplan, Abraham. 1998. The conduct of inquiry: methodology for behavioral
science. New Brunswick, N.J.: Transaction Publishers.
Latour, Bruno. 1993. We have never been modern. Cambridge, Mass. : Harvard University Press.
Latour, Bruno. 2004. A prologue in the form of a dialog between a student and his (somewhat) Socratic professor.
.De Vaus, D. A. 2001. Research design in social
research. London: SAGE.
Wacquant,
Loic. Scrutinizing the Street: Poverty, Morality, and the Pitfalls of
Urban Ethnography. American
Journal of Sociology 107, 6 (May 2002): 1468–1532. Critique of Duneier
and others working on street life. Responses by Duneier,
Newman, and Anderson
Walliman, Nicholas, and Bousmaha
Baiche. 2001. Your research project: a step-by-step guide for the first-time
researcher. London/ Thousand Oaks, Calif.: Sage Publications.
2/14 Case Study Method and Dissertation Proposal / Grant Applications
Guests: Diana Taylor, Case study method
Rachel Bowditch, Dissertation research design
Read
Dissertation from Proposal to Defense, Department of Performance Studies, NYU
Dissertation proposal: timeline
Dissertation proposal: step-by-step
Dissertation proposal: writing guidlines
Przeworski, Adam and Frank Salomon. 1995. The Art of Writing Proposals: Some Candid Suggestions for Applicants to Social Science Research Council Competitions. New York: Social Science Research Council.
University Committee on Activities Involving Human Subjects. For the dissertation, you are required to submit an application for review to this committee. This is a federal regulation.
List of Performance Studies Dissertations by year, author, and advisor: Examine one dissertation in the Performance Studies Archive.
Sample dissertation proposals available in Performance Studies Archive.
Reading Guidelines and Assignment
Write a statement of objective for the dissertation. Outline how you can imagine delimiting and structuring the topic. What is the nature of the research you will need to do and how do you envision going about it?
Assuming a project involving human subjects, how would your approach the Application for Review by the University Committee on Activities Involving Human Subject. Which sections would present the greatest challenge and why? How would you propose to deal with them?
Identify three grants for which you could apply to support the research and/or writing of your dissertation and the deadlines.
Recommended
Locke, Lawrence F., Waneen Wyrick Spirduso, and Stephen J Silverman. 2000. Proposals that work: a guide for planning dissertations and grant proposals. 4th ed. Thousand Oaks, Calif: Sage.
Bolker, Joan. 1998. Writing your dissertation in fifteen minutes a day: a guide to starting, revising, and finishing your doctoral thesis. New York: H. Holt.
Zerubavel, Eviatar. 1999. The clockwork muse: a practical guide to writing theses, dissertations, and books. Cambridge, Mass.: Harvard University Press.
Silverman, Sydel. 1991. Writing Grant Proposals for Anthropological Research. Current Anthropology 32, no. 4: 485-89.
Burawoy M., 1998. The Extended Case Method. Sociological Theory, vol. 16, no. 1, pp. 4-33.
Ragin, Charles C. and Howard Becker. 1992. What is a Case? Exploring the Foundations of Social Inquiry. Cambridge: Cambridge University Press.
David, Matthew. 2006. Case Study Research. 4 vols. Thousand Oaks, Calif: Sage.
2/21 Ethnography
Read
Gwaltney,
John L. 1976. On Going Home Again--Some Reflections of a Native Anthropologist.
Phylon 37, no. 3: 236-42.
Narayan,
Kirin. 1993. How Native Is a "Native" Anthropologist?
American Anthropologist 95, no. 3: 671-86.
Visweswaran, Kamala. 1994. Fictions of feminist ethnography. Minneapolis : University of Minnesota Press.
Katz, Jack. 2001. From how to why: On luminous description and causal inference in ethnography (Part I). Ethnography 2, no. 4: 443-73.
Katz, Jack. 2002. From how to why: On luminous description and causal inference in ethnography (Part 2). Ethnography 3, no. 1: 63-90.
Reading Guidelines
1. Reflecting on the readings, position yourself in relation to your research.
First,
write a brief statement that explains your relationship to your research
subject and the implications of this relationship for the research
you will do. Define your “position,” account for it, and
identify the possibilities and constraints of your positionality.
Explains how you are approaching the question of positionality,
that is, treat the issue “metamethodologically.”
2. Reflect
on the challenges and possibilities of “description” as
Visweswaran and Katz outline them. Show how you will convert your
why questions into how questions. Why does Katz propose that research
focus on how questions? What is the path that he traces for getting
from description to explanation? In what ways might the approaches
of Visweswaran and Katz be useful for your project?
Recommended
Abu-Lughod, L. 2000. Locating ethnography.
Ethnography 1, no. 2: 261-67.
Aguilar, John L. 1981. Insider research: An enthnography of a debate.
Anthropologists at home in North America: methods and issues in
the study of one's own society. Ed. Donald A Messerschmidt. New
York: Cambridge University Press. Pp. 15-26.
Behar, Ruth. 1996. The vulnerable observer: anthropology that breaks
your heart. Boston: Beacon Press.
Denzin, Norman K. 1997. Interpretive ethnography: ethnographic
practices for the 21st century. Thousand Oaks, Calif: Sage Publications.
Duneier, Mitchell, and Ovie Carter. 1999. "Appendix: A Statement
on Method." Sidewalk. New York: Farrar, Straus and Giroux.
Garcia, Maria Elena. 2000. Ethnographic responsibility and the anthropological
endeavor: Beyond Identity Discourse. Anthropological Quarterly
73, no. 2: 89-101.
Haraway,
Donna J. 1991. Situated knowledges: the science question in feminism
and the privilege of partial perspective. Simians, Cyborgs,
and Women: the Reinvention of Nature. 183-201. New York: Routledge.
Gwaltney, John Langston. 1980. Drylongso: A Self-Portrait of Black
America. New York: Vintage.
Katz, Jack. 1999. How Emotions Work. Chicago: University of
Chicago Press.
Kondo,
Dorinne K.
1986. Dissolution and Reconstitution of Self: Implications for Anthropological
Epistemology. Cultural Anthropology 1, no. 1: 74-88.
Kulick, Don, and Margaret Willson, eds. 1995. Taboo: Sex, Identity,
and Erotic Subjectivity in Anthropological Fieldwork. New York:
Routlege.
Marcus, George E. 1994. On Ideologies of Reflexivity in Contemporary Efforts to Remake the Human Sciences. Poetics Today 15, no. 3: 383-404. (See below for Myers and Haraway articles that Marcus discusses.)
McClaurin,
Irma. 2001. Theorizing a black feminist self. Black feminist anthropology:
theory, politics, praxis, and poetics. New Brunswick, N.J: Rutgers
University Press. Pp. 49-75.
Myers,
Fred R. 1988. Locating Ethnographic Practice: Romance, Reality, and
Politics in the Outback. American Ethnologist 15, no. 4:
609-24.
Newton,
Esther.
1993. My Best Informant's Dress: The Erotic Equation in Fieldwork.
Cultural Anthropology 8, no. 1: 3-23.
Pels,
Peter. 1999. Professions of Duplexity: A Prehistory of Ethical Codes
in Anthropology. Current Anthropology 40, no. 2: 101-36.
Rosaldo, Renato. 1989. Grief and a headhunter's rage. Culture and
truth: the remaking of social analysis. Boston: Beacon Press.
Pp. 1-21.
Scheper-Hughes, N.
2000. Ire in Ireland. Ethnography 1, no. 1: 117-40.
Smith, Linda Tuhiwai. 1999. Decolonizing methodologies: research
and indigenous peoples. London, New York, Dunedin, N.Z, New York:
Zed Books. University of Otago Press. Distributed by St. Martin's
Press.
Reed-Danahay, Deborah. 1997. Auto/ethnography: rewriting the self
and the social. Oxford, New York: Berg.
Shotter, John. 1999. "Withness-writing"
rather than "Aboutness-writing."
First draft of paper written for Fourth National 'Writing Across the
Curriculum Conference: Multiple Intelligences," Cornell, June
3rd-5th, 1999.
Wikan,
Unni. 1991. Toward an Experience-near Anthropology. Cultural
Anthropology 6, no. 3: 285-305.
Willis, Paul. 2000. Manifesto for ethnography. Ethnography 1, no. 1: 5-16.
2/28 Interviewing
I
Read
Weiss, Robert Stuart. 1994. Learning from Strangers: The Art and
Method of Qualitative Interview Studies. New York, Toronto/New York:
Free Press/Maxwell Macmillan Canada.
Stone, Ruth M., and Vernon L. Stone. 1981. Event, feedback, and analysis: rsesearch media in the study of musical events. Ethnomusicology 25, no. 2: 215-25.
Truesdell,
Barbara. Oral
History Techniques and
Baum,
Willa. Tips
for Interviewers.
Browse/Listen to at least two examples:
I: Andy
Warhol; Philip
Glass; Rudolph
Nureyev; Angela
Davis;
Chinua Achebe; Derek
Walcot; Louis
Armstrong Jazz Oral History Project; Audre
Lourde; Samuel
R. Delaney; Richard
Foreman; Yvonne
Rainer; Spalding Gray;
Jamez Chang; Jon
Jang and James Newton; Paul
Robeson;
Robbie McCauley; Suzanne
Lacey; Nobuko
Miyamoto; Rodrigo
Duarte Clark; Chris
Gonzalez Clarke; John
Malpede;
Beijing Opera Artists; Jose
Ramirez; Sin
Cha Hong; Ranulph
Granville; Suzan
Lori-Parks; Roberto
Flores and Greg Tanaka; Hélène
Cixous; Judith Butler;
Hayden White; Kathleen
Cleaver; Chon
Noriega interviews 3 filmmakers; Nathaniel
Mackay; Carolee
Schneemann; Christian
Marclay; Cildo
Meireles; Marina
Abramovics; Woodie
King;Tony
Schwartz; Ishmael
Reed; Christian
Wolff; August
Wilson; Charlie
Chase; Ustad
Imrat Khan; Rigoberta
Menchu.
II. Sound
Portraits; Strates
Carnival; Miguel
Algarín, Nuyorican Poet; Folksbiene
Yiddish Theater; The
Sunshine Hotel; Witness
to an Execution (at your own discretion); The
Sonic Memorial Project; New York Public Library, Dance Collection,
Oral History
Project and AIDS Initiative;
Legacy Oral History Program; Louis
Armstrong Jazz Oral History Project; Zora
Neale Hurston, "Jook" song, 1939. See Florida
Folklife from the WPA Collections. Search for Halimuhfack.
Assignment:
1. Select a person to interview. Finding a person to interview and
making contact with that person is part of the research process. Use
networks and, in the case of strangers, have a contact person make the
introduction.
2. Schedule
the interview, arrange permission to audio or videotape the interview,
and secure an audio recorder or video camera. Be sensitive to the possibility
that recording may discourage the person from being interviewed. As a
courtesy, consider offering to give the individual a copy of the the recording.
3. Based on the readings--and reflecting on them--state the goals
of the interview. What do you hope to elicit in the interview and to what
end?
4. Develop a checklist for the interview. Of the approaches offered in
the readings, which will you use and why?
Recommended
Arksey, Hilary, and Peter Knight, eds. 1999. Interviewing for social
scientists: an introductory resource with examples. London, Thousand
Oaks, Calif: Sage Publications.
Berliner, Paul. 1994. Thinking in jazz: the infinite art of improvisation.
Chicago Studies in Ethnomusicology. Chicago: University of Chicago Press.
Briggs, Charles L. 1986. Learning how to ask a sociolinguistic appraisal
of the role of the interview in social science research. Cambridge
England, New York: Cambridge University Press.
Denzin, N.
K. 2001. The reflexive interview and
a performative social science. Qualitative Research 1, no.
1: 23-46.
Erikson, Michelle. Interdisciplinary
approaches to Holocaust video testimony.
Ives, Edward D. 1995. The tape-recorded interview: a manual for fieldworkers
in folklore and oral history. 2nd ed. Knoxville: University of Tennessee
Press.
McMahan,
Eva M. and Kim Lacy Rogers, eds. 1994. Interactive Oral History Interviewing.
Hillsdale, New Jersey: Lawrence Erlbaum Associates.
Ochs, Elinor, and Lisa Capps. 1996. Narrating
the self. Annual Review of Anthropology 25, no. 1: 19-43.
Ritchie, Donald. 1995. Conducting interviews. Doing oral history.
57-85. New York: Twayne. John Roberts
(2001) Dialogue,
Positionality and the Legal Framing of Ethnographic Research, Sociological
Research Online, vol. 5, no. 4.
Smith, Anna Deavere. 1993. Fires in the mirror: Crown Heights, Brooklyn,
and other identities. 1st New York: Anchor Books/Doubleday.
Tedlock, Dennis,
and Bruce Mannheim, eds. 1995. Introduction. The dialogic emergence
of culture. Urbana: University of Illinois Press. Pp. 1-32
3/7 Interviewing II
Read
David Isay, Sound Portraits Recording
Tutorial, transom.org's Radio
Journalism Production Tools, and Shelly Luke Willie, Welcome
to the Video Guide! The Multimedia Project.
Tedlock, Dennis. 1977. Toward
an Oral Poetics. New Literary History 8, 3 (Special issue:
Oral Cultures and Oral Performances): 507-19.
Tedlock,
Dennis. 1990. From Voice and Ear to Hand and Eye.
Journal of American Folklore 103, no. 408: 133-56.
Transcription
Style Guide and Oral
history interview guidelines (appendices 7, 8, and 9 on transcription,
copy checking, and authenticating).
Kirshenblatt-Gimblett, Barbara. 2004. Logging,
Transcription, Translation, Analysis, with special reference to
language standardization issues.
Browse: The
Audible World: An Interview with Yatrika Shah-Rais, Echo
4 (1), 2002.
Assignment
1.
Secure the written permission of the person you are interviewing, having
followed the protocols outlined in Oral
History Evaluation Guidelines. On exemptions of oral history interviews
from human subjects review, please click
here.
2. Prepare for the interview by reading as much as you can about the
person or subject of the interview.
3. In advance of the interview, learn how to use the recorder and/or
video camera. Working alone or in teams (one person videotaping, the
other interviewing), record the interview. See Oral
History Interview Guidelines (chapters on audio and video recording)
and tape-recording phone calls.
4. Select a five-minute segment of the interview and transcribe it.
Apply the principles in Transcription
Style Guide and in
United States Holocaust Memorial Museum, and Department of Oral History.
1998. Oral history
interview guidelines. Washington, D.C.: United States Holocaust
Memorial Museum
(appendices 7, 8, and 9 on transcription, copy checking, and authenticating).
5. Refer to the readings
as you write reflections on what can be learned from the interview and
especially from the transcribed segment--about the interviewing process,
the transcription process, and the subject that was the focus of the
interview.
Recommended
Feld, Steven. 1987. Dialogic Editing: Interpreting How Kaluli Read Sound and Sentiment. Cultural Anthropology 2, no. 2: 190-210.
Fine, Elizabeth C. 1984. The folklore text: from performance to print. Bloomington: Indiana University Press.
Flick, Uwe. 2000. Episodic interviewing. Qualitative
researching with text, image and sound: a practical handbook. eds
Martin W. Bauer, and George Gaskell, 75-92. London: Sage.
Jovchelovitch, Sandra, and Martin W. Bauer. 2000. Narrative interviewing.
Qualitative researching with text, image and sound: a practical handbook.
Eds Martin W. Bauer, and George Gaskell, 57-74. London: Sage.
Oral
History Workshop on the Web
Yow, Valerie Raleigh. 1994. Recording oral history: a practical guide
for social scientists. Thousand Oaks, Calif.: Sage.
How
to cite an interview
Ethics
of recording telephone interviews
Tape
recording telephone interviews
Recording telephone interviews to a PC
Recording telephone interviews to a MAC
3/14 SPRING RECESS
3/21 Observation / Participant-Observation / Fieldnotes I
Read
Emerson, Robert M., Rachel I. Fretz, and Linda L. Shaw. 1995. Writing ethnographic fieldnotes. Chicago: University of Chicago Press.
Reading Guidlines:
1. Identify a setting and/or event that you will observe between now and 11/11. Make a checklist of what you will want to pay attention to.
2. In light of that choice (and in relation to your dissertation project), which options in Writing Ethnographic Fieldnotes do you anticipate might work best for you and why? Consider notetaking, writing up notes, coding (give examples related either to your research project or to the observation exercise that you will do by 11/11), and writing the final account, whether or not it is an ethnography.
Recommended
Feld, Steven. 1987. Dialogic Editing: Interpreting How Kaluli Read Sound and Sentiment. Cultural Anthropology 2, no. 2: 190-210.
Finnegan, Ruth. 1992. Oral Traditions and the Verbal Arts: A Guide to Research Practices. New York: Routledge.
Geertz, Clifford. 1973. Thick description. The interpretation of cultures; selected essays. 3-30. New York: Basic Books.
Ginsburg, Faye. 1993. The case of mistaken identity: problems in representing women on the right. When they read what we write: The politics of ethnography. ed Caroline B. Brettell, 164-76. Westport: Bergina and Garvey.
Geertz, Clifford. 1973. Deep play: notes on the Balinese cockfight. The interpretation of cultures: selected essays. New York: Basic Books. Pp. 412-53.
Lofland, John, and Lyn H Lofland. 1995. Data Logging in Intensive Interviewing. Analyzing social settings: a guide to qualitative observation and analysis. 3rd ed. Belmont, Calif: Wadsworth. Pp. 53-62.
McCall, George J, and J. L Simmons. 1969. Issues in participant observatio: a text and reader. Reading, Mass: Addison-Wesley Pub. Co.
Rosaldo, Renato. 1997. A Note on Geertz as a Cultural Essayist. Representations, no. 59, Special Issue: The Fate of "Culture": Geertz and Beyond: 30-34.
———. 1990. Response to Geertz. New Literary History 21, no. 2: 337-41.
Schneider, Mark A. 1987. Culture-as-Text in the Work of Clifford Geertz. Theory and Society 16, no. 6: 809-39.
Wacquant, Loïc J. D. 2003. Body & Soul: Notebooks of an Apprentice Boxer. Oxford/New York: Oxford University Press.
Williams, Brackette F., 1996. Skinfolk, not kinfolk: Comparative reflections on the identity of participant-observation in two field situations. Feminist dilemmas in fieldwork. Ed. Diane L. Wolf. Boulder, Colo: WestviewPress. Pp. 72-95.
3/28 Observation / Participant-Observation / Fieldnotes II
Read:
Ryan, Gery W., and H. Russell Bernard. Techniques to Identify Themes in Qualitative Data.
Assignment:
1.
Observe a scene or event for not less than 30 minutes.
2.
Take notes and write them up along the lines proposed by Emerson.
3.
Reflect on your actual process of taking fieldnotes (jottings) and of writing them up. What choices did you make and why? How did you address the challenges of converting experience into textual form?
4. Using the techniques of Ryan and Bernard, chapter 6 of Weiss, Learning from Strangers, and chapter 6 of Writing Ethnographic Fieldnotes, identify themes in your field notes (and, if you can, also in your interview). Reflect on this process. What did you find challenging? What did you find useful? How might this approach serve your dissertation project?
II
Movement, Music, Visual Culture
4/4 Movement
Read
Sklar, Deidre. 2001. Dancing with the Virgin: body and faith
in the fiesta of Tortugas, New Mexico. Berkeley: University of California
Press. Pay special attention to: 1-93, 176-195. View videos
of the dances.
Tufte, Edward R. 1997. "Explaining Magic: Pictorial
Instruction and Disinformation Design," In Visual Explanations: Images and Quantities, Evidence and Narrative.
Cheshire, CN: Graphics Press. Pp. 54-71.
Tufte, Edward R.
1990. "Narratives of Space and Time," Envisioning Information. Cheshire, CN: Graphics Press. Pp. 114-119.
Csordas,
Thomas J. 1993. Somatic
Modes of Attention. Cultural Anthropology 8, no. 2: 135-56.
Explore
Levine, Mindy N. et al. 2001. The
Collaborative Editing Project to Document Dance (New York: Dance
Division of the New York Public Library).
William Forsythe, Improvisation
Technologies: A Tool for the Analytical Dance Eye. Ostfildren: Hatje/Cantz
Verlag. See also: Improvisation
Technologies: Interactive Installation.
Library of Congress, An
American Ballroom Companion: Dance Instruction Manuals, ca. 1490-1920.
Explore both text and video.
Reading Guidelines:
(1)
How would you characterize Sklar's "experimental somatic approach"?
How does she make the writing show how she came to know what she knows?
How might her ideas about the relationship between kinesthetic and visual
epistemologies, sensibility and intelligibility, abstract conceptualizations
and sensory orderings, ways of moving as ways of thinking, and learning
with the body inform your work? How might Csordas inform your work?
(2)
Compare discursive, notational, and visual modes of movement description
and analysis (Sklar, Forsythe, Tufte, Levine, Csordas. What are the
advantages and disadvantages of each? How--in specific, concrete, and
practical terms--might you use the approaches set forth in this set
of readings in your own work?
Resources
Dance Notation
Bureau
Dance
and Movement Analysis Links
Introduction
to Labanotation
Bodyscapes
Recommended
Behnke, Elizabeth A. 1997. "Ghost Gestures: Phenomenological Investigations of Bodily Micromovements and Their Intercorporeal Implications," Human Studies 20, no. 2: 181 - 201, Click on pdf button.
Buckland, Theresa. 1999. Dance in the field:theory, methods,
and issues in dance ethnography. New York: St. Martin's Press.
Bull, Cynthia Jean Cohen. 1997. Sense, meaning and perception in three
dance cultures. In Meaning in motion: new cultural studies of dance,
ed Jane Desmond, 269-88. Durham: Duke University Press.
Cressey, Paul Goalby. 1932. The taxi-dance hall: a sociological study
in commercialized recreation and city life. Chicago, Ill: University
of Chicago Press.
Daly,
Ann. 1988. Movement analysis: piecing together the puzzle. TDR: The
Drama Review 32, no. 4: 40-52.
de Belder, Steven and Tachelet, Koen. 2000. Het zout der aarde: over
dans, politiek en werkelijkheid. Brussel: Vlaams Theater Instituut.
Essays by Mark Franko and André Lepecki.
DeFrantz, Thomas. 2002. Dancing many drums: excavations in African
American dance. Madison, Wis.: University of Wisconsin Press; 2002.
Farnell,
Brenda. 1999. Moving bodies, acting selves. Annual Review of
Anthropology 28, no. 1: 341-73.
Goodman, Nelson. 1968. Score, Sketch, and Script, In Languages of
art: an approach to a theory of symbols. Indianapolis: Bobbs-Merrill.
Pp. 177-221.
Hazzard-Gordon, Katrina. 1990. Jookin': the rise of social dance
formations in African-American culture. Philadelphia: Temple University
Press.
Jablonko, Allison, and Elizabeth Kagan. 1988. An experiment in looking:
reexamining the process of observation. TDR: The Drama Review
32, no. 4: 148-63.
Kendon,
Adam. 1997. Gesture. Annual Review of Anthropology 26, no.
1: 109-28.
Lepecki, André. 2000. The body in difference. Fama 1,
no. 1: 6-13.
Mitchell,
J. Clyde. 1956. The ` dance; aspects of social relationships among
urban Africans in Northern Rhodesia.
Manchester, Eng.:
Published on behalf of the Rhodes-Livingstone Institute by Manchester
University Press.
Morris, Gay. 1996. Moving words: re-writing dance. London ;,
New York: Routledge.
Ness, Sally Ann. 1992. Body, movement, and culture: kinesthetic and
visual symbolism in a Philippine community. Philadelphia: University
of Pennsylvania Press.
_____. 1996. Observing the evidence fall: difference arising from objectification
in cross-cultural studies of dance. In Moving words: re-writing dance.
Ed. Gay Morris, 254-69. London / New York: Routledge.
Novack, Cynthia Jean.
1990. Sharing the dance: contact improvisation and American culture.
Madison, WI: University of Wisconsin Press.
Novack, Cynthia J. 1988. Contact improvisation: a photo essay and summary
movement analysis. TDR: The Drama Review 32, no. 4: 120-134.
Schieffelin,
Edward L.
1985.
Performance and the Cultural Construction of Reality. American
Ethnologist 12, no. 4: 707-24.
Snyder, Allegra Fuller. 1993. Toward a dance documentation framework: analysis and evaluation. Dance Heritage Coalition.
Wulff, Helena. 1998. Ballet across borders: career and culture in
the world of dancers. Oxford;, New York, NY: Berg.
Reed,
Susan A. 1998. The politics and poetics of dance. Annual Review
of Anthropology 27, no. 1: 503-32.
4/11 Music
Read
Meintjes,
Louise. 2003. Sound of Africa!: Making Music Zulu in a South African
Studio. Durham, NC : Duke University Press.
Assignment:
1. How does Meintjes define her project? Pay special attention
to the various ways that she articulates (as a stated goal and in
the actual analysis) the relationship between a microanalysis
of music, its production, performance, and experience, on the one
hand, and a macroanalysis of the industry and larger political
contexts and struggles on the other. How, precisely, does she move
between these levels of attention and analysis?
2.
Characterize her research methodologies and writing strategies and
the rationale for the choices that she makes. What do these choices
let her do? Be specific and give examples.
3.
How might you apply what she does to your project?
Resources
Society for Ethnomusicology links #1
and #2
African
music
Africa: Performance
Theory
Alternate
Music Press: The Multimedia Journal of New Music
World
Music
Recommended
Barz, Gregory
F., and Timothy J. Cooley, eds. 1997. Shadows in the Field: New
Perspectives for Fieldwork in Ethnomusicology. New York: Oxford
University Press.
Berger, Harris M. 1997. The
practice of perception: multi-functionality and time in the musical
experiences of a Heavy Metal drummer. Ethnomusicology
41, no. 3: 464-87.
Berliner, Paul. 1993. The soul of mbira:
music and traditions of the Shona people of Zimbabwe. Chicago:
University of Chicago Press.
Cohen, Sara. 1993. Ethnography and popular music studies. Popular
Music 12, no. 2: 123-38.
Diehl, Keila. 2002. Echoes from Dharamsala: Music in the Life
of a Tibetan Refugee Community. Berkeley: University of California
Press.
Feld,
Steven. 1990. Sound and sentiment: birds, weeping, poetics, and
song in Kaluli expression. Philadelphia: University of Pennsylvania
Press.
Feld, Steven. 1994. From schizophonia to schismogenesis: on the
discourses and commodification practices of "world music"
and 'world beat". Music grooves: essays and dialogues.
257-89. Chicago: University of Chicago Press. Liner
notes and sound samples (#1,
#2,
#3,
#4)
from Rainforest
Soundwalk: Ambiences of Bosavi, Papua New Guinea. Interview
with Feld. Voices of the Rainforest CD available in the PS
Archive.
Feld, Steven. 1988. Aesthetics
as Iconicity of Style, or 'Lift-up-over Sounding': Getting into
the Kaluli Groove. Yearbook for Traditional Music 20.
(1988): 74-113.
Feld, Steven. 1984. Communication,
Music, and Speech about Music. Yearbook for Traditional Music,
16:1-18.
Finnegan, Ruth H. 1989. The Hidden Musicians: Music-Making in
an English Town. Cambridge/ New York: Cambridge University Press.
Keil,
Charles. 1987. Participatory Discrepancies and the Power of Music,
Cultural Anthropology 2, no. 3: 275-83.
Keil, Charles and Angeliki Vellou (text), Dick Blau (photographs),
and Steve Feld (soundscapes). 2002. Bright Balkan Morning: Romani
Lives and The Power of Music in Greek Macedonia. Middletown,
CT: Wesleyan University Press.
Keil, Charles, and Steven Feld. 1994. Respecting Aretha: A Letter
Exchange. Music grooves: essays and dialogues. Chicago: University
of Chicago Press. Pp. 18-26 (Gaunt review of this book in Yearbook
for Traditional Music, 2000, highly recommended).
Kisliuk,
Michelle Robin. 1998. Seize the dance!: BaAka musical life and
the ethnography of performance. New York ;, Oxford England:
Oxford University Press.
Monson,
Ingrid T. 1996. Saying something: jazz improvisation and interaction.
Chicago: University of Chicago Press.
Myers, Helen. 1992. Ethnomusicology. Ethnomusicology: an
introduction. Ed Helen Myers. 3-18. New York: W.W. Norton.
Nettl, Bruno. 1992. Heartland excursions: exercises in musical
ethnography. World of Music 34, no. 1: 9-34.
Radano, Ronald Michael and Philip Vilas Bohlman, eds. 2001. Music
and the racial imagination. Chicago: University of Chicago Press.
Seeger, Anthony. 1987. Why Suyá sing: a musical anthropology
of an Amazonian people. New York: Cambridge University Press.
Sudnow, David. 1978. Ways of the hand: the organization of improvised
conduct. Cambridge, Mass: Harvard University Press.
Turino, Thomas. 1990. Structure,
event and process in musical ethnography. Ethnomusicology
34, no. 3: 399-412.
WPA Folksong Questionnaire, 1939. From the American Memory Project, Library of Congress.
Wong, Deborah. 2000. The Asian American body in perfomance.
Music and the racial imagination. Eds. Ronald Michael Radano
and Philip Vilas Bohlman, 57-94. Chicago: University of Chicago
Press.
4/18 Visual Culture
Read
Wagner, Jon. 2004. Constructing Credible Images Documentary Studies, Social Research, and Visual Studies. The American Behavioral Scientist 47, no. 12 1477.
Holliday Ruth. 2004. Filming “The Closet”: The Role of Video Diaries in Researching Sexualities. American Behavioral Scientist, Vol. 47, No. 12, Pp. 1597-1616.
Greenfield, Lois. “About Lois” [her approach to photographing dance]
http://www.loisgreenfield.com/galleries/dance/index.html (images)
Please select one image and analyze it in relation to Greenfield's writing.
Wigoder, Meir. 2001. History Begins at Home: Photography and Memory in the Writings of Siegfried Kracauer and Roland Barthes. History and Memory 13, 1.
Benjamin, Walter. 1968 [1936] The work of art in the age of mechanical reproduction. Illuminations. New York: Schocken. Optional, but highly recommended.
Reading guidelines and assignment
While visual culture encompasses more than images and images encompass more than photography, we are focusing on photography because of all the visual sources you are likely use photography is chief among them. But there are other compelling reasons as well, not least of which the ontology of photography and its evidentiary status.
The readings for this week run the gamut from the most practical (the photograph as an historical artifact and historical source) to the most philosophical (a range of approaches to the ontology and phenomenology of photography) and address modes of attention and a range of aesthetic, social, scientific, and political practices, historical and contemporary. These authors also attend to a wide range of photographic genres, including studio portraits, family snapshots, mug shots, “documentary” or “scientific” photographs, and dance photography as an art form in its own right. Finally, there is the distinction between photographs that you find, with or without any information about them, and those that you will make—and in both cases how you will understand what they are, how to analyze them, and what to do with them. There are also the photographs that you may encourage your subjects to make and there is photo elicitation.
(1) How do these authors address the question of evidence with respect to photography?
(2) Identify specific methods and methodological issues in the readings. How might they be relevant to your work?
(3) Illustrate your response by analyzing one of Greenfield's dance images and a second image, either an image related to your project or one from your own family. Please bring the image to class. If you can insert the image into your blog, please do so. If not (and if you can email the image to me), I will insert it for you.
(4) Look over the recommended readings to get a sense of the scope of this topic.
Recommended
Visual Studies/Performance Studies
Soussloff, Catherine M., and Mark Franko. 2002. Visual and Performance Studies: A New History of Interdisciplinarity. Social Text 73, vol. 20, no. 4: 29-46.
Jackson, Shannon. 2005. Performing Show and Tell: Disciplines of Visual Culture and Performance Studies. Journal of Visual Culture 4, no. 2: 163-77.
Mitchell, W. J. T. 2002. Showing seeing: a critique of visual culture. Journal of Visual Culture 1, no. 2: 165-82.
Mitchell, W. J. T. 2005. There Are No Visual Media. Journal of Visual Culture 4, no. 2: 257-66.
Ontology/Phenomenology
Bazin, Andre. 1989 [1945] The ontology of the photographic image. What Is Cinema? vol 1. Berkeley: University of California Press. Reprinted in: Trachtenberg, Alan, ed. 1981. Classic Essays on Photography. New Haven, CN: Leete's Island Books.
de Duve, Thierry. 1978. Time Exposure and Snapshot: The Photograph as Paradox. October 5, no. Photography: 113-25.
Barthes, Roland. 1981 [1980]. Camera Lucida: Reflections on Photography. New York: Hill and Wang.
Kracauer, Siegried. 1995. Photogrpahy. The mass ornament: Weimar essays. Cambridge, Mass.
Benjamin, Walter. 1968 [1936] The work of art in the age of mechanical reproduction. Illuminations. New York: Schocken.
Buck-Morss, Susan. 1992. Aesthetics and Anaesthetics: Walter Benjamin's Artwork Essay Reconsidered. October 62: 3-41.
Schlupmann, Heide, and Thomas Y. Levin. 1987. Phenomenology of Film: On Siegfried Kracauer's Writings of the 1920s. New German Critique, no. 40: 97-114.
Baker, George. 1996. Photography between Narrativity and Stasis: August Sander, Degeneration, and the Decay of the Portrait. October 76: 72-113.
Binkley, Timothy. 1997. The Vitality of Digital Creation. Journal of Aesthetics and Art Criticism 55, 2: 107-115.
Imaging Performance
Dixon, Steve. 1999. Digits, Discourse and Documentation: Performance Research and Hypermedia. TDR: The Drama Review, 43, 1 (T161): 152-175.
Argelander, Ronald, and Peter Moore. 1974. Photo-Documentation: (And an Interview with Peter Moore). TDR: The Drama Review 18, no. 3, Criticism Issue: 51-58.
Wagner, Anne M. 2000. Performance, video and the rhetoric of presence. October 91: 59-80.
Varney, Denise and Rachel Fensham. 2000. More-and-less-than: liveness, video recording, and the future of performance. New Theatre Quarterly 61: 88-96.
Jones, Amelia. 1997. "Presence" in Absentia: Experiencing Performance as Documentation. Art Journal 56, no. 4: 11-18.
Smart, Jackie. 2001. The disruptive dialogue of dance for the camera. Journal of Media Practice 2: 37-47.
[Holcomb, Jeff]. Towards a history of environmental dance photography
Kaye, N., 1994. Live Art: Definition and Documentation, Contemporary Theatre Review 2, 2: 1-7.
Kershaw, Baz. 2000. Site Specifics: Performance, Place and Documentation. London: Routledge.
Melzer, A., 1995. Best Betrayal: The Documentation of Performance on Video and Film, New Theatre Quarterly, 11, no.42, 1995: 147-150 and 11, no.43: 259-274.
Sayre, Henry M. 1989. The object of performance: the American avant-garde since 1970. Chicago: University of Chicago Press.
Pearson, Mike. 1994. "Theatre/Archaeology." TDR 38, 4 (T144):133-61.
Symposium on Practice as Research in Performance, University of Bristol, 2001.
Heck, Thomas F and Erenstein, R. L. eds. 1999. Picturing performance: the iconography of the performing arts in concept and practice. Rochester, N.Y: University of Rochester Press.
Techology/Perception/Senses/Materiality/Embodiment
Crary, Jonathan. 1999. Suspensions of perception: attention, spectacle, and modern culture. Cambridge, Mass: MIT Press.
Crary, Jonathan. 1990. Techniques of the observer on vision and modernity in the nineteenth century. Cambridge, Mass: MIT Press.
Batchen, Geoffrey. 1991. Enslaved sovereign, observed spectator: on Jonathan Crary, Techniques of the Observer. Continuum: The Australian Journal of Media & Culture 6, 2.
Batchen, Geoffrey. 1997. Burning with desire: the conception of photography. Cambridge, Mass: The MIT Press.
Batchen, Geoffrey. 2001. Each wild idea: writing, photography, history. Cambridge, Mass: MIT Press.
Gunning, Tom. 1997. In Your Face: Physiognomy, Photography, and the Gnostic Mission of Early Film. Modernism/modernity, 4, 1:1-29.
Gunning, Tom 1949. 2003. The Exterior as Interieur : Benjamin's Optical Detective. Boundary 2 30, no. 1: 105-30.
Mavor, Carol. “Odor Di Femina: Though You May Not See Her, You Can Certainly Smell Her,” Cultural Studies 12, 1 (1998): 51-81. Or, access through Ingenta from "articles via database" page.
Mavor, Carol. 1996. Pleasures Taken: Performances of Sexuality and Loss in Victorian Photographs. Durham: Duke University Press, 1995.
Vidler, Anthony. 1991. Agoraphobia: Spatial Estrangement in Georg Simmel and Siegfried Kracauer. New German Critique, no. 54, Special Issue on Siegfried Kracauer: 31-45.
Mileaf, Janine A. 2002. Poses for the Camera: Eadweard Muybridge's Studies of the Human Figure. American Art 16, no. 3: 30-53.
Moten, Fred.
2003. "Resistance of the object: Adrian Piper's theatricality." In the break: The Aesthetics of the Black radical tradition. Minneapolis: University of Minnesota Press.
History/Memory/Document/Evidence
Gorman, Juliet. 2001. Jukin' it out: Contested visions of Florida in New Deal narratives. Web page [accessed 20 February 2003]. See especially Jook Joints.
Animating Democracy: Strengthening the Role of the Arts in Civic Dialogue, especially Without Sanctuary: Lynching Photography in America.
Baer, Ulrich. 2000. To Give Memory a Place: Holocaust Photography and the Landscape Tradition. Representations, no. 69: 38-62.
Curtis, James. "Making Sense of Documentary Photography," History Matters: Making Sense of Evidence.
Collins, Lisa Gail. 2002. "Historical Retrievals: Confronting Visual Evidence and the Imaging of Truth," The art of history: African American women artists engage the past. New Brunswick, NJ: Rutgers University Press. Pp. 11-36.
Renov, Michael, ed. Theorizing Documentary. New York: Routledge, 1993.
Margolis, Eric. 1988. Mining Photographs: Unearthing the Meanings of Historical Photos. Radical History Review 40: 32-48.
Edwards, Elizabeth. 2002. Material beings: objecthood and ethnographic photographs. Visual Studies 17, no. 1: 67-76.
Schwartz, Dona. 1992. To Tell the Truth: Codes of Objectivity in Photojournalism. Communication 13: 95-109.
Ericson, Richard V. 1998. How Journalists Visualize Fact. Annals of the American Academy of Political and Social Science 560: 83-95.
Daston, Lorraine and Peter Galison. 1992. The Image of Objectivity. Representations, No. 40, Special Issue: Seeing Science. (Autumn, 1992), pp. 81-128.
Renov, Michael, ed. Theorizing Documentary. New York: Routledge, 1993.
Crawford, T. Hugh. 1996. Imaging the Human Body: Quasi Objects, Quasi Texts, and the Theater of Proof. Publications of the Modern Language Association of America 111, no. 1: 66-79.
Bergstein, Mary. 1992. Lonely Aphrodites: On the Documentary Photography of Sculpture. Art Bulletin 74, no. 3: 475-98.
Malreaux, Andre.1953. Museum without walls. The Voices of Silence. Garden City, NY: Doubleday.
Sekula, Allen. 1981. The Traffic in Photographs. Art Journal 41, 1: 15-25.
Sternbach, David.1995. Hanging pictures: photographic theory and the framing of images of execution. New York University Law Review 70: 1100-1143.
Zelizer, Barbie. 1998. Remembering to forget: Holocaust memory through the camera's eye. Chicago: University of Chicago Press.
Hirsch, Marianne. 1997. Family frames: photography, narrative, and postmemory. Cambridge, Mass: Harvard University Press.
Puttiing Documentary to Work, Center for Documentary Studies, Duke University, 2000.
Representation/Visual Rhetoric/Semiotics
Barthes, Roland. 1985 [1970] "The Third Meaning: Research Notes on Several Eisenstein Stills." The Responsibility of Forms: Critical Essays on Music, Art, and Representation. Transl. Richard Howard. Berkeley: University of California.
Barthes, Roland. 1985 [1964]. "Rhetoric of the Image." The Responsibility of Forms: Critical Essays on Music, Art and Representation. Transl. Richard Howard. Berkeley: Berkeley: University of California.
Barthes, Roland. 1985 [1961]. "The Photographic Message." .The Responsibility of Forms: Critical Essays on Music, Art and Representation. Transl. Richard Howard. Berkeley: Berkeley: University of California.
Sontag, Susan. 1977. On photography. New York: Farrar, Straus and Giroux.
Sontag, Susan. 2003. Regarding the pain of others. New York: Farrar, Straus and Giroux.
Sekula, Allan. 1986. The Body and the Archive, October 39: 3-64.
Smith, Shawn Michelle. 2004. Photography on the color line: W.E.B. Du Bois, race, and visual culture. Chapel Hill: Duke.
Smith, Shawn Michelle. 2000."Looking at One's Self through the Eyes of Others": W.E.B. Du Bois's Photographs for the 1900 Paris Exposition. African American Review 34, 4: 581-599. See the collection of photographs.
Smith, Shawn Michelle. 1999. American archives: gender, race, and class in visual culture. Princeton, N.J.: Princeton University Press.
Bloom, Lisa. 1999. With other eyes: looking at race and gender in visual culture. Minneapolis: University of Minnesota Press.
Painter, Nell Irvin. 1994. Representing Truth: Sojourner Truth's Knowing and Becoming Known. Journal of American History 81, no. 2: 461-92.
Riley, Sirena J. 2002. "The Black Beauty Myth," in Colonize this!: young women of color on today's feminism. Eds. Daisy Hernández and Bushra Rehman. New York: Seal Press. Pp. 357-369.
Encounters with Photography: Photographing people in southern Africa, 1860 to 1999, Conference papers, Capetown, 1999.
Deborah Poole, 1997. Vision, Race and Modernity: A Visual Economy of the Andean Image World, Princeton, NJ: Princeton University Press.
William, Carla, Writings and photographs.
Willis, Deborah, and Carla Williams. 2000. The Black Female Body in Photographs from World's Fairs and Expositions, Exposure, 33, no. 1/2: 11-19.
Willis, Deborah and Carla Williams. 2002. The Black Female Body: A Photographic History. Philadelphia: Temple University Press. Review.
Yee, Jennifer. 2004. Recycling the 'Colonial Harem'? Women in postcards from French Indochina. French Cultural Studies 15, 1: 5-19.
Goffman, Erving. 1979. Gender Advertisements. Cambridge, MA: Harvard University Press.
Anthropological/Sociological Approaches
Edwards, Elizabeth. 1992. Anthropology and photography, 1860-1920. New Haven: Yale University Press in association with the Royal Anthropological Institute, London. See especially Schere, "The photographic document."
Banta, Melissa, Curtis M Hinsley, Joan Kathryn O'Donnell. 1986. From site to sight: anthropology, photography, and the power of imagery. Cambridge, Mass: Peabody Museum Press. Distributed by Harvard University Press.
Landau, Paul Stuart, and Deborah D Kaspin. 2002. Images and empires: visuality in colonial and postcolonial Africa. Berkeley: University of California Press.
Knowles, Caroline, and Paul Sweetman. 2004. Picturing the social landscape: visual methods in the sociological imagination. New York, NY: Routledge.
Brown, Julie K. 2001. Making culture visible: the public display of photography at fairs, expositions and exhibitions in the United States, 1847-1900. Amsterdam: Harwood Academic Publishers.
Media Practices
Ginsburg, Faye. 1994. Embedded Aesthetics: Creating a Discursive Space for Indigenous Media. Cultural Anthropology 9, no. 3, Further Inflections: Toward Ethnographies of the Future: 365-82.
Ginsburg, Faye D., Lila Abu-Lughod, and Brian Larkin, eds. 2002. Introduction. Media worlds: anthropology on new terrain. Berkeley: University of California Press.
Dayan, Daniel, and Elihu Katz. 1992. Media events: the live broadcasting of history. Cambridge, Mass: Harvard University Press.
Boudieu, Pierre. Photography: A Middle-brow Art Palo Alto: Stanford University Press, 1996.
Visual Methods
Banks, Marcus. 2001. Visual methods in social research. London: SAGE. Companion site.
Fara, Patricia. Reseach Methods Guide: Scientific Images
Harper, D. 2002. Talking about pictures: a case for photo elicitation. Visual Studies 17, no. 1: 13-26.
Heywood, Ian, and Barry Sandywell, eds. 1999. Interpreting visual culture: explorations in the hermeneutics of the visual. London / New York: Routledge.
Tufte, Edward R. 1997. Visual explanations: images and quantities, evidence and narrative. Cheshire, Conn.: Graphics Press.
Image Ethics
Prosser, Jon. 2000. The moral maze of image ethics. Eds. Helen Simons, and Robin Usher. London / New York: Routledge.
Digital Images and Fair Use
Visual Studies
Visual Anthropology
Visual Communication
Visual Literacy
Visual Image
Visual Culture
Photographic Image
Image/Media Collections Online
Accunet/AP Photo Archive. Log on to NYU Home. Search Bobcat for Accunet. Click on URL.
American Memory. Library of Congress
Prints and Photographs, Library of Congress
NYPL Picture Collection
NYPL Photography Collection
NYPL Digital Collections
Photography links
Google Advanced Image Search
Digital Librarian: Images
Carnegie Mellon Image Locator
The World Wide Web Virtual Library: History of Art
Great Buildings Collection
Getty Images
Image Collections and Online Art
BUBL Link Image Collections
Art History Resources on the Web
Artcyclopedia
Art Museum Image Consortium (AMICO). Access through Bobst and search for AMICO.
Robertson Media Center: Image Collections (includes African material)
Image Collections by Subject
Theatre Image Collections Online
The World Wide Web Virtual Library: Theatre images
Surweb Image Collection
Hartman Center for Sales, Advertising & Marketing History (1850-1920)
Ad*Access (historical advertisements, 1911-1955)
Imaging
Irfanview
Digital Library Federation: Guidelines
BritishColumbia:
Best Practices
Digital
Content Management
Cumulus: Image Database Management
Insight: Image
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III.
Performance History Methodologies
4/25
Performance History / Historiography
Read
Ginzburg, Carlo. 1989. "Clues: Roots of an Evidential Paradigm," Clues, Myths, and the Historical Method. Baltimore: Johns Hopkins University Press, pp. 196-225.
Dening, Greg.
1993. The
Theatricality of History Making and the Paradoxes of Acting. Cultural
Anthropology 8, no. 1: 73-95.
Foucault, Michel. 1998 [1971]. Nietzsche, Genealogy, History. Aesthetics, Method, and Epistemology. New York: The New Press. To read online, click rotate button on far right of toolbar in Adobe Acrobat.
Roach, Joseph. 1993. Carnival and the Law in New Orleans. TDR 37, no. 3: 42-75.
Assignment:
1. Explicate
the approach(s) to historical method put forward by each author.
2. Your project: Reflecting on the readings, consider what your
project might look like were you to imagine it as an historical project?
How would you set the problem? What would be the driving questions?
How would you position your project? What would be the research priorities
and how would you proceed, methodologically?
3. General PS Exam reading list: Identify at least 5 works (books
and articles) currently on the General Area Exam lists (as well as others
that you would recommend adding to the list, including any on this syllabus)
that would provide a basis for demonstrating what Performance
Studies might have to offer to the study of history and vice versa. Explain your choices.
Browse:
The Speculative Archive
for Historical Clarification and The
Atlas Group.
Recommended
Abelove, Henry. 2003. Deep gossip. Minneapolis : University of
Minnesota Press.
Batchen, Gregory. 1998. Deep storage: collecting, storing, and archiving in art. Eds. Ingrid Schaffner, Matthias Winzen, Geoffrey Batchen, and Hubertus Gassner. Munich/New York: Prestel. Pp. 46-49. Visit: Vera Frankel's Transit Bar.
Canning, Kathleen. 1999. The
Body as Method? Reflections on the Place of the Body in Gender History.
Gender & History 11, no. 3: 499-513.
Carlson, Marvin, ed. 2000. Theatre research resources in New York City. New York: Martin E. Segal Theatre Center, Graduate Center of the City University of New York.
Connerton,
Paul. 1989. How societies remember. New York: Cambridge University
Press.
Cook, T., and J. M. Schwartz. 2002. Archives, Records, and Power: From (Postmodern) Theory to (Archival) Performance. Archival Science 2, no. 3-4: 171-85.
Cvetkovich, Ann. 2003. An Archive of Feelings: Trauma, Sexuality,
and Lesbian Public Ccultures. Durham: Duke University Press.
Lorraine
Daston, and Peter Galison, "The
Image of Objectivity," Representations 40 (1992).
Dening, G. 2002. Performing on the Beaches of the
Mind: An Essay. History and Theory 41, no. 1: 1-24.
Dening, Greg. (1996). Performances. Melbourne,: Melbourne University
Press.
Derrida,
Jacques. 1996. Archive fever: a Freudian impression. Chicago:
University of Chicago Press.
Foucault,
Michel. 1972. The historical a priori and the archive. The archaeology
of knowledge , 126-31. New York: Pantheon Books.
Gregory, Brad S. 1999. Is Small Beautiful? Microhistory and the History of Everyday Life. History and Theory 38, no. 1: 100-110.
Hamilton, Carolyn, ed. 2002. Refiguring the archive. Cape
Town, South Africa: Dordrecht; Netherlands: David Philip / Kluwer Academic
Publishers.
Harris, V. 2002. The Archival Sliver: Power,
Memory, and Archives in South Africa. Archival Science 2,
no. 1-2: 63-86.
Hartman,
Saidiya V. 1997. Scenes of subjection : terror, slavery, and self-making
in nineteenth-century America. Race and American Culture. New York
: Oxford University Press.
Hartman,
Saidiya V. 2002. The
Time of Slavery. The South Atlantic Quarterly 101, no. 4:
757-77.
Ketelaar,
E . 2001. Tacit Narratives: The Meanings of Archives. Archival
Science 1, no. 2: 131-41(11).
Halttunen, Karen. 1982. Confidence Men and Painted Women: a Study of Middle-Class Culture in America, 1830-1870(New Haven: Yale University Press).
Fabian, Johannes. 1996. Remembering the present:
painting and popular history in Zaire. Berkeley, Calif.: University
of California Press.
Franko, Mark. 1986. The dancing body in renaissance choreography
(c. 1416-1589). Birmingham, Ala.: Summa Publications.
Franko, Mark. 2002. The work of dance: labor, movement, and identity
in the 1930s. Middletown, Conn.: Wesleyan University Press, pp.
8-12, 51-57.
Franko, Mark, and Annette Richards, eds. 2000. Acting on the past:
historical performance across the disciplines. Hanover, NH: Wesleyan
University Press.
Jenkins, Keith, and Alun Munslow. 2003. Re-thinking history. London: Routledge.
Lhamon,
W. T. (1998). Raising Cain: blackface performance from Jim Crow to Hip
Hop. Cambridge, Harvard University Press.
Levine,
Lawrence W. 1998. Highbrow/lowbrow: the emergence of cultural hierarchy
in America. Cambridge, Mass.: Harvard University Press.
McConachie, B. A. (1992). Melodramatic formations: American theatre
and society, 1820-1870. Iowa City, University of Iowa Press.
Moten, Fred. 2003. Not
in Between: Lyric Painting, Visual History, and the Postcolonial Future.
TDR The Drama Review 47, 1: 127-148.
Mbembe,
Achilles. 2002. African Modes of Self-Writing. Public Culture 14, no. 1: 239–73
Mbembe,
Achilles. 2002. On the power of the false. Public Culture
14, no. 3: 629-41.
Miller,
Joseph C. 1999, Presidential Address: History and Africa/Africa and
History. The American Historical Review, 104, no. 1:1-32.
Oral version.
Mueggler, Erik. 2001. The age of wild ghosts: memory, violence, and
place in Southwest China. Berkeley: University of California Press.
Musher, Sharon Ann. 2001. Contesting "The Way the Almighty Wants It": Crafting Memories of Ex-Slaves
in the Slave Narrative Collection. American Quarterly 53,
1:1-31.
Nora,
Pierre. 1989. Between
memory and history: Les lieux de memoire. Representations
26:7-24.
O'Toole,
J. M.
2002. Cortes's Notary: The Symbolic Power of Records.
Archival Science 2, no. 1-2: 45-61(17).
Pollock, Della, ed. 1998. Exceptional spaces: essays in performance
and history. Chapel Hill: University of North Carolina Press.
Reddy, William
M. 1997.
Against
Constructionism: The Historical Ethnography of Emotions. Current
Anthropology 38, no. 3: 327-51.
Rokem,
Freddie. 2000. Performing history: theatrical representations of
the past in contemporary theatre. Iowa City, IA: University of Iowa
Press.
Roach,
Joseph R. 1996. Cities of the Dead: Circum-Atlantic Performance.
New York: Columbia University Press.
Schechner, Richard. 1985. Restoration of behavior. Between theater
and anthropology. 35-116. Philadelphia: University of Pennsylvania
Press.
Schwartz J.M.,
and Cook T. 2002. Archives, Records, and Power: The Making of Modern
Memory. Archival Science 2, no. 1-2: 1-19(19).
Shelemay, Kay Kaufman. 1998. Let Jasmine Rain Down: Dong and Remembrance
among Syrian Jews. Chicago: University of Chicago Press.
Stoler, A.
L.2002. Colonial Archives and the
Arts of Governance. Archival Science 2, no. 1-2: 87-109.
Wilson, Fred, Lisa G Corrin, Leslie King-Hammond, Ira Berlin. 1994.
Mining the museum: an installation by
Fred Wilson.
Baltimore/New York, NY: The Contemporary in cooperation with the New
Press, New York.
Yung, Bell. 1989. Cantonese opera: performance as creative process.
Cambridge, Cambridgeshire; New York: Cambridge University Press.
Ards,
Angela. 1999. Black bibliophiles: professional and amateur collectors
indulge in a passion for black history and culture. QBR The Black
Book Review, no. May/June: 1-2, 29.
Seeger, Anthony. 1986. The
role of sound archives in ethnomusicology today. Ethnomusicology
30, no. 2: 261-76.
Smith, Shawn Michelle. 1999. American archives: gender, race, and
class in visual culture. Princeton, N.J.: Princeton University Press.
Wareham, E. 2002. From Explorers to Evangelists:
Archivists, Recordkeeping, and Remembering in the Pacific Islands.
Archival Science 2, no. 3-4: 187-207.
Oral
History / Public History
Thompson, Paul. 1994. Believe It or Not: Rethinking the Historical Interpretation
of Memory, In Memory
and history: essays on recalling and interpreting experience.
Eds. Jaclyn Jeffrey and Glenace Ecklund Edwall. Lanham, Md.: University
Press of America.
Portelli, Alessandro. 1991. What makes oral history different? 45-58.
The death of Luigi Trastulli, and other stories: form and meaning
in oral history. State University of New York Press.
Laub, Dori. 1991. An event without a witness: Truth, testimony, and
survival. In Testimony: crises of witnessing in literature, psychoanalysis,
and history, by Shoshana Felman and Dori Laub. New York: Routledge.
Pp. 75-92. Browse: Stephen Mayer. 1998. Bearing
Witness to the Holocaust: How the First Video Archive of Holocaust Testimonies
was Established. Listen: A
Czech survivor describes Auschwitz; Albert
Speer.
Gates,
Jr., Henry Louis. American Slaves Speak. In Unchained
Memories: Readings
from the Slave Narratives. Listen: How
the narratives were collected and transcribed. Selected music.
Listen: Interview
with Fountain Hughes, a 101 year-old former slave, in 1949 in Baltimore,
from the spoken-word collection at the American Folklife Center of the
Library of Congress. For longer version of this interview and two others,
see WPA
Federal Writers Project Audio Narratives. Patricia Williams interviews
death row inmate Mumia
Abu- Jamal. Browse: Born
in Slavery: Slave Narratives from the Federal Writers' Project, 1936-1938;
Facing History,
Facing Ourselves.
Adenaike, Carolyn Keyes, and Jan Vansina. 1996. In pursuit of history:
fieldwork in Africa. Portsmouth, N.H.:, Oxford: Heinemann; James
Currey.
Baum, Willa K. 1977. Transcribing and Editing Oral History. Nashville:
American Association of State and Local History.
Cameron, Deborah. 1995. Verbal hygiene. Politics of Language.
London ;, New York: Routledge.
Dunaway, David King and Willa K Baum. 1996. Oral history: an interdisciplinary
anthology. 2nd ed. American Association for State and Local History
Book Series. Walnut Creek: AltaMira Press.
Eakin, Paul John. 1999. How our lives become stories making selves.
Ithaca: Cornell University Press.
Fabian, Johannes. 1996. Remembering the present: painting and popular
history in Zaire. Berkeley, Calif.: University of California Press.
Gluck, Sherna Berger, and Daphne Patai, eds. 1991. Women's words:
The feminist practice of oral history. New York: Routledge.
Grele, Ronald J. et al. 1985. Envelopes of sound: The art of oral
history. Chicago: University of Chicago Press.
Gwaltney, John Langston. 1980. Drylongso: A Self-Portrait of Black
America. New York: Vintage
Hirsch, Marianne. 1997. Family frames: photography, narrative, and
postmemory. Cambridge, Mass: Harvard University Press.
Ives, Edward. 1980. The Tape Recorded Interview. Knoxville: University
of Tennessee.
Kansteiner W. 2002. Finding Meaning in Memory: A Methodological Critique
of Collective Memory Studies. History and Theory 41, no. 2: 179-97.
Kim, Elaine H., and Eui-Young Yu. 1996. East to America: Korean American
life stories. New York: New Press.
Kratz, Corinne. 2001. Conversations and Lives. In African words,
African voices: critical practices in oral history. Eds. Luise White,
Stephan Miescher, and David William Cohen, 127-61. Bloomington: Indiana
University Press.
Labov, William.
2001. Uncovering the event structure of narrative. To appear in
Georgetown University Round Table 2001. Georgetown, Washington,
D.C.: Georgetown: Georgetown University Press.
Lippi-Green, Rosina, ed. 1997. English with an Accent: Language,
Ideology, and
Discrimination in the United States. New York: Routledge.
McMahan, Eva M, and Kim Lacy Rogers. 1994. Interactive oral history
interviewing. LEA's Communication Series. Hillsdale, N.J: Erlbaum
Associates.
Ochs,
Elinor, and Lisa Capps. 1996. Narrating the self. Annual Review
of Anthropology 25, no. 1: 19-43.
Plummer, Ken. 1983. On the diversity of life documents. In Documents
of life: an introduction to the problems and literature of a humanistic
method. Ed. Kenneth Plummer, 13-38. London/ Boston: Allen & Unwin.
Reed-Danahay, Deborah. 1997. Auto/ethnography: rewriting the self
and the social. Oxford/New York: Berg.
Shaw, Carolyn Martin. 1995. Colonial inscriptions: race, sex, and
class in Kenya. Minneapolis: University of Minnesota Press.
Shelemay, Kay Kaufman. 1998. Let jasmine rain down: song and remembrance
among Syrian Jews. Chicago: University of Chicago Press.
Smith, Richard Cándida. 2002. Art and the performance of memory:
sounds and gestures of recollection. London/New York: Routledge.
Silva, Nikki, and Davia Nelsonand
Davia Nelson. 2000. Sonic History: The Making of Lost and Found Sound,
Journal for Multimedia History 3.
Stricklin,
David, and Rebecca Sharpless. 1988. The Past meets the present: essays
on oral history. Lanham, MD: University Press of America.
Tedlock,
Dennis. 1975. Learning to Listen: Oral History as Poetry. Boundary
2 3, no. 3, The Oral Impulse in Contemporary American Poetry: 707-28.
Thiong'o,
Ngugi wa. 1998 "Oral Power and Europhone Glory: Orature, Literature,
and Stolen Legacies." In Penpoints, Gunpoints, and Dreams: Towards
a Critical Theory of the Arts and the
State in Africa. Oxford: Oxford University Press.
Thompson, Paul. 1988. The Voice of the Past: Oral History. 2nd
ed. Oxford: Oxford University Press.
Vansina, Jan. 1973. Oral tradition: a study in historical methodology.
London: Penguin..
Vansina, Jan. 1984. Art history in Africa: an introduction to method.
London/New York: Longman.
Vansina, Jan. 1985. Oral tradition as history. Madison, Wis.:
University of Wisconsin Press.
Webb, Barbara L. 2001. The Black Dandyism of George Walker: A Case Study of Genealogical Method. TDR: The Drama Review 45, no. 4: 7-24.
A
Life in Dance: Documentation and Archives
Dance Heritage
Coalition
NIPAD National
Initiative to Preserve America's Dance
September 11 Digital Archive
Fales
Collection, Bobst Library, New York University
PSOnline
Guide
NYPL for the Performing
Arts
Schomburg Center for
Research in Black Culture
American Memory.
Library of Congress
Digital Performance
Archive
ILAM: International Library
of African music
Global Sound
5/2 DUE: Final portfolio. No exceptions. 5:30 pm
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