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WA Comprehensive Exams 2017 > EXAM authors and dates and their main ideas > Flashcards

EXAM authors and dates and their main ideas Flashcards

1
Q

Turner 1988

- symbolic anthropology

A

symbolic anthropology: analyze symbols embedded in rituals since they provide insights into the makeup of the community; analyze using emic approach by attending ceremonies and rituals

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2
Q

Blacking 1992

- symbolic anthropology

A

symbolic anthropology: The arts are means of communication ingrained in culture.

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3
Q

Shelemay 2008

- symbolic anthropology

A

Perform scholarly research while developing relationships and identifying with the community; develop relationships and identify with the community as I do research

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4
Q

Schrag 2013

- purpose and end goals of research

A

Goal of research: find out as much as possible about the community to help them evaluate the positive and negative elements, set goals to strengthen those elements, spark new artistic genre enactments that will carry the message that will bring about change, improve those works, then integrate, bring about change, and move those people towards the kingdom of God

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5
Q

Johnston and Orwig 1999

A

research using my learning styles as appropriate within the community; 1) relational: relationships, variety, helping others develop and 2) structured: systematic and organized approach, practical, hands-on learning

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6
Q

Hood 1960

A

become bi-musical or bi-artistic; learn as much as possible about the community’s arts by doing it and accepting their standards and ways

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7
Q

Aubert 2007

A

musical bi-lingualism; setting aside western evaluation standards

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8
Q

Titon 2008

A

learn an art form; doing art with the people; function within the community while gathering data

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9
Q

Jackson “Interviewing” 1987

A

ethnographic interviews using open and follow-up questions

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10
Q

Ruskin and Rice 2012

A

important to study individual artists; biographies and autobiographies

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11
Q

Myers 1992

“Fieldwork”

A

Collect primary sources: jottings, notes, photos, audio and video recordings

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12
Q

Beaudry 2008

- relationships with artists

A

Learning about the arts and artists leads to better understanding of the community’s worldview, values, and beliefs

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13
Q

Toynbee 2003

A

Creativity when people within a community create a new artistic genre enactment valued by the community according to their standards of evaluation

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14
Q

Csikszentmihalyi 1996

A

Creativity is creating something completely new that the community will value; bringing change to a domain that the community will accept.

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15
Q

Coulter 2011

A

Evaluation of language use and cultural practices may reveal insights into a community’s cultural identity.

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16
Q

Coulter 2016

A

Traditions thrive when both stable and malleable elements are strong.

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17
Q

Keil 1995

A

Making music together is more important than making it perfectly. Participatory discrepancies are malleable elements that make the music “personally involving and socially valuable.”

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18
Q

Shelemay 2001

- communication

A

Communication through music can be through open communication or coded communication.

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19
Q

Alaghband-Zadeh 2015

A

The arts may be change agents in politcal and social issues. Gender issues need to be considered.

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20
Q

Merriam 1964

- aesthetics

A

Aesthetics are not universal. Understanding a culture’s aesthetics assists in understanding their values.

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21
Q

Fitzgerald and Schrag 2014

A

Evaluation on how well the work communicates the content, how it achieves its purpose, and how sustainable it is.

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22
Q

Unseth 2008

A

Using local proverbs because they encase the values and morals of the community

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23
Q

Evans-Pritchard 1967

A

Using local stories because they encase the worldview, values, and beliefs of the community.

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24
Q

Schechner “Ritual” 2013

Time

A

Time: Discover the rituals that move a person through the liminal state

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25
Huron 2006
The arts have power to affect emotions to bring about change.
26
Schechner 2013 | - performance studies
performance studies: studying artistic and cultural performances considered art by the community as well as studying cultural performances that take place very day in which culture, values, beliefs, worldview are displayed
27
Beaudry 2008 | - transmission and change
helpful to understand local learning styles and how the arts are used to gain insights into worldview
28
Aubert 2007 | - transmission and change
important to learn how traditions are transmitted; how correction takes place
29
Schrag 2013 | - transmission and change
malleable and stable elements; determine and evaluate
30
Rice 2003 | - Time
study a genre through individuals in the areas of metaphors, location, time
31
Schrag 2013, attributed to R. Harris | 3 approaches to missions
Bring It- Teach It; Build a New Bridge; Find It-Encourage It
32
Hood 1960 | meeting a community and its arts
bi-musicality, willingness to learn a different way
33
Aubert 2007 | meeting a community and its arts
"musical bilingualism" - setting aside western standards, immerse oneself in the new artistic culture and forms
34
Alaghband-Zadeh 2015 | meeting a community and its arts
When researching ways a community communicates/interact, important to remember status and gender issues
35
Turner 1988 | emic approach to meeting a community
attend events (ceremonies and rituals) containing the arts since they are loaded with symbolism and provide insights into the community
36
Titon 2008 | emic approach to meeting a community
"doing music" with the people, entering into their world as you research
37
Jackson 1987 | emic approach to meeting a community
interview artists using open and follow-up questions, focus on the informant
38
Beaudry 2008 | emic approach to meeting a community
meet artists to understand their function and status in the community
39
Myers 1992 | etic and emic approach to meeting a community
accumulate primary sources: notes, video and audio recordings, photographs; emic and etic data; importance of participant observation
40
Hasselbring 2008
participatory tools: stakeholder analysis determine influencial people and engage them in reaching the goal; force field analysis to identify strengths and problems then make plans; appreciative inquiry to develop plans to fulfill goals building on community strengths
41
Schrag 2007
local arts are communication systems embedded within the culture allowing for creativity, modification, and expansion of the message
42
Schechner 2013 | Step 2
performance of the arts functions to entertain, create beauty, mark change or change identity, to heal, to teach or persuade
43
Zaki 2013 | Step 4D
Nairobi Statement: aspects of worship: trans-cultural, contextual, counter cultural, cross-cultural
44
Saurman 2013 | Step 4D
the Worship Wheel to help a church identify which aspects of Christian life are not being affected/enriched by the arts
45
Duvall and Hays 2001
understand scripture well: original meaning, differences from biblical culture; key theological concepts; application to local context
46
Scripture for critical contextualization
Romans 14, 1 Timothy 4:4
47
Harris 2010
use appropriately contextualized local forms/genres that will effectively communicate the desired meaning to avoid syncretism
48
West and Shetler 2011
1. Total rejection of local art forms: art goes underground, Gospel considered foreign, rejection of the Gospel or syncretism. 2. Total acceptance of local art forms weakens Gospel message and results in syncretism. 3. Transformation of local art forms: keep what does not cause problems in communicating the meaning but reject or transform that which does; results in further integration of Christian truths and actions into lives of believers
49
Saurman 2013 | sparking activity
workshops
50
King 1999 | sparking activity
creators' clubs
51
Learning that Lasts method
Connect, Content, Challenge, Change, Closure
52
Hiebert 1985
critical contextualization
53
Coulter 2011 | identity and sustainability
studying local arts may link to use of local language; measuring scale of how the form is being used by the community
54
Harris 2012 | identity and sustainability
measuring levels of how the artistic genre is being sustained
55
Hill et al. 2016 | shalom
arts and trauma healing workshops
56
Malchiodi 2005
expressive arts therapies in trauma healing workshops
57
Schechner "Play" 2013 | shalom
play traditional games
58
Zaki 2013 | church life
worship locally, nationally, globally; Nairobi Statement (worship is trans cultural, contextual, cross cultural, counter cultural)
59
Toynbee 2003 | Step 6
Creativity takes place within the context of a community whose members evaluate the new creation
60
Schrag 2013 | "Evaluating and Improving Local Arts"
importance of checking: self-check, consultant check, community check
61
Fitzgerald and Schrag 2014
develop culturally-accepted standards of evaluation that will continue to be used by the community
62
Lewis and Simons 2011
Encourage artistry by emphasizing the function how it will be acquired, motivation to continue, and community support
63
Dye 2002
use of scripture affected by appropriate language, dialect, orthography; appropriate translation; accessible forms; background knowledge of the hearer; availability; spiritual hunger of the community; relevancy: felt and real needs being met by God's word
64
Nettl 2015
studying music as an aspect of human culture
65
.Herndon 2002
Culture impacts how a song is used; powerful communication tool
66
Dawe 2003
Studying musical instruments gives a better understanding why people make music and how music affects the culture
67
Bauman and Braid 1998
Studying OVAs in the culture, community, and individual use increases understanding of the traditions as they relate to the life of the community; artful modes of communication
68
Sklar 1991, 2000, 2001
Dance movements give insights into the people's beliefs, lifestyles, values; dance communicates ideas, memories
69
Dyrness 2001
Studying visual art gives insights into basic aspects of the worldview, values, and beliefs of a community
70
Bakan 2012
references for music terms
71
Apel 1970
references for music terms
72
Greenwald, Schulz, and Pomo
references for drama terms
73
Hackney 2002
references for dance terms: relationships, connectivities, kinesphere
74
Hutchinson Guest and Curran 2008
references for dance terms: relationships, connectivities, kinesphere, as well as floor plan symbols
75
Maletic 2004
references for dance terms: phrasing and effort
76
Dooley and Levinsohn 2000
references for discourse analysis terms for OVA
77
"Visual Arts Vocabulary" Spark Education
references for visual arts terms
78
Fitzgerald and Schrag 2014 | - USS
USS: rules that govern the form, a good performance, what is acceptable, what is not permitted
79
Kuisliuk 2008 | symbolic anthropology
Research involves getting to know people as you make yourself known thru close relationships developed by involvement in artistic practice and performance.

WA Comprehensive Exams 2017 (15 decks)

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