Master Bibliography Flashcards

Question

Jackson, Bruce. 1987. "Doing Fieldwork" and "Planning." In Fieldwork. Urbana: University of Illinois Press. pp. 13-19; 20-28.

Answer 1

interviews, folklorists say how they feel as opposed to scientists, interest in people, phases of fieldwork (planning, collecting, analyzing), report failures and feelings "• Difference between folklorists and scientists: folklorists don’t record their failures or feelings. • Fieldwork for the folklore student gives a sense of the labor of gathering information. • Interest in people is necessary! • Phases of fieldwork: planning, collecting, and analyzing. • Everything is done for a reason. Report failures and feelings, too! Examine your motives. Phases of Fieldwork: Planning, Collecting, Analyzing Planning: 1.) WHY doing this? 2.) WHAT want at the end? 3.) What [KMH: WHICH] resources need to get there? Know how to use your tools; take good care of them (weather)."

Answer 2

riddles, OVA

Answer 3

Dance, bias, mis-interpretation of dance forms,

Answer 4

How do artists relate to one another in a performance? Roles? PDs? "Groove, texture, and timbral discrepancies between/among participants are more important to music than syntax. (Argues for importance of process, not product; for need of music as pleasure/play; for creating socially, together, from the bottom up.) Groove can be created by slight discrepancies in rhythm, where some beats are allowed to ""breathe"" while others must be very precise. Constant negotiation and unpredictability keeps people coming back for more. Groove also has to do with differences in the attack/decay of musical notes. "

Answer 5

OVA "Kindell advocates for the importance of studying ethnopoetics. Not only is its study fun, but also useful and part of linguistics and therefore learning more about a culture from an emic perspective. Oral transmission of poetry differs from written poetry because the oral, although possibly prosaic, often translates as poetry due to its heightened nature and composition. Differentiating poetry from prose is relative, but poetry can usually be spotted by its form and delivery. Oral poetry encompasses a variety of genres including epics, ballads, songs, verse, and many more forms. The traditional phonological approach to poetry does not apply to oral poetry because the characteristics are not universal. Each language has its own set of rules oral poetry functions with. For instance, in a tonal language you might find tone rhyme as a feature. Kindell suggests analyzing the structure, including the type of line, material, and whether it is metered or measured; performance, including vocal changes, silences, and onomatopoeia; modes and meanings, including tonal and rhythmic patterns and social context; and features of oral poetry, including repetition, alliteration, and rhyme. Uses term ""ethnopoetics"" (analyzing/understanding verbal art of other cultures). Prose tends to describe emotions directly; poetry evokes them. Emotive power is at least equal to the cognitive content of a message. Distinguish prose vs. poetry: style, form, setting, local classification. Oral vs. written poetry: composition, transmission, actualization in performance. How to find? (1) Hymes: linguistic structure (metered, numerically regular vs. measured, semantic/grammar repetition) (2) Tedlock: expressive features (use of pauses, pitch patterns, speech tempo, gestures) [These two approaches coincided 90% of the time.] Common features of poetry: archaic vocabulary, alternate word orders, imagery/symbolic language, kinds of repetition (rhyme, alliteration, tone rhyme, parallelism). Performance modes: singing, chanting, speaking, combinations "

Answer 6

Song-writing workshops, composition

Answer 7

Enactment - an instantiation of an artistic genre during an event, or artistry that people produce through a genre's patterns and practices (qtd. Schrag 2015:322 "Motivations…Longer Traditions")

Answer 8

Kingdom Goals; people learn best when text combines with LOCAL ART STYLE

Answer 9

1. Importation –2. Adaptation . 3. Alteration – 4. Imitation – 5. Indigenization – 6. Internationalization

Answer 10

Visual Art - Space - Visual features and Spacial Relationships "CLAT p. 151 Space “Spatial Relationships b/w an Object's Visual Features” Visual Unity – An integrate message in which the various parts of the message are in harmony with the other parts Proximity – Objects are spatially related Repetition – Objects are quantitatively related Continuation –Based on psychological principles of closure Controlled Chaos – Objects appear to be disorganized, yet are under control"

Answer 11

Visual Art (4B), 156-157 (CLAT), Underlying symbolic systems of Visual Art: personal, historical, technical, ethical, cultural, critical

Answer 12

EGIDS "Took Fishman's (1991) GIDS and made it an EGIDS. “Extended GIDS” // Language Development vs. Endangerment Questions 1. What is the level of official use? 2. What is the literacy status? 3. What is the identity function? 4. Are all parents transmitting the language to their children? 5. What is the youngest generation that has some proficient speakers? Scale 0) International 1) National 2) Regional 3) Trade 4) Educational 5) Written 6a) Vigorous 6b) Threatened 7) Shifting 8a) Moribund 8b) Nearly Extinct 9) Dormant 10) Extinct"

Answer 13

Oral Verbal Arts; Shape of Event Through Time; temporal form of narrative or story elements "CLAT p. 139 Oral Verbal Arts “Shape of Event Through Time” ``` Temporal form of narrative/story • Stage • Inciting incident • Mounting tension • Climax of tension • Release of tension ``` Identify these Elements • Intro and actions of characters • Increase or decrease of rates of events in the narrative • Intro of special words to mark a climax • Change in a performer’s vocal timbre, volume, and pitch "

Answer 14

Dance - Performance Features (Movement Phrasing, Effort, & Dynamics) "CLAT p. 131-132 Performance Features: Effort and Phrasing 1) Even – maintain same level of intensity, slow steady mvt or faster even intensity 2) Increasing – energy at one level gets more intense, can end with impact (sudden stop) 3) Decreasing – high energy intensity becoming less, can begin with an impulse (outburst) 4) Increasing-decreasing – builds energy up then diminishes, asymmetrical or symmetrical, can include impacts or impulses 5) Decreasing-increasing – diminishes intensity then builds, asymmetrical or symmetrical, can include impacts or impulses 6) Accented – spurts of intensity or energy, can be repeated with pauses or stillness between spurts 7) Vibratory – series of quick and repetitive movements repeated at various “wavelengths” (strong/light) 8) Resilient – energy that plays with gravity, emphasizing the strength or heaviness (or “weightlessness”) of a movement (a) Elasticity – equal balance between strength and light, like bouncing a basketball down the length of a court (b) Buoyancy – demonstrates the lightness more clearly and has a rebounding quality like jumping in the air and “hovering” for a moment (c) Weight – demonstrates the strength of gravity and releases into the ground, like jumping in the air and spending more energy on the ground that in the air Impact – sudden stop, strong or light accent Impulse – outburst, strong or light accentCLAT p. 132-133 “Performance Features: Dynamics & Effort ** SPACE, TIME, and WEIGHT (FLOW confusing with Phrasing) ** 1) Fighting – resisting gravity, momentum, etc. 2) Indulging – giving in to gravity, momentum, etc. 3) Pelvis – good indicator of Dynamic or Effort (core/base of majority of movement) (A) Space – how the performer thins of and uses traveling through the physical space a. Direct – particular, planned, thought-out b. Indirect – meandering, allow other factors to guide traveling (B) Time – performer’s intuition or decision making while moving a. Sudden – alert, immediate (fighting) b. Sustained – calm, lingering (indulging) (C) Weight – how a performer senses and uses gravity a. Strong – firm, concentrated, grounded (fighting) b. Light – delicate, refined, tender (indulging) "

Answer 15

M1-M9 spectrum, C spectrum "pp. 9-10, don't accuse ""up the spectrum"" (of compromise, syncretism, heresy) or ""down the spectrum"" (of obstructing the flow of the Gospel with cultural insensitivity)! Those less content with Islam will be less likely to want C4-C5 and more likely want to go with C1-C3 options. He also presents the M1-M9 spectrum, outlining different attitudes of Muslims towards Islam (from disillusionment through ambivalence to contentment)."

Answer 16

``` Transmission & Change, Continuity "• Ethnomusicologists tend to try to preserve traditions, but music has a naturally changeable quality. • When recovering old or lost traditions, there is change but no continuity (2005:278). • Nettl hypothesizes that some components of music always change while others are static (2005:289). Musical gray-out (we referred to it in class as ""McDonaldization"")--he's not worried about it. • With the increase of modernization and cultural and musical change, ethnomusicologists have become more interested in change. • There are four kinds of change: (1) complete change, abandoned for another (very rare), (2) radical change (new form and elements can still be traced to old in some way), (3) change as part of the music’s essential character (most societies expect some kind of variation from composers), and (4) allowable variation that is actually not perceived by the host culture as change. Ethnomusicologists usually focus on change as part of the music’s essential character (#3). • Musical change is slowest in 1) societies with little technology, 2) musical systems that have developed a certain perfection to adapt to the host culture, 3) during the part of a change cycle that is slow, and 4) domains of culture that show little change, such as religion. • Music often changes when society doesn’t change and vice versa. • There seems to be a need for musics to exhibit both change and stability. A music can either be focused on innovation or variation, but usually not both. >>>- looking for universals - power and domination of men over women, " ```

Answer 17

Kingdom Goals (2), make Scripture relevant to culture through localized drama; Improve New Works (6); Community Check "People respond best when they see God is not a foreigner, but His ways are at home in their culture and in their daily lives/personal contexts. Defines them, organizes by type, explains essential elements, provides pointers, gives suggestions for coaching, describes ways to improve new works. Four main types of Scripture Relevance Dramas 1) parables/stories 2) historical biblical events 3) local stories with biblical parallels 4) problem stories from everyday life Three essential elements • Interesting IDEAS, CHARACTERS, and ACTIONS (these last two being the ""feet"" of the drama) Need to know • How to introduce play, how to present the main point/moral, length, number of stories, introduction of actors; stakeholders, how to send invitations, how to do community checks before and after."

Answer 18

elenctics, and the importance of conscience (missinonary, local person, etc.)

Answer 19

creativity + time "• Influence from anthropology: analyze “shifting temporal, social, and cultural bases” of musical experiences and intercultural context. • Rice proposes subject-centered ethnography with the subject as “a thoroughly social and self-reflexive being” (2003:157) • Musical experience exists in a three-dimensional space including metaphor, time, and location. The world is in constant flux (colonialism, electronic media, travel, all contributing). Three dimensions to describe individual's music experience: 1. LOCATION--settings/places/nodes of social and musical behavior, OR perception of space as phenomenal/behavioral; ideal/material; container/network/grid (from Curry) 2. TIME (x2)--chronological/historical (so people can hold previous beliefs) OR experimental/phenomenological; need both, because experience now is partly conditioned by experience in the past 3. METAPHOR--what people perceive the music to be (art, cognition, entertainment, therapy, social behavior, commodity, referential symbol, text for interpretation) (p. 165) Note diagram on p. 161: Y-axis is metaphor, X-axis is location (individual through virtual), and hypotenuse is time periods"

Answer 20

Music (4B); Content, relationship b/w meldoy, rhyth, and sung text (Song Text + Speech Surrogates)

Answer 21

Drama (4C), contextualization, "no universal forms of drama," combine cultural and Christian values, don't neglect indigenous means of communication through arts "• Indian artists are considered enemies of the church, except for the Catholic and (to some degree) the Lutheran Churches. • Rowe recommends using Vernacular and Parallel theatre forms to address issues in a relevant way and Classical and Folk theatre forms to reach the masses with a new message. • Folk theatre warrants the most exploration for perpetuating the gospel. Ex: Kenyan storytelling; Bharatanatyam, Chavittunatakam, and Kuchipudi from Indian culture. Drama consists of 12 signal systems, 11 of which are non-verbal, and each of them is culturally defined! Purpose of resource: help scholars discover and understand art forms in a culture. ""One cause of nominalism faced by churches worldwide is the suppression or neglect of indigenous means of communication through art forms"" (xviii). Church in India doesn't usually like attempts at redeeming traditional or classical art for Christian communication. All Hindu actors who performed the Gospel of Matthew eventually came to Christ."

Answer 22

Individuals/informants source of knowledge, share personal experience related to social and cultural principles; fuller picture obtained through ethn. research and informant stories (multiple angles); Artists (Step 4C) are autonomous actors and worth investigating "• Geographical, ethnic/kinship, institutional, and genre-affinity groups have music as part of their social and cultural systems. What is a musical ethnography? (1) asks/answers questions about meaning/function of music in culture and society; (2) based on fieldwork as indispensable method Four typical ways individuals have been treated in ethnographies: 1. Innovators 2. Important roles 3. Ordinary individuals 4. Anonymous audience members Individuals are generally central to ethnographies (even though meaning of name refers to 'peoples' of the world). Why? (1) we work with individuals; (2) individuals work out identities in creating social structures; (3) value the exceptional; (4) highlight individual agency and difference [in last quarter century; KMH: Westerners, anyway] May be used by those who focus on culture sharing certain ideas as specific examples; used by those who focus on lines of fragmentation as representatives of those groups. Author's direct or indirect encounter, or both. Narrative strategies: (1) biography; (2) assisted autobiography; (3) dialogue; (4) polyvocality (not grounded in context); (5) analysis of texts/performance. "

Answer 23

music helps people retain information more easily, used in music therapy and has literacy applications

Answer 24

Step 1: Meet community, fieldwork, methods of participant observation, etc., Materials - kanoon dancers move shakers in patterned ways adding to visual and auditory channels (4A) "• Fieldwork is a “grand conversation” with many actors and locations subject to variability (Schrag 2005:14-15). • Schrag “followed the people” rather than “following the thing” (2005:17). • Musical performance parameters: view (narrow, basic, local, regional, global); foundational plane of locations and times; communicators involved, infrastructures, message(s), resonance and frequency. Thought stream: Created culture feedback and resonance through social invigoration. ``` Fieldwork: Reasons he chose research here: 1-little previous research 2-opportunity for multi-site study 3-available help for networking 4-wanted local area to benefit from work" ```

Answer 25

infrastructure, stable, malleable, messages, communicators "• Performances are a form of artistic communication. • Nkem legwés – death celebrations – are an important part of Ngiembɔɔn culture. Sufficient participants need to be gathered to hold the celebration. • Members of a dance association count on their group to participate on nkem legwés for their relatives, creating “powerful incentives for [the] dance associations to perform well” (Schrag 2013:16). • The dances are seen as “perlocutionary acts” (2013:20). Use the malleable to strengthen the stable. Infrastructure = any socially constructed form that enables/influences transmission/reception of a message. Malleable = irregular times/locations, loosely organized Stable = regular times/locations, tightly organized Every stable infrastructure has a malleable one that works with it in a symbiotic relationship. Examples: (1) death celebrations (malleable) vs. dance associations (stable); (2) call (malleable) vs. response (stable); (3) bus (malleable) vs. road (stable); (4) big drums (malleable) vs. shaker patterns (stable reference pulse) SEE PICTURE on p. 57 of Schrag (2013) Manual! Summary sentence: ""Creative, plastic, malleable structures infuse new energy into the stable structures (e.g., by singing). Without this, the stable structures will decay and dissipate. And without stable undergirdings, the creators in malleable forms will have no place to hang their musical hats."""

Answer 26

Analyze an event containing chosen genre, enactment (integral/liminal), health of artistic traditions, activism vs scholarship, role of minority communities "Prototype theory and Event-based approaches (320) – (see Eleanor Rosch 1977) • Cognition as an amalgamation (the action, process, or result of combining or uniting) of features of varying importance • Helps researchers identify members of a community by a changing set of features Integral enactment – comprise of features sufficient to cohere as a genre, have deep, wide-ranging relationships to a genre, profoundly familiar to performers, exhibit a disorderly collection of components characteristic of normal social and artistic infrastructure (323) • exhibit more complexity (328) • more ecstatic experiences (328) • result in more deeply contented enactors (329) Liminal enactment – do not comprise features sufficient to fully express a genre, experiencers recognize some elements, but lack an emergent frame to guide expectations and engagement, often entail unusual levels of risk-taking (323) • can lead to the development of new genres (329) • can provide spaces for forging social harmony (329) • can tickle people’s imaginations (330) Assessing the health of artistic traditions • International, national/regional, vigorous, threatened, locked, shifting, dormant, extinct (332) • Loss of artistic tradition (Roch Ntankeh Cameroon; Pyotr Reshetnikov olonkho Sakha) • Acting to sustain older artistic traditions requires CLAT arts advocates + stakeholders (337), helping minority communities access their local communication systems to work toward a better future (341) “I believe that the most crippling injuries triggered by increasing liminality are human existence with less deep pleasure, fewer thriving communities, and unfulfilled friends” (335). Tension between ACTIVISM and SCHOLARSHIP and ROLE OF ETHNOLIGNUISTIC MINORITIES in ethnomusicological research ``` “[We] should be supporting the music alive; rather than just teaching it as though it were gone…”( Bess Lomax Hawes 1993 qtd. Schrag 2015:342) Ruth Stone (1979:37) artistic events as “set off and made distinct from the natural world of everyday life by the participants.” ``` "

Answer 27

Describe the event/genre as a whole, stresses the importance of studying music within the contexts of social events "Suyá people from Mato Grosso, Brazil “This book has discussed the total organization of the production of Suyá song, from its relationship to other verbal genres to its integral association with economic production and social reproduction. The study of musical performance contributes to anthropology an understanding of performative processes in general.” (Seeger 2004:139) Music is a performance genre, and the anthropological study of music emphasizes the importance of social process as performed, constantly reformulated in creative yet patterned ways.” (Seeger 2004:139) • Study of music and role of music in social process (xiii) • Musical anthropology study of society from the perspective of musical performance (xiii) • Questions (xiii) o “Why is the music performed in that way rather than another?” o “Why perform music at all in a given situation in a society?” • Field research and reflexive anthropology – general social and political process (138) • The Mouse Ceremony – rite of passage for young boys beginning initiation into male-oriented activities of the village plaza (2) Rising pitch musical analysis of unison songs (Ch 5: 88-103) • Suyá didn’t talk about melodic features of their music (93) • Clues o Aural cues with force (97) o Vocal tension could relate to rise in pitch, intentional or not (97) o Deep throat or ‘big throat’ aesthetics of Suyá song (100) o Age (young vs old), pitch rise when young men join after older (101)  Aesthetics of ‘big throat’ and identity of singers important (100)  Absolute or rising pitch is important to Seeger, not to Suyá"

Answer 28

identity/power "Main principles: Music may be used to communicate symbolically, either overtly (flag song messages) or covertly (flag song replacing American national anthem) (public vs. hidden; safe place for contestation because plausible deniability), in political contexts by individuals or collective action, and the meaning may shift in different contexts (the South African national anthem). - “Soundscape” is the distinctive settings, sounds, and significances of a musical culture (v). It ""is flexible, accommodating local detail while allowing for translocal connections...also captures the multidimensional, dynamic nature of music as it moves across time and space"" (xiii). - Cultural themes and processes that shape music: memory, migration, bodily motion, local or shared contexts and settings, belief, identity, and political action (xiii-xiv) - New narratives can infuse established art with new meaning, because ultimately social structures provide art with meaning. * Music is a display of official power (public transcripts) or power in embedded messages (hidden transcripts). Music can be an emblem of resistance as popular entertainment. * The first powwow, derived from the Algonquian word pawwaw, or “religious practitioners,” was held in the late 1800s. * Native American dances are in circles for unity, clockwise to follow the sun. * The war dance and traditional shawl dance are older while the fancy war, fancy shawl, grass dance, and jingle dance are newer and more popular with youth for their energy. * Nkosi Sikelel’ iAfrika and reggae present the social, racial, and economic inequity markers. Powwows celebrate Native American culture and explore the mainstream vs. native relationship. All three “define and defy past and present political realities” (2001:313). - Three case studies: (1) new national anthem in South Africa became symbol of liberation movement along the way, (2) subversive themes of resistance, connected with Rastafarianism, through reggae music--challenging power structures, (3) Shoshone powwow, flag songs and war songs and other elements make both open and hidden statements."

Answer 29

CLAT p. 93 (Step 4B) “Shape of Event Through Time” (MUSIC) musical phrase, musical terminology for analysis Phrase (music) A brief section of music, analogous to a phrase of spoken language, that sounds somewhat complete in itself, while not self-sufficient

Answer 30

Artistic event set apart from everyday life CLAT p. xviii (Prepare Yourself) What Are Arts? ((I didn't read)) Artistic performances are bounded, i.e., made distinct from natural world by the participants (37). Although…work may get done while artistry happening (prisoners singing). [She focused only on music, so didn't reference other artistry-producing elements, like smells.] Examples she gives: music sound producing behavior; music auditing behavior; proxemic-kinesic behavior; etc.

Answer 31

Fieldwork, explanation to understanding, relationships, shared experiences through expressions of culture in artistic mediums "• Epistemology for ethnomusicology focuses on the questions: what can we know about music? How can we know it? • Ethnomusicology started with musical transcription and moved toward fieldwork. • Philology (comparative linguistics) informs comparative musicology and musical folklore. • Overarching theme of ethnomusicology: “music behaves and ought to be studied as a system like language” (Titon 2008:28). • Ethnomusicology’s latest strand is people making or experiencing music. Old benchmark in ethnomusicology = transcription; new = fieldwork. Purpose of fieldwork = (1) develop experience with art form; (2)understand music through good relationships Various streams (comparative musicology, fieldwork); Fourth stream in ethnomusicology = ""study of people making music"" (29) explanation vs. understanding (objects vs. people)--emphasis on relationship"

Answer 32

Creativity in aesthetics and evaltuation (Step 4C) "• Creativity doesn’t attract much attention in cultural studies because it is seen as symptomatic of high art and therefore elitism (2003:102). • Creativity in ethnographic traditions is seen as symbolic and, Toynbee suggests, dissolves it into the ordinary. • Meaning is incomplete without an audience because creativity requires evaluation (2003:103). • Romanticism ignores social aspects of creation and makes it entirely egocentric. “We should all be creators together, and in this way transform the limited social practice of music making into something universal and collective” (2003:111). • Music is essentially “an ensemble of coded voices” which the creative identifies and interprets (2003:105-106). They are code shapers and changers. Not happy that creativity left out of cultural studies because associated with ""high art."" Argues that listener ultimately determines creativity--music is coded voices. (Audience needs to recognize symbols, but also differences that create delight. Creators know how to both make/keep and break rules appropriately.) Even solitary/intense moments of creative passion require creator to monitor choices from a place outside own subjectivity, based on culture in which working (104). Align these two factors to get innovation: (1) field of production artist chooses; (2) who artist is due to social elements comprising person."

Answer 33

Emotions (Step 4C), ecstacy, semiotics, indices, symbols, signs "Ecstasy and Semiotics - “When given indices are tied to the affective foundations of one’s personal or communal life--home, family, childhood, a lover, war experiences--they have special potential for creating direct EMOTIONAL EFFECTS because they are often unreflexively apprehended as ""real"" or ""true"" parts of the experiences signified [meaning a symbol represents; see CLAT Schrag 2013:150]. By contrast, symbols are general, mediational signs about rather than of the experiences they express.” Basically, took Peirce's theory of symbols and applied it to music. 1. Lexical (propositional) symbols = conventional, arbitrary, relate sign and object through language 2. Iconic = sign and object resemble each other 3. Indexical = by association in actual experience (e.g., smoke from fire) [separate example from class: Mary-Beth Saurman played heavy metal to lower a woman's heart rate and blood pressure so she could give birth] Melodic motif, textual rhyme, or musical quote of one piece in another is iconic signing, because it resembles something we have heard before (similar musical sounds, similar rhyming sounds)."

Answer 34

Social events, rites of passage, where does artistic communication occur "Liminality – state of transition as in rites of passage, margin (limen) or “threshold,” state of ambiguity for ritual subject passing through a cultural realm (i.e. boy initiation as man) Communitas (latin) – unstructured state in which all members of a community are EQUAL, allowing them to share a common experience • Existential or spontaneous communitas – the transient personal experience of togetherness (i.e. that which occurs during a counter-culture happening) • Normative communitas – which occurs as communitas is transformed from its existential state to being organized into a permanent social system due to the need for social control • Ideological communitas – which can be applied to many utopian social models Dialectic of the developmental cycle “[S]ocial life is a type of dialectical process that involves successive experience of high and low, communitas and structure, homogeneity and differentiation, equality and inequality. The passage from lower to higher status is through a limbo of statuslessness…each individual’s life experience contains alternating exposure to structure and communictas, and to states and transitions.” (1969:360-361)"

Answer 35

teaching methodology, learner centered, LtL

Answer 36

introduction, global survey of world music, uses focused case studies and talks about htier contexts

Answer 37

1) Why are some artistic activities more accomodating to outsiders than others? 2) improvised forms, the idea of "text", there was still a virtual script 3)text also = fusion of action, dialogue, song 4) role of the audience 5) perspective of performer, director, audience

Answer 38

GOAL: expand conceptual content of folkloric performance as a communicative phenomenon ARTISTIC COMMUNICATION always takes place in rich context, taking into account all environmental factors, so it is always EMERGENT. Artistic ACTION + Artistic EVENT (duality of performance) “The term performance…conveyed a dual sense of artistic action—the doing of folklore—and artistic event—the performance situation, involving performer, art form, audience, and setting—both of which are central to the developing performance approach to folklore.” (1975:290) [supporting reference for Harris' discussion of emergence in her dissertation (Sitting “Under the Mouth”… 2012)--she references Bauman 1975 article published in American Anthropologist 77(2): 290-311] [“Bauman traces this theme [of emergence] in the analysis of epic performance back to Albert Lord’s The Singer of Tales and calls this seminal work on epis “one of the first works to conceptualize oral literature in terms of emergent structures (1975:302)”] (Qtd Harris 2012:40)

Answer 39

CLASS- DP Beaudry uses a quote from John Steinbeck in the opening of this chapter, and I think it summarizes this quite well: “ We find after years of struggle that we do not take a trip; a trip takes us.” Through anecdotes from her own field experience the author addresses the human, relational element to fieldwork and discusses many of the pitfalls, joys, opportunities, and challenges of working with people. The overarching theme of objective vs. subjective research and the need to confront one’s assumptions recur frequently. This chapter exposes the reader to the messy complexity of relationships within research.

Answer 40

"Many non-Western musics exist only in performance, because no notation. Need to note not only CONTENT (specific bodies of music with definable and identifiable styles) but also CONTEXT, which dictates which contents will be present. (So, want to look at behavior of participants, rules/codes for performance in certain contexts, etc.) Performance uses cultural symbols to foster through interaction and participation the collective consciousness/affirmation of group identity, and to highlight differences in musical styles/contents that exist within culture. "

Answer 41

Women in African Apostolic Church may not preach, but can interrupt a sermon with a critical song ("Men, stop beating your wives")--artistic communication provides symbolic portection for critical content.

Answer 42

"(Change needs to come from within, from new heart, not from different outward forms. ""Search me, O God, not the artifact!"" Not read directly, but referenced in Harris, 2007.) In connection with RMWA (performance): God is Continuous Outpourer; we are made in His image and also are created to act in this way of continual outpouring. But He is singularly infinite, while humans are ""unique and multiplied finitude."" Listed in Fitzgerald/Schrag as one of primary sources of theologies of creativity, but doesn't go so far as to offer criteria for judging the worth of a musical event."

Answer 43

"Venda (South Africa): differences in ""humanly organized sound"" between classed Afrikaaners and classless Venda with their conception of musicality. European society developed the idea of talent and professionalism that worked to exclude most people from music-making. For the Venda, everyone can and should make music. Blacking's answer to the question ""how musical is man?"" is that he is as musical as his society allows him to be!"

Answer 44

"Music is humanly organized sound. Composition is ALWAYS part of a musical performance--cannot escape it, cannot simply ""play what is written,"" because every act of music production is a new creation. ""Ethnomusicology"" combines scientific and humanistic methods = instruments like phonographs (Grainger, England and Bartok, Hungary, were first to do fieldwork with one) + awareness of social factors involved."

Answer 45

"• Musical instruments are made of experiences as much as materials (2003:275). • Scientific and cultural perspectives don’t always match up. • The meaning and function of instruments change with society—“colonializing” instruments • Cross-cultural classifications are problematic for emergent culture-specific systems (2003:81) The meaning of the instrument connects strongly to the society where it was created. Ethnomusicologists should always use the taxonomies of musical instruments developed by the culture being studied. (Advantage of emic = build trust/respect within community and come to understand THEIR story better. Advantage of etic = communicate more 'objectively' with those outside culture and have hooks in own brain scaffolding on which to hang what you're learning.) ""Musical instruments are formed, structured, and carved out of personal and social experience as much as they are built up from a great variety of natural and synthetic materials"" (p. 274). [NOT just ""material objects""!] ""[W]e consume objects and give them meaning, and in doing so, reproduce them ... in our own image–we colonize them"" (p. 282). [Give them our own interpretation--work them into our own lives.] [From class, not reading: Note also interaction between human body and construction of instrument shapes structure of instrument (guitar = chords; one-string instrument towards polyphony; or similarity of vocal qualities and instrument techniques, such as attack of bow on string instrument with the olonkho is reproduced by kylyhakh vocal ornamentation)]"

Answer 46

"Pages 32-40 talk about worldview (includes definitions from Hesselgrave, Kraft, Wright, and Hiebert). Seven reasons why understanding the local worldview is important for effective communication and long-term integration of the Gospel message. They point out that four worldviews may be involved simultaneously in many cross-cultural ministry settings, including those of (1) the audience, (2) the “Gospel presenters,” (3) the Bible, and (4) the local church leadership/denomination. Pages 68-73 give twenty-three suggestions about preparing/understanding, creating, and testing stories (include lots of active dialogue)! Pages 92:97 address including other art forms in the storytelling process--advantages and disadvantages of using visual arts, music, drama."

Answer 47

"[Note that Feld was a linguist-turned-ethnomusicologist.] • Feld proposes six categories for inquiry into music: Competence, Form, Performance, Environment, Theory, Value and Equality. • The Kaluli people of Papua New Guinea do not have an equivalent of “talent” in their culture: everyone is expected to learn the sound system. • Like people, sounds in Kaluli culture should “harden” to gain more value. • Kaluli sounds are polyphonous and almost never unison. They look for the meaning “inside” or “underneath” sounds. • Kaluli mimic nature and have some gender-specific sounds demonstrating gender inequality: as a cheer, for example men mimic the eagle and women Superb Birds of Paradise. “There is not a yes/no issue about correlating song structure and social structure” (404). Although music often reflects society and vise versa, there is no way to predict one from the other. Look for coherence, not correlation. “It is my hope that a comparative sociomusicology will develop along these lines, elaborating not correlations of song structures and social structures, but coherences of sound structures and social structures” (406) Evokes emic metaphors to relate music to society. Intensive fieldwork can result in finding cultural metaphors; he gives six ""broad areas of inquiry"": competence, form, performance, environment, theory, value/equity/equality Then look for homologous structures in music sound Example: Kaluli “lift-up-over-sounding"" under form: this idea underlies music-making in which two singers will alternate in taking the lead role, producing layers of sound that interweave. A homologous phenomenon occurs in conversation when people “interrupt” each other – they are co-creating, lifting-up-over together. [Remember Brian's demo in class, rubber chicken inside hoodie; homologous means they (the art form and the culture) have the same shape.]"

Answer 48

CLAT reference?

Answer 49

aesthetics, culture, care, etc???

Answer 50

"A religion is 1) a system of symbols which acts to 2) establish powerful, pervasive, and long-lasting moods and motivations in humans by 3) formulating conceptions of a general order of existence and 4) clothing these conceptions with such an aura of factuality that 5) the moods and motivations seem uniquely realistic. General: huge advocate of ""thick"" descriptions to get us into the heart of the culture"

Answer 51

"Harris defines syncretism as “an inappropriate mixing of Christianity with paganism” and biblical contextualization as “the wise use of culture and local context to express some aspect of biblical Christianity” (14). She presents Kraft’s model as a way to see the presence of syncretism through forms and meanings. Local forms with local meanings is indicative of the local religion; foreign forms with local meanings is indicative of Christopagan syncretism; foreign forms with foreign meanings of domination syncretism; and local forms with Christian meanings as appropriate church contextualization. To reach the lattermost cross section, Harris presents Hiebert’s four steps of contextualization: 1) gathering local information about current meanings and functions, 2) studying related biblical teachings, 3) evaluating local forms, and 4) encouraging locals in making decisions about contextualized Christian practices. Harris also takes into account the state of the mind and heart in practices: the practice must be acceptable to the people in order to be worshipful rather than idolatrous. References and explains Kraft's (1996) model. Also explains Hiebert's (1985) standards and contains important references to Best (2003) and Liesch (2004)."

Answer 52

Folk Religion, Worldview, Relate church community to broader culture

Answer 53

SE resource "Written at basic level for use in training nationals in other cultures. See page 258 for simple approach to randomizing research subjects. Chapter 9, ""Identifying Relevant Issues"": see four steps in my Comps Study Guide. Chapter 16, ""Bible Storying"": simpler steps than Evan et al.; includes sample questions for asking the audience to test understanding. Chapter 17, ""Good News Encounters"": find culture's problems and relate Scriptures to their needs [ways to get ideas: (1) start with problem, do popcorn verses; (2) start with verse, think about relevant everyday problems] Chapter 27, ""Research, Marketing, and Distribution"": what products are being used or could be used; appearance to be culturally relevant; where and how to sell products so people can find them easily (Petersen in class: perhaps even that they find them, although not looking, because joined to something they ARE looking for; AND find out how similar things are marketed in your area; people-product-price-place-time-promotion (why people want this)). 1. Research to know which Scripture Engagement strategies will be most effective 2. “Researching Scripture use” (256) a. Monitor distribution of Scripture products b. Find out how they are used 3. Marketing a. Market appearance, such as book covers b. Advertise product through local mass media c. Gauge the appropriateness of the product 4. Distribution channels a. Find out how to distribute and where b. Manage the printing and recording costs Chapter 28, ""How to Bring about Change"": may be viewed as good, bad, or inevitable; harder to change worldview/beliefs/values, easier to change processes/procedures, easiest to change technology/products. Suggest changes that are simple, imaginable, positive, compatible with culture, have clear advantages, and can be sampled before implementing full change. Different stages: knowledge, persuasion (personal interaction), decision (people left alone), implementation (available for help), confirmation (change agent becomes encourager). People adopt at different rates: innovators, early adopters, early majority, late majority, laggards. Look for the opinion leaders and those with these gifts/talents: connectors, information collectors, and salespeople.There are three attitudes towards change: change is bad, change is inevitable, or change is good. You need a change agent to instigate change within a community and research in the community to validate your ideas Most difficult to least difficult changes: beliefs and values, activities, technology. Increase appeal by helping people imagine themselves with the new change, finding it advantageous, and the change being compatible with the community. Keep ideas simple. Provide smaller samples. It should be a positive change, not a preventative one, and provide incentives if possible. Stages; a. Knowledge, b. Persuasion, c. Decision, d. Implementation, e. Confirmation Adopters: a. Innovators, b. Early adopters, c. Early majority, d. Late majority, e. Laggards Helpers: a. Connectors, b. Information specialists, c. Salespeople "

Answer 54

Village of Denial and Anger--Village of No Hope--Village of New Beginnings. Healthy to go on this journey and even loop back through; not healthy to get stuck, and also not healthy to take a false bridge of addiction or repression of feelings.

Answer 55

Trauma healing workshop and book/lessons that worked so well in Goma, DRC, were found to be too intense for aboriginals in US/Canada--these latter groups had inherited a legacy of grief/loss. Factors involved: (1) degree/source of trauma; (2) earning trust as outsiders/non-aboriginal people; (3) optimism when you're trying something new in Goma, but for aboriginals, they'd already tried many tactics to deal with their grief; (4) cultural values--in DRC, quicker to open up and express emotions to God; for aboriginals, many layers built up, not letting the grief out; (5) oral vs. literate cultures (aboriginals may have been served better by written materials)

Answer 56

"determined by a process of planning and intention, which is disrupted by accidents and enhanced by serendipity" (120)

Answer 57

critical contextualization

Answer 58

function of music

Answer 59

Kisliuk discusses the changing landscape of research and how the acceptability of the subjective (reflexive ethnography) has opened the floodgates for a wide variety of approaches to documenting and sharing the results of research. She considers how the process of doing fieldwork and research also changes the researcher and their perspective on what they observe; they leave different than they came.

Answer 60

(Helps us see relationships among various types of syncretism. I did not read directly, but referenced in Harris' (2007) contextualization article. See Comps Study Guide for more.)

Answer 61

"• Aesthetics concerns the aims, purposes, and attitudes for and towards the arts. • Aesthetics are cultural assumptions and not universal • Westerner aesthetics isolates and de-contextualizes artistic enactments (psychic/psychical distance) whereas other cultures may rely heavily on its relationship to its context. • Western aesthetics tend to manipulate musical form for its own sake (1964:263) • Beauty is not tied to all aesthetics Artistic action can create feelings of cohesion and solidarity (p. 226). [Chapter 11: Uses and Functions.] General: Merriam’s model of music (1964/67) = ideas, behavior, sound that affect and are affected by the other components. Finds that Western aesthetic concepts don't apply to many other cultures. In Western philosophy: (1) psychical distance--able to distance self from art object and appreciate outside of social context; (2) manipulate form for own sake; (3) attribute emotion-producing qualities to music, conceived strictly as sound; (4) attribute beauty to art produced; (5) purposeful intent to create something aesthetically pleasing; (6) presence of philosophy of aesthetic. “[t]he interrelationship of the arts refers to the point of view that the arts stem from the same sources, that all the arts are really just one Art differently expressed because their materials are different” (273)."

Answer 62

"• Musicians exist under social stigmas as part of a subculture. • All musicians are specialists. • Many musicians are acknowledged as such when they become full-time professionals, but an excepted is in North American Indian culture. • Musician status is ascribed more often than achieved. • Behavior is tolerated of musicians which is not in the rest of society. Every culture considers some members of society to be more skilled at art (making music) than others = 'social specialist'. (Although societies view 'specialization' differently, and in egalitarian societies don't operate with that viewpoint.) Can be achieved or ascribed, depending on culture. Can be high or low status. Possible to practice as professional (usually seen as having some economic advantage) or as amateur. Often seen as ""fringe,"" slightly socially deviant, and therefore have more license to break social norms without consequences that non-musician might endure--also because of his importance to the society at large (communicator, draws people together, etc.)."

Answer 63

EM FIELDWORK "• Fieldwork is the critical stage of ethnomusicology (1992:21). Total immersion and isolation with the culture is necessary. • Features of ethnomusicology: 1) informant, 2) performances, 3) recordings. • Research something in which you have personal interest. • “Consider all aspects of feasibility”: scholarly, political, and physical (1992:26). • Ethics: have a reason for your study. Confidentiality is a difficult issue for locals but you need to abide by it. Don’t let the people you are working with forget you are there to study. Definition of ""fieldwork"" (from Hughes, 1960): Observation of people in situ. Common elements: (1) informant; (2) performances; (3) recording (written notes, audio, video) PLAN! (1) Select topic that is (a) interesting to you personally; (b) feasible (academically, politically, physically). (2) Ethics: disclosure, respect (3) background research + proposal METHODS: (1) participant observation (complete participant, participant as observer, observer as participant, complete observer)--more you blend in, less ""reactivity"" in research. (2) interviews (informal/guided conversation; semi-structured/open-ended; highly structured)--let silence help you and the informant, don't jump in! (3) records: jottings/notes Talks about culture shock, life shock, and tips for staying in good health. "

Answer 64

workshop methods

Answer 65

MLE and music for teaching

Answer 66

music helps people retain information more easily, used in music therapy and has literacy applications

Answer 67

"Ethnography of communication looks for info in the structure of communicative behavior and its role in the conduct of social life (related to sociology, performance, and natural-language, which I assume means descriptive linguistics). Language is one of these socially situated cultural forms. Approaches: (1) Boas & Kroeber saw as static cultural artifacts, ""trait list approach"" ; (2) Radcliffe-Brown/Malinowski looked for social/cultural meaning of artifacts, ""functionalist"" ; (3) ethnography of communication is holistic, not looking for just what, but also why, when, by whom, to whom, how learned, etc. See also study guide ""Thought Streams in the Arts 2: Other Disciplines."""

Answer 68

"• Both ritual and play transform people, temporarily or permanently. • Four perspectives to understand rituals: structures, functions, processes, and experiences. • “Where everything is genetically determined, where there is no learning, where no improvisation is possible, where error and/or lying cannot occur, art is not” (2002:59). • Liminal: becoming “nothing” to change identity (obligatory) Liminoid: ritualistic symbolic actions in leisure activities (voluntary) • Normative communitas: a group united by imposed rituals Spontaneous communitas: redefines a group with a clean slate for identity generated by the ritual process Can understand as (1) structures, (2) functions, (3) processes, &/or (4) experiences. Ritual leads people into a second reality where we can be selves that are different than our normal selves. Rituals are ordinary behaviors that are somehow exaggerated and frozen. They also make use of materials. Note that they include a MIXTURE of sacred and secular elements! Human rituals also mark the calendar and mark life phase changes. Social drama and aesthetic performance both influence each other. For instance, the pig kill enactment in Papua New Guinea. Very important for communitas = communal sense of being/connection). 11 themes relating ritual to performance studies: 1. ritual as action, as performance (preliminal, liminal, postliminal, from Arnold van Gennep) 2. human and animal rituals 3. rituals as liminal performances 4. communitas [see Turner 1974] and anti-structure 5. ritual time/space 6. transportations and transformations 7. social drama 8. the efficacy-entertainment dyad (continuum) 9. origins of performance 10. changing or inventing rituals 11. using rituals in theater, dance, and music"

Answer 69

Past missionary approaches to arts (often distrust, cautious acceptance, or open embrace). Talks about Vida Chenoweth. Quotes Paul Lewis, who consider arts as essential to identity, social relations, and worship. Gives five characteristics of artistic communication (special kinds of communication, set apart; embedded in cultural patterns; seldom occur alone; enriches experience of message; exist locally). Benefits of using local arts touch on Scripture Use, language analysis, translation, literacy, community development/trauma healing, language/culture learning, church life/outreach. Arts consultant will RESEARCH and ENCOURAGE. (This article is basically the first exposure for some to the field, and an appeal to those who want to engage in these developments to get in touch with the author.)

Answer 70

archiving?

Answer 71

Directed Practicum ETHICS VALUES IMPACT - ethnical implications of ethnomusicological research, - contrasts the values of a community with the values the western-music-trained ethnomusicologist might bring to their field. - would like us to consider the impact we have on communities and individual with whom we spend time, as much of the ethical discussion has only centered on the relationships established during fieldwork (144). - describes some of her interactions with a Syrian-Jewish community in Brooklyn over the past 10 years to give case studies and illustrations to demonstrate some of the ethical complexities of how ethnographic research is done.

Answer 72

"“[T]o what extent do musical structures and practices reflect, model, or resonate with the identities, experiences, or structural positions of social classes, and gendered and ethnic groups?” (2003:69) Explains three things (2003:69): • The issue (above) is important to the development of the cultural study of music during this time (1970s and 1980s) • The work that resulted was superseded by more sophisticated work • Why the legacy of some of the thinking that occurred during 1970-80 remains pertinent as an emergent paradigm for the cultural study of music is contemplated 1. Connections exist between social groups and their music (2003:73) a. Characteristics of musical form/genre reveals social reality of a culture (2003:73) 2. Music constituted socially and culturally means that “its harmonies, melodies, rhythms, and sound qualities or timbres…gave expression to meanings that were pervasively social and cultural” (2003:77)"

Answer 73

"Sklar emphasizes the importance of dance in all cultures, even the dances local to the ethnographer which do not seem “exotic.” Dance ethnology in Western culture, however, suffocates from the predominance of ballet and modern dance styles. To overcome both biases, Sklar suggests investigating more “parallel traditions” (2001:94). Kealiinohomoku: Know where you came from and incorporate into your journey; recognize contributions of Franz Boas, Curt Sachs, and Gertrude Kurath as dance scholars. Sklar: Moving as a way of thinking. Coorlawala: Be up front about hybridities/dualisms in yourself and your subjects. Shay: don't ignore what popular, stereotypical dance genres (e.g. Riverdance) can tell us."

Answer 74

"Dance includes meaning in another plane and state of being beyond the physical realm. In other words, significance lies in the way bodies move more than in the specific movements. We may understand dance by examining it through social, environmental, religious, aesthetic, political, economic, and historical lenses (1991:6). ""Ethnography"" literally means ""portrait of a people""--so striving to portray and understand cultural knowledge. People moving in patterned ways--highly stylized, codified, part of an aesthetic frame. Embodied cultural knowledge. How a culture makes meaning through dance. [cf. Ruskin & Rice, 2012, musical ethnography must address function/meaning of music in culture/society] Participation helps understand what others are experiencing. Important to understand why you chose a research subject, so you can reflect on why you see/perceive/understand phenomena in the way you do. She uses a case study from the Tortugas Fiesta in Mexico. [Describes with analysis as well as interviews to get into internal experience of the dancers.]"

Answer 75

"Now, ten years later, so new trends in dance ethnography: (1) Sociopolitical agendas (cf. ""cultural studies,"" see Thought Streams) (2) Kinesthetic--movement itself as a way of knowing, immediately felt, somatic mode. (Focuses on this one in her article, and talks about proprioception, the reception of stimuli produced wtihin one's own body, especially as movement.)"

Answer 76

"• All humans have the gift of “musicking” | • Musicking is not only part of human communication, but of survival"

Answer 77

"• Oral people are also visual • Audiences need to see themselves in visual representations in order to apply the messages to themselves • Visuals can help people understand, but first you must understand their level of visual literacy based on “personal experience, education, and environment"" (2007:7) • Be aware of cultural sensitivities such as clothing, nakedness, etc. • Black and white line drawings may be more neutral, but color is preferred by most people: be sure to use colors with appropriate meanings for the culture. Must see themselves in the art! Examples: WELLS: “they don’t see themselves”; they don’t see their own wells, houses, village, cooking tools, etc.; as soon as pics include things with which they identify, problem solved BOOKS: only want to teach the books with covers including visual themes attractive to Africa women (cloth pattern was the identifier) Visual designs are perceived differently in different cultures. Communicating through drawings/visual designs predates written language, but need research in how they are perceived. Can often enrich oral performances, especially Bible stories. Visual = something seen, excluding words; can clarify messages, fortify memory as mnemonic device, and summarize large amounts of material Tools used = line, shape, value, color, form, texture, space Simple media = dramas, diagrams, drawings Need to learn what audiences perceive about pictures. Know what cultural sensitivies are (heads without bodies, pictures of Jesus, showing both of someone's eyes (determines whether seen as ""good guy"" or ""bad guy"" somewhere in Ethiopia(?), or showing both ears, modesty). Sometimes may wish to engage in teaching visual literacy (influenced by personal experience, education, and environment). Gives strategies on how to be a learner about the culture through art--ARC, Art Reveals Culture. Explains design tips--how to use line, shape/form, etc., sensitively, and build up people's understanding of these elements. Lays out approach for designing materials for another culture (from our perspective, might want to involve the locals a lot more than suggested here). Secondary oral learners (a lot of our culture here in the USA, relying more and more on media for getting information)."

Answer 78

manual for documentation

Answer 79

"Note that the interviewer works to draw out information, until ""ordinary people become excellent informants"" (25). Be sure to explain to informant your project, recording (permission), the interview process, etc. Don't be afraid to show (cultural) ignorance and give him the role of teaching you. ""Asymmetrical turn taking,"" i.e., the informant talks more. Types of ethnographic questions: 1. Descriptive questions (easiest)--ask for examples, experiences, direct language translations, etc. 2. Structural questions (info from domains, figuring out how informants organize knowledge)--combine with descriptive questions to learn more [includes cover terms, included terms, use substitution frames, do card sorting exercises, verify domains, semantic relations, etc.] 3. Contrast questions (figuring out meaning--contrast with other elements with similar features) [includes verification of contrast, dyadic/triadic/set contrast; play 20-questions game--as the informant tries to discover the term, will use and uncover underlying categories!] "

Answer 80

Follow-up to his 1979 book, this one specifically about writing.

Answer 81

Drama is the actual performance of a make-believe action that might be, or might have been.

Answer 82

"Folk music = traditional, orally transmitted, regionally/ethnically based genres of music. Because learned in person by imitation/example rather than formally, with notation, get many versions/variants (not fixed, written text). Focus on performance more than just ""a text and a tune."" Reflects shared experiences of a certain culture. Moves people emotionally."

Answer 83

"Different kinds of Christ-centered communities (hence the ""C""), categorized along spectrum of interaction with ethnicity, language, traditions, etc. C1-Established denominations/theology bringing in foreign language; large cultural gap with locals. (""Christian"") C2-Established denominations/theology using local language, but foreign terminology. (""Christian"") C3-Insider language, neutral religious forms (folk music, ethnic dress, artwork, with none of original Islamic elements attached) (""Christian"") C4-Insider language, biblically permissible cultural/Islamic forms (so still praying with raised hands, fasting, avoiding pork/alcohol, etc.); meetings not in church buildings (""followers of Isa the Messiah"") C5-""messianic Muslims""--only Islamic components that are incompatible with the Bible are rejected; retain others (""Muslims following Isa"") [major difference between this and C4 is identity, not permissiveness; also, not wise or realistic for an outsider to come in and take on this identity--outsiders will always stay C4] C6-remain hidden"

Answer 84

"CLAT Step 4B “Record/Collect Similar Artistic Things” p. 90-91 1. List proverbs – Gather people, turn on recording device, ask people to share as many vernacular proverbs possible 2. Suggest situations in which proverbs might be used or topics they might address (laziness) 3. Suggest kinds of people proverbs mention (debtors, ancestors, old people, midwives, etc.) 4. Translate – Listen to the recording with local informant who knows their cultural proverbs well to help you translate them in an LWC. Focus on one proverb at a time. A dozen ways that collecting local proverbs can be useful: 1-reinforce/present new concepts/Gospel (use parallel/proverbs that agree to connect biblical teaching with cultural) 2-gives a reason to be there (cultural element seems more legit than random word lists) 3-document positive aspect of endangered languages 4-investigate cultural values 5-engage team members in collecting and editing proverbs 6-adult literacy materials 7-prepare for translation of scriptural passages with proverbs (examples of those outside the ""Book of Proverbs,"" e,g., 1 Samuel 24:31; Ezra 16:44; Luke 4:23; John 4:37; 2 Peter 2:22) 8-good language learning opportunities 9-good material for literature, giving prestige to a language 10-good conversation material 11-use in presentations to outsiders (nationally/internationally)--very positive way to provide connection to culture 12-fun Cautions: (1) not a good source for grammatical analysis (artistry often bends rules); (2) let locals edit (may not want some proverbs public); (3) don't rely on isolated proverbs to establish cultural values (we have many in English that contradict, such as 'strike while iron is hot' and 'look before you leap')"

Answer 85

A Muslim praise singer in Nigeria, working with the Wedekinds, took the Song of Mary and made only the smallest of adaptations to make it fit into their language, discourse structure, and form of artistic expression, the "praise song" (used for praising someone in the community, often the white man for his generosity). (The meditative progression, repetition of lines with small substitutions, parallelisms, etc., make transition easy between these praise songs and psalms/other biblical poetic passages.)

Answer 86

"A Level 1 drama could be of a local pantomiming eating a fruit everyone is familiar with, like a mango. The actor is local and is simulating a familiar action. Level 2 could use the mango to tell the story of Mark 11:12-25 (Jesus cursing the fig tree). The audience would know about the mango tree but not the rest of the story. Level 3 could have the actor using the original context with the fig tree if there were no figs in that area. They would understand the basic meaning without having direct contact with the fig tree. Level 4 would take the drama a step further to include figurative or metaphorical imagery. This might include a visualization of a mountain throwing itself into the sea. The audience would need more knowledge than is given to connect the two ideas. Easier transfer of concepts when author and reader are closer in cultural background and experiences (NOT linguistic complexity). Page 23, levels (assuming author and reader are both active members of culture and native speakers of the language--see chart in Comps Study Guide): 1-author and reader share information and experiences already (common songs, proverbs, folk tales, stories, etc.) [we can help by writing down oral traditions/stories] 2-author has a new personal experience, unshared by the reader [we can help by hosting creative writing workshops where local authors tell personal experience stories] 3-author learns about something vicariously, which the reader also doesn't know, and tries to convey that information in a culturally appropriate way [we can help by hosting creative writing workshops where local authors retell Bible stories/Christian values into their worldview--contextualized oral Bible storying] 4-author simply translates something from another language directly into the local language [we can help by translating other materials into that culture's language]"

Answer 87

"Zaki compares dancing to Christianity in its ebb and flow, frame and chaos. Like other religions, Christianity has a particular historical and cultural context, a solid foundation, and unresolved tension. But it also has the Nairobi Statement, which Zaki refers to as as a “four step dance” and which makes four assertions on Christian worship and culture: 1.) transcultural: the same for everyone everywhere, 2.) contextual: changes in nature and culture due to its local situation, 3.) counter-cultural: challenging what’s contrary to Scripture, 4.) cross-cultural: shares between cultures. The Nairobi statement addresses the tension between cultures and helps envision the four quadrants in which the issues may fall—and be resolved. Dance of worship and culture is like any other dance--pushing, pulling, being aware of the other. Spectrum: ISOLATE in opposition to culture-----MINIMIZE/downplay the difference between the culture and the truth. The four-step dance, worship is (1) transcultural (same substance in every culture); (2) contextual (varies by location through A-dynamic equivalence, like using Maasai red for royalty in portraying lordship of Jesus; B-creative assimilation, like using the Egyptian oud in laments); (3) counter-cultural (challenges what is contrary to the Gospel); (4) cross-cultural (can share among local cultures); can fit each of these four onto a gride with global vs. local and biblical vs. cultural (see my Comps Study Guide)."

Answer 88

bible study plan for commissioning artists, or to address cultural issues. Village model, crossing the "bridge" and contextualizing