Journal articles: 'Ethnographic art'

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Ruth, Alissa, Katherine Mayfour, Jessica Hardin, Thurka Sangaramoorthy, Amber Wutich, H. Russell Bernard, Alexandra Brewis, et al. "Teaching Ethnographic Methods: The State of the Art." Human Organization 81, no. 4 (December 1, 2022): 401–12. http://dx.doi.org/10.17730/1938-3525-81.4.401.

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Ethnography is a core methodology in anthropology and other disciplines. Yet, there is currently no scholarly consensus on how to teach ethnographic methods—or even what methods belong in the ethnographic toolkit. We report on a systematic analysis of syllabi to gauge how ethnographic methods are taught in the United States. We analyze 107 methods syllabi from a nationally elicited sample of university faculty who teach ethnography. Systematic coding shows that ethics, research design, participant observation, interviewing, and analysis are central to ethnographic instruction. But many key components of ethical, quality ethnographic practice (like preparing an IRB application, reflexivity, positionality, taking field notes, accurate transcription, theme identification, and coding) are only taught rarely. We suggest that, without inclusion of such elements in its basic training, the fields that prioritize this methodology are at risk of inadvertently perpetuating uneven, erratic, and extractive fieldwork practices.

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Hartblay, Cassandra. "This is not thick description: Conceptual art installation as ethnographic process." Ethnography 19, no. 2 (August 21, 2017): 153–82. http://dx.doi.org/10.1177/1466138117726191.

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What happens when an ethnographer takes up the idiom of contemporary art installation to explore an ethnographic problem? Building on performance ethnography as developed by Dwight Conquergood and D. Soyini Madison, in which the research process itself is cultural performance, this article describes a methodological innovation that encourages a rethinking of ethnographic outputs. Contemporary art installation is generative as well as representational, and challenges ethnographers to think by doing. This article describes one such project to show that while a minimalist installation aesthetic does not on the surface constitute ‘thick description’ in the Geertzian sense, it can be a generative part of a dialogic practice of ethnographic knowledge production. Integrating the interpretive tradition with feminist disability studies, my argument is that art installation offers a possible mode for ethnographers to work through ideas, solicit participation from academic audiences and research participants, create semiotic relationships, and come to know by doing.

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Mikayelyan, A. G. "Ethnography of Prison According to Parajanov." Critique and Semiotics 37, no. 2 (2019): 100–113. http://dx.doi.org/10.25205/2307-1737-2019-2-100-113.

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In the article, the prison period of Sergei Parajanov’s art is examined – Parajanov served his sentence in 1973–1977 in the high security camps in Ukraine. Following the graphic works, collages and film scenarios which he created in the prison, one can conceive of the everyday life in the Soviet prison of 1970s –1980s, more than that, get an outline of the ethnography of the Soviet prison. Parajanov often uses ethnographic realities and attributes in his movies, some of these movies are even considered to be a specific variety of ethnographic cinema. However, there is an opinion that the film director, while reflecting ethnographic realities, no less created pseudoethnographic ones. In this regard, his works of the prison period are something different from the usual Parajanovian fantasies. Unlike the authors who studied the ethnography of the prison, even those who relied on their own experience (for example, L. Samoilov), Parajanov created a significant part of his works of prison content in the camp, like an ethnographer in the field, although there are also works that he created or supplemented after prison, again like an ethnographer, relying on his field notes. In other words, his works of the prison period are much closer to the genre of ethnography than his “ethnographic” films. The article also discusses the problem of the representation of Parajanov’s works of the prison period in the museums. Are they samples of prison art, a representation of a certain period in the author’s biography, or a kind of the prison ethnography?

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Grishchenko, Anastasiya Petrovna. "Ethnographic motif in the decorative and applied art of Krasnoyarsk. History and modernity." Философия и культура, no. 4 (April 2022): 126–33. http://dx.doi.org/10.7256/2454-0757.2022.4.37756.

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The article deals with the professional decorative and applied art of Krasnoyarsk from the 50s of the twentieth century to the present. The aspect of consideration is the use of the ethnographic motif of the Krasnoyarsk Territory and the features of its embodiment in the products of Krasnoyarsk artists of decorative and applied art. Using the example of the creativity of N.V. Kasatkina, A.G. Tkachev, A.S. Moskvitin, A.S. Migas, S.E. Anufriev and E.A. Krasnova, the aspects of the use of the ethnographic motif and their transformation over time, which led to the formation of archeoart in modern decorative and applied art and the features of its embodiment in the works of the main conclusions of the study are shown. The principles of the use, functioning and transformation of signs of an ethnographic motif in works of decorative and applied art in the Krasnoyarsk Territory are presented. The process of forming a new style in art took place from quoting and simple stylization of individual objects of ethnography in the works of artists to the gradual increase of signs of an ethnographic motif in the works of masters, which led to the formation of a new understanding of the region in art. The main visual concept of modern archeoart is the representation of Yenisei Siberia as the "cradle of humanity". The ethnographic motif associated with the history and mythology of indigenous peoples becomes the starting point in the artistic image, through which the elevation of regional visual signs to symbols understandable to every person takes place.

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Benthall, Jonathan. "Ethnographic Museums and the Art Trade." Anthropology Today 3, no. 3 (June 1987): 9. http://dx.doi.org/10.2307/3032932.

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St. George, Robert. "Ethnographic Things." Ethnologies 34, no. 1-2 (August 6, 2014): 3–27. http://dx.doi.org/10.7202/1026143ar.

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The social history and aesthetic value of art made by Haida people are subjects often in conflict or marked by a lack of clarity. This essay attempts to explore the things made on Haida Gwaii for different purposes: for entirely local use and in relation to one or two mythic cycles. Then, beginning in the mid-nineteenth century, the collectors, dealers, and museum of the western world arrived; they took thousands of objects away, and by 1880 many Haida artists could assert continuity by making model houses, totem poles, and boats for growing souvenir markets.

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Lewis-Williams, J. David, and David G. Pearce. "San rock art: evidence and argument." Antiquity 89, no. 345 (June 2015): 732–39. http://dx.doi.org/10.15184/aqy.2014.51.

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Whether or not a ‘trance-dance’ akin to that of today's Kalahari San (Bushmen) was performed by southern /Xam San in the nineteenth century has long been the subject of intense debate. Here the authors point to parallels between nineteenth-century records of San life and beliefs and twentieth-century San ethnography from the Kalahari Desert in order to argue that this cultural practice was shared by these two geographically and chronologically distant groups. More significantly, it is suggested that these ethnographic parallels allow a clearer understanding of the religious and ritual practices depicted in the southern San rock art images.

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Ramey, Kathryn. "Between art and anthropology: Contemporary ethnographic practice." Visual Studies 26, no. 3 (November 2011): 271–72. http://dx.doi.org/10.1080/1472586x.2011.610954.

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Rutten, Kris, An van. Dienderen, and Ronald Soetaert. "Revisiting the ethnographic turn in contemporary art." Critical Arts 27, no. 5 (October 2013): 459–73. http://dx.doi.org/10.1080/02560046.2013.855513.

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MANE, Youssoupha. "The Poiesis of Writing Culture: Ordained by the Oracle by Asare Konadu as an African Ethnographic Novel Unveiling the Asante’s Traditions." ALTRALANG Journal 4, no. 01 (June 30, 2022): 53–78. http://dx.doi.org/10.52919/altralang.v4i01.179.

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The paper specifically beams its searchlights on the incident of the ethnographic mode of narration in the crafting of the narrative fiction — Ordained by the Oracle (1969) by the Asare Konadu. The novel is scrutinized as an inventory of Asante customs, moral, social and religious philosophy. It becomes the art of thick descriptions, the intricate interweaving of plots and counterplots. Asare Konadu is labelled here as a journalist-novelist and ethnographer-novelist who has adhered strictly to social ethnographic facts as he pertained to the etched culture. Konadu has selected some Asante ethnographic data (funeral ritual performances, mythology, divination, chieftainship, etc. and woven them into a plot around imaginary Asante hero and heroine through a blurred writing genre—ethnographic fiction encompassing compelling events and useful ethnographic detail which advance the reader’s ability to understand the constrictions of circumstance on characters.

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JT Torres. "Data Telling Stories and Stories Telling Data: The Role of Fiction in Shaping Ethnographic Truth." Britain International of Humanities and Social Sciences (BIoHS) Journal 2, no. 1 (January 24, 2020): 9–14. http://dx.doi.org/10.33258/biohs.v2i1.137.

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The following essay explores the use of fiction in ethnographic research. While the concept of fiction as a research methodology is not a new one, most proponents claim that fiction is most useful in the writing of ethnographic data. Despite the gradual acceptance of arts-based methods in ethnography, there still remains a false dichotomy of art and scientific research. This essay contributes to the discussion by arguing that fiction also plays an active role in producing knowledge and truth. To make this argument, the author brings together in conversation scholars of art and literature with social researchers. While multiple examples are illustrated to show how fiction creates knowledge in ethnography, the primary focus will be Clifford Geertz’s (2005) “Notes on a Balinese Cockfight.” The purpose is to demonstrate how fiction can be a means of knowledge production, so long as it is situated in sound research methods.

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Grini, Monica. "Sámi (re)presentation in a differentiating museumscape: Revisiting the art-culture system." Nordisk Museologi 27, no. 3 (January 28, 2020): 169–85. http://dx.doi.org/10.5617/nm.7740.

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The article addresses how Sámi culture is presented by museums in Oslo. One of the findings is that the old binary of “art” and “ethnographica” is still common in this museumscape. This reflects the historical divide between the art museum showing “European” and “Norwegian” art, and the ethnographic museum showing the arts of “the rest”. It is argued that Sámi artists, works, themes, and practices have had difficulties entering the reservoir of Norwegian “national imagery” and that such predicaments reflect persistent investments in the narrative of Norway as a monocultural nation.

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Shevtsova, Anna Alexandrovna. "Ethnicity and traditionalism in the contemporary Kazakhstan art." Samara Journal of Science 5, no. 2 (June 1, 2016): 136–40. http://dx.doi.org/10.17816/snv20162214.

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Popularity of ethnographic plots in contemporary Kazahstans painting let us discuss ethnic mobilization in this region. Also we get possibility to analyze this process using paintings as ethnographical source. Author analyses iconography of painting, graphics, design, decorative and applied art looking for plots with ethnic makers and typical traits linked with ethnic theme, mythology and cultural heritage of Kazakhstan. Research of reconstructing ethnicity through the contemporary visual culture shows us special aspects of complex visual symbol of the country. Among these aspects, we should line references to ethnographical genre and heroical past (often with ignoring of chronology), pursuit to stylization, using of stereotypical landscape, abundance of ethnic markers and motive of the way. Common traits of all these works are symbolism, decorativeness and major tonality.

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Crosby, Jill Flanders, Brian Jeffery, Marianne Kim, and Susan Matthews. "Secrets Under the Skin: Blurred Boundaries, Shifting Enactments, and Repositioning in Research-Based Dance in Ghana and Cuba." Congress on Research in Dance Conference Proceedings 2014 (2014): 59–69. http://dx.doi.org/10.1017/cor.2014.10.

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This roundtable reflects on the processes of de-centering from multiple lenses and temporal placements inside the research and creative process. It is based on a collaborative, intermedia, and multitemporal contemporary performance/art installation informed by long-term ethnographic research of dance and ritual in Ghana and Cuba. Roundtable participants will excavate the process of conducting the research and creating the installation that continues to exhibit internationally at venues ranging from art galleries and libraries to rural research field sites. The installation offers a matrix of layered artistic exploration grounded in ethnographic inquiry that does not sit squarely inside a singular discipline. Inherently transdisciplinary, with multiple entanglements and porous boundaries, it offers “interpretive frictions” at the borders of ethnography, performance, material culture, research-based choreography, and embodiment of lived experience.

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Wels, Harry. "Multi-species ethnography: methodological training in the field in South Africa." Journal of Organizational Ethnography 9, no. 3 (September 17, 2020): 343–63. http://dx.doi.org/10.1108/joe-05-2020-0020.

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PurposeTo further develop research methodologies for multi-species ethnographic fieldwork, based on researcher's experiences with multi-species fieldwork in private wildlife conservancies in South Africa and inspired by San tracking techniques.Design/methodology/approachReflections on methodological lessons learnt during multi-species ethnographic fieldwork in South Africa. The approach is rather “Maanenesque” in telling various types of tales of the field. These tales also implicitly show how all-encompassing ethnographic fieldwork and its accompanying reflexivity are; there is never time for leisure in ethnographic fieldwork.FindingsThat developing fieldwork methodologies in multi-species ethnographic research confronts researchers with the explicit need for and training in multi-sensory methods and interpretations, inspired by “the art of tracking” of the San.Originality/valueComes up with a concrete suggestion for a sequence of research methods for multi-species ethnography based on the trials and tribulations of a multi-species ethnographer's experiences in South Africa and inspired by San tracking techniques.

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Degarrod, Lydia N. "Making the unfamiliar personal: arts-based ethnographies as public-engaged ethnographies." Qualitative Research 13, no. 4 (April 16, 2013): 402–13. http://dx.doi.org/10.1177/1468794113483302.

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I present the installation Geographies of the Imagination, an arts-based ethnography about long-term exile, as a form of public ethnography that unveils the acquisition and transmission of ethnographic knowledge as interactive, emergent, and creative. I will show how the methods of collaboration and art making created bodily forms of knowledge among the participants and the audience at the exhibition of the installation that have the potential for stimulating new thinking. The use of these methods advanced the acquisition of ethnographic knowledge, and heightened the development of empathy among the participants and the researcher. Furthermore, the public exhibition of this installation allowed the participants to exercise social justice, and created a setting for socially experiencing embodied knowledge.

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Boucher Jr., Michael L. "The Art of Observation." International Journal of Adult Vocational Education and Technology 8, no. 2 (April 2017): 1–15. http://dx.doi.org/10.4018/ijavet.2017040101.

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The use of photographs in ethnographic education research is an emerging method that promises to enable scholars to collect deeper, more meaningful data from individuals who may otherwise be silenced. When used to empower participants, photo methodologies can remove what Foucault (1980) described as the analytical “gaze,” allowing for discussions of difficult or taboo subjects like race, sex, gender, and dis/ability (p. 155). This article discusses the development of photo methods in ethnographic education research, contributes practical suggestions as to their use, and provides successful examples where photos have empowered study participants. To do both science and justice in cooperation with one's participants, empowering communities and individuals and collecting trustworthy data are equal goals. Using photos in the reviewed studies achieved positive results for participants and revealed new understandings of communities, culture, and individuals.

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Kim Sue In. "Ethnographic Researches on the Art World of Dance." Korean Journal of Dance Studies 63, no. 1 (March 2017): 135–38. http://dx.doi.org/10.16877/kjds.63.1.201703.135.

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UNDERBERG, NATALIE M., and KRISTIN G. CONGDON. "Folkvine.org: Ethnographic Storytelling in Folk Art Web Design." Visual Anthropology Review 23, no. 2 (October 2007): 151–61. http://dx.doi.org/10.1525/var.2007.23.2.151.

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Siegenthaler, Fiona. "Towards an ethnographic turn in contemporary art scholarship." Critical Arts 27, no. 6 (November 2013): 737–52. http://dx.doi.org/10.1080/02560046.2013.867594.

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Zhang, Fan. "The “Authentic Evocation” in Ethnographic Photography as Art: Taking Lau Pok Chi’s Art Practice as an Example." Asian Culture and History 14, no. 2 (November 5, 2022): 183. http://dx.doi.org/10.5539/ach.v14n2p183.

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This article emphasizes the disciplinary problems of anthropology after the representation crisis, and the connected phenomenon of the intersection of the disciplines of art and anthropology, considering the art practice of the Chinese American photographer Lau Pok Chi, mainly his Cuban Chinese project, as an instance for showcasing the authenticity of photographic art as ethnographic practice and its value for the development of anthropology. After assessing the important motivation of the artist’s practice, which is rooted in his construction of self-identity, and the methods and principles of his “quasi-ethnographic” research, this paper recommends that the authenticity of such type of ethnographic photography also obtains from its exposure of reflexivity and the transcendence of the separation of “things” and “words”, which may further motivate the multiple explorations of the two-way intervention between these two disciplines.

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Thackeray, J. F. "On concepts expressed in southern African rock art." Antiquity 64, no. 242 (March 1990): 139–44. http://dx.doi.org/10.1017/s0003598x00077395.

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Prehistoric rock art in southern Africa has been studied — with remarkable success — in the light of ethnographic data obtained from modern ‘San’ or ‘Bushmen’. Yet examples of rock paintings reflect conceptual associations similar if not identical to those identified among Bantu-speakers. It is recommended that the art be studied in the light of linguistic as well as ethnographic data without adopting a ‘San-centric’ stance.

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Walker, Amelia. "REVIEW OF CHANDAN BOSE'S PERSPECTIVES ON WORK, HOME, AND IDENTITY FROM ARTISANS IN TELANGANA." Art/Research International: A Transdisciplinary Journal 5, no. 2 (October 1, 2020): 553–61. http://dx.doi.org/10.18432/ari29537.

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This review considers Chandan Bose’s ethnographic study into arts and crafts practices in Telangana, India. Merits of the book include Bose’s nuanced interrogation of ethical complexities in and around ethnographic work, a centring of artisans’ voices through direct quotes, and an emphasis on knowledge as something crucially formed in and through subjective inter-relational connections. Bose draws links between practices of ethnography, art and storytelling. Broaching the book as a collaboration with rather than a study of the artisan community, Bose offers ways of re-seeing research, knowledge, and cultural engagement that will hold relevance across a wide range of fields and practices in and beyond contemporary academies.

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Desai, Dipti. "The Ethnographic Move in Contemporary Art: What Does It Mean for Art Education?" Studies in Art Education 43, no. 4 (2002): 307. http://dx.doi.org/10.2307/1320980.

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Mosher, Heather. "A question of quality: the art/science of doing collaborative public ethnography." Qualitative Research 13, no. 4 (May 30, 2013): 428–41. http://dx.doi.org/10.1177/1468794113488131.

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Social science researchers have long stressed the importance of a more publically relevant and accessible science. Nevertheless, significant barriers remain within the academy, such as processes for peer review, promotion, and awarding of degrees, which discourage the use of nontraditional dissemination techniques that support a more public ethnography. Concerns over scientific rigor, best practices, and methods for disseminating ethnographic research to public audiences may act as some of the barriers, among others. The purpose of this article is to discuss challenges in doing and disseminating collaborative ethnography to public audiences while still operating within the constraints of the academy. By sharing this experience, my intent is to stimulate debate and scholarship around assessing the quality of public ethnography using less traditional modes of reporting, such as video, and to encourage changes in peer review and institutional practices to more effectively support quality and dialogic dissemination of public ethnography that aims to bring together both academic and public audiences to address issues of great public significance.

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Degarrod, Lydia Nakashima. "Pauses and flow in art making and ethnographic research." HAU: Journal of Ethnographic Theory 11, no. 3 (December 1, 2021): 1101–15. http://dx.doi.org/10.1086/718376.

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Konstantinou, Katerina, and Aris Anagnostopoulos. "Interweaving Contemporary Art and “Traditional” Crafts in Ethnographic Research." Art/Research International: A Transdisciplinary Journal 4, no. 1 (February 27, 2019): 58–82. http://dx.doi.org/10.18432/ari29420.

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This article presents a fieldwork collaboration between contemporary art, “traditional” craft, and ethnographic research in which community engagement plays a key role. Two decades after the abandonment of weaving in a depopulated mountainous village of Crete, Greece, a group of researchers invite an artist to turn the village’s old school into a weaving studio. Aiming at the active participation of the local community in weaving heritage interpretation, and the interdisciplinary collaboration of art and anthropology, the weaving studio experience provides a fertile ground for discussing the relationships between disciplines, the difficulties of crossing the boundaries of these disciplines and the challenges of community participation in managing knowledge production. Here we discuss our experience working with an artist in a project between art and research, including various observations, different approaches, and challenges.

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Mauri, Mònica Martínez. "Fortis, Paolo: Kuna Art and Shamanism. An Ethnographic Approach." Anthropos 109, no. 1 (2014): 279–80. http://dx.doi.org/10.5771/0257-9774-2014-1-279.

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Allsworth-Jones, Philip. "ROCK ART SITES IN JAMAICA AND THEIR ETHNOGRAPHIC INTERPRETATION." Acta Archaeologica 88, no. 1 (December 2017): 217–31. http://dx.doi.org/10.1111/j.1600-0390.2017.12186.x.

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Volkova, Yu S. "Upper Paleolithic Portable Art in Light of Ethnographic Studies." Archaeology, Ethnology and Anthropology of Eurasia 40, no. 3 (September 2012): 31–37. http://dx.doi.org/10.1016/j.aeae.2012.11.005.

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Rutten, Kris, and An van. Dienderen. "‘What is the meaning of a safety-pin?’ Critical literacies and the ethnographic turn in contemporary art." International Journal of Cultural Studies 16, no. 5 (March 11, 2013): 507–20. http://dx.doi.org/10.1177/1367877912474561.

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In this contribution we address the concept of critical literacies by analyzing how symbolic representations within subcultures can be understood as an engagement with specific literacy practices. For some time now, cultural studies researchers with an interest in literacy have depended upon ethnographic methods to document how members of subcultural communities mobilize literacy practices to achieve critical ends. But the extent to which ethnography actually grants researchers access to subcultural perspectives on literacy has come into question. In this article, we aim to problematize and thematize the ethnographic perspective on literacy in general – and subculture as a situated literacy practice in particular – by critically assessing contemporary art practices that focus on the representation of subcultural identities. We therefore specifically look at artwork by Nikki S. Lee, who focuses on subcultures in her work through ‘going native performances’.

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Hasisah, Siti Nur, and Oktiva Herry Chandra. "The Relation of Human Being and Environment in the Cultural Event of Laesan Performance." E3S Web of Conferences 317 (2021): 01032. http://dx.doi.org/10.1051/e3sconf/202131701032.

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Laesan is a traditional art that comes from the word “laesun” which means “suwung” or empty. In the show, it tells the story of a human being from the womb to return to the grave which is told through a dance accompanied by songs according to the session. This study aims to describe the relationship between humans and elements of communication and communicative actions in the cultural event of laesan performance. This research applied a qualitative descriptive approach with ethnographic studies of communication. The research data were in the form of fragments of speech and actions involved in laesan performing arts. The research method was ethnographic and participatory. The results show that laesan art communication has a communication system related to the sequence of GASKENPI components. The forms of messages in laesan art are mantras and song lyrics. The act of communication in laesan art is divided into two: (1) the act of communication between laesan players and the empty atmosphere of the universe, (2) the act of communication between laesan players and the audience. These two forms of communication have functions related to environmental preservation which include the songs entitled Ella Ello, Bandhan, Luruo Sintren, and Santrine Dodol Gambir.

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Willim, Robert. "Evoking Imaginaries: Art Probing, Ethnography and More-than-academic Practice." Sociological Research Online 22, no. 4 (October 13, 2017): 208–31. http://dx.doi.org/10.1177/1360780417726733.

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I discuss and argue for combinations of artistic practice and cultural analysis, for meta-disciplinary and serendipitous endeavours that can entangle art and ethnographic research. These combinations can be understood as practices that are more-than-academic. I define the artistic side of this combinatory work as art probing. Art probes have a double function. First, they can instil inspiration and be possible points of departure for research, and, second, they can be used to communicate scientific concepts and arguments beyond the scope of academic worlds. According to this point of view, artistic and scientific output should be seen as provisional renditions oriented towards different audiences and as part of an extended open-ended art of inquiry. When working with this more-than-academic practice, a number of stakeholders are involved, ranging from academic professionals to art institutions, museums and visitors of art exhibitions, and performances. I will discuss how I understand ethnography as part of this process and in relation to practices of art probing.

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Chuprikova-Krynskaya, Elizaveta R. "Nikolay Karazin’s Magazine Graphics for the Samara Expedition of 1879." Observatory of Culture 19, no. 5 (November 14, 2022): 502–13. http://dx.doi.org/10.25281/2072-3156-2022-19-5-502-513.

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The article analyzes the graphic series of the artist N.N. Karazin, prepared by him on the basis of the Samara scientific expedition to Central Asia in 1879, and published in the magazines “Niva” and “World Illustration” in 1879 and 1880, respectively. These series have not yet been considered by art historians, which makes relevant this study, as well as the artistic development of the topic of Central Asian ethnography in general. The author applies the method of comparative analysis; uses fragments of literary works by N.N. Karazin himself (ethnographic essays from the mentioned magazines), as well as by other writers and researchers of Central Asia; and offers new interpretations of some traditional types of Central Asian society (hajji, mullah, bacha).The article opens with an analysis of a series of art works from the magazine “World Illustration” in 1880, which shows all the main stages of the expedition (indicating geographical objects and settlements) and presents the most complete and detailed ethnographic material.The graphic series, published in the magazine “Niva” in 1879, includes four engravings depicting Turkmens from the Teke clan, which are already beyond the scope of ethnographic sketches and can be awarded the status of ethnographic paintings.The article shows that N.N. Karazin’s methods of work during this period, as well as during his participation in the Amu Darya scientific expedition in 1874, allow us to consider him as a representative of the voyage pittoresque (pictorial journey) genre in Russia in the second half of the 19th century.

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Gorlée, Dinda L. "Linguïculture: Thomas A. Sebeok as a revolutionary ethnographer." Chinese Semiotic Studies 17, no. 4 (November 1, 2021): 525–50. http://dx.doi.org/10.1515/css-2021-2034.

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Abstract Sebeok started his career as an ethnographer, focusing on the verbal art of anthropology to describe the cultures associated with then-called “primitive” languages. He followed Bloomfield’s linguistics to study Boas’ anthropology of primitive art to investigate man as a civilized member of a native indigenous community with art-like speech habits. Sebeok’s earliest articles were ethnographic descriptions of non-Western folktales from the Cheremis people, which he reformulated into Saussure’s phonetic system to involve literal but culturally free translations. Later, Sebeok developed Peirce’s ethnosemiotics by explaining Sapir-Whorf’s two-way differentiation of linguistic-and-cultural texts. The coded interplay of anthroposemiotics moved Sebeok from language-and-culture to language-with-culture, thence to build up the merged compound of linguïculture.

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Rizqi, Nur Rahmi, Jihan Hidayah Putri, and Isra Suna Hasibuan. "EKSPLORASI ETNOMATEMATIKA ISTANA MAIMUN DI SUMATERA UTARA." JURNAL EDUSCIENCE 9, no. 1 (April 1, 2022): 101–9. http://dx.doi.org/10.36987/jes.v9i1.2519.

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Humans were not aware of various operations using basic mathematical concepts and ideas. For example, counting activities by referring to a number, weighing operations (duty, area, capacity and load), art, business activities (counting currencies, profit and loss, etc.) ) and building architecture (traditional housing). The aim of this study is to study and analyze the ethnographic findings from Maimun Palace, North Sumatra, to obtain background information on the development of ethnography for learning mathematics in the field of geometry. This type of research is exploratory research using an ethnographic approach. Based on the results of the research carried out, mathematical sections and blanks are used to carry out the manual operations of the Maimun Palace. No need to study theoretical math projects, they apply mathematical concepts in everyday life. There is evidence of ethnographic patterns expressed in various results of organized and advanced mathematical operations, including: 1) planning for the construction of Maimun Palace; and 2) the carving activity on the walls of Maimun Palace.

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Nepomnyashchy, Andrei A. "Unknown plots of the Crimean ethnographic research: Evgenia Spasskaya." Crimean Historical Review, no. 1 (2020): 151–67. http://dx.doi.org/10.22378/kio.2020.1.151-167.

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The given article discloses the unknown pages from the history of the Crimean studies, associated with the rich events of the 20s of the XX century. There were reproduced the unknown directions in the study of ethnography of the Crimean Tatars, in particular, was given the analysis and publication of material collections of the Crimean Tatar embroidery of the ethnographer-collector A. M. Petrova. the material is based on personal archival documents of a great researcher of the Crimea – ethnographer Evgenia Yurievna Spasskaya, they were identified in the National Archival Funds of manuscripts and phonorecords of the Institute of Art, Folklore and Ethnography. M. T. Rylsky NAS of Ukraine. The previously unknown facts of her scientific biography, related to the research in the Crimea and contacts with the Crimean scientists on the basis of her personal documents, were identified in the St. Petersburg branch of the Archive of the Russian Academy of Sciences and the epistolary heritage of an ethnographer.

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RADICE, MARTHA. "Putting the Public in Public Art: An Ethnographic Approach to Two Temporary Art Installations." City & Society 30, no. 1 (March 9, 2018): 45–67. http://dx.doi.org/10.1111/ciso.12155.

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Kuschnir, Karina. "Drawing the city: a proposal for an ethnographic study in Rio de Janeiro." Vibrant: Virtual Brazilian Anthropology 8, no. 2 (December 2011): 609–42. http://dx.doi.org/10.1590/s1809-43412011000200029.

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Drawing the city is a proposal for an ethnographic research project in Rio de Janeiro. I begin by mapping the production of an international group calling themselves ‘urban sketchers,' whose collective project extols drawing as a form of looking, knowing and registering the experience of living in cities. Next I show the connections between art and anthropology, as well as their relation to cities and to Rio de Janeiro in particular. The sources and bibliography on the themes of the social history of art, drawing, visual anthropology and urban anthropology are also discussed. Setting out from the latter area, I present the possibilities for undertaking an ethnography that contributes to our comprehension of the graphic and symbolic narratives of urban life.

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Żyniewicz, Karolina. "Art&science. Autoetnografia artystki realizującej projekty w laboratoriach biologicznych." Kultura i Społeczeństwo 61, no. 3 (July 10, 2017): 103–26. http://dx.doi.org/10.35757/kis.2017.61.3.7.

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The aim of the text is to present the use of the analytical autoethnographic method in studying the “art&science” phenomenon. It is attempt to show that the role of the artist can combine with the role of the ethnographer. The objects of study are the multilevel relations emerging during the realization of artistic projects in biological laboratories. These relations concern both humans (the artist, the scientists) and non-humans (laboratory organisms, equipment). On the basis of actor-network theory, the author presents how the liminal status of ethnographic research is modified when it connects with art. The form of conducting the research is both an example of activity in the art and science field and a new methodological proposal for the study of science and technology.

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Klostermann, Janna. "Write Like a Visual Artist: Tracing artists’ work in Canada’s textually mediated art world." Literacy and Numeracy Studies 24, no. 2 (December 15, 2016): 43–63. http://dx.doi.org/10.5130/lns.v24i2.5060.

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This study examines the social organisation of Canada’s art world from the standpoint of practising visual artists. Bringing together theories of literacy and institutional ethnography, the article investigates the literacy practices of visual artists, making visible how artists use written texts to participate in public galleries and in the social and institutional relations of the art world. Drawing on extended ethnographic research, including interviews, observational field notes and textual analyses, this study sheds light on the ways visual artists enact particular texts, enact organisational processes, and to enact the social and conceptual worlds they are a part of. Through the lens of visual artists, this study locates two particular texts – the artist statement and the bio statement – in the extended social and institutional relations of the art world.

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Dutta, Drabita. "An Ethnographic Account of Indigenous Bell Metal Art of Assam." Journal of the Anthropological Survey of India 66, no. 1-2 (December 2017): 161–82. http://dx.doi.org/10.1177/2277436x20170112.

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Harter, Lynn M. "The Work of Art." Qualitative Communication Research 2, no. 3 (2013): 326–36. http://dx.doi.org/10.1525/qcr.2013.2.3.326.

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This essay considers the significance of numerous story forms for engaged communication scholarship. I demonstrate the value of creative analytic practices in two interwoven ways. To begin, I draw on the work of John Dewey to position interpretive inquiry as the work of art. Meanwhile, I reflect on my experiences co-producing an ethnographic documentary on pediatric cancer care to illustrate the methodological strengths of audio-visual storytelling. The essay closes with a call to broaden interpretive inquiry to include more tangible sounds and visions in our attempts to understand all-too-human predicaments.

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Solomon, Anne. "The death of trance: recent perspectives on San ethnographies and rock arts." Antiquity 87, no. 338 (November 22, 2013): 1208–13. http://dx.doi.org/10.1017/s0003598x00049978.

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The argument that shamanism is the key that unlocks the hidden meaning of rock art continues to provoke debate over three decades after it was first proposed. In a recent article inAntiquity(86: 696–706), David Lewis-Williams and David Pearce defend the argument that nineteenth-century ethnographies provide evidence for a trance dance and shamanic healing that are vital to understanding southern African rock art. In this reply, Anne Solomon challenges the claim that the ethnographic evidence describes shamanism and trance healing and argues that elision of southern San (/Xam) and Kalahari San practices in a single narrative has obscured important differences. The author suggests that there is no evidence that dances or trance states were connected with healing in /Xam society. These confusions, it is argued, undermine key aspects of the shamanistic interpretation of rock art.

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Pawłowska, Aneta. "African Art: The Journey from Ethnological Collection to the Museum of Art." Muzeológia a kultúrne dedičstvo 8, no. 4 (2020): 161–76. http://dx.doi.org/10.46284/mkd.2020.8.4.10.

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This article aims to show the transformation in the way African art is displayed in museums which has taken place over the last few decades. Over the last 70 years, from the second half of the twentieth century, the field of African Art studies, as well as the forms taken by art exhibitions, have changed considerably. Since W. Rubin’s controversial exhibition Primitivism in 20th Century Art at MoMA (1984), art originating from Africa has begun to be more widely presented in museums with a strictly artistic profile, in contrast to the previous exhibitions which were mostly located in ethnographical museums. This could be the result of the changes that have occurred in the perception of the role of museums in the vein of new museology and the concept of a “curatorial turn” within museology. But on the other hand, it seems that the recognition of the artistic values of old and contemporary art from the African continent allows art dealers to make large profits from selling such works. This article also considers the evolution of the idea of African art as a commodity and the modern form of presentations of African art objects. The current breakthrough exhibition at the Bode Museum in Berlin is thoroughly analysed. This exhibition, entitled Beyond compare, presents unexpected juxtapositions of old works of European art and African objects of worship. Thus, the major purpose of this article is to present various benefits of shifting meaning from “African artefacts” to “African objects of art,” and therefore to relocate them from ethnographic museums to art museums and galleries

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Malcolm, Annie. "The past at the edge of the future: Landscape painting and contemporary places." Journal of Contemporary Chinese Art 7, no. 2-3 (December 1, 2020): 221–40. http://dx.doi.org/10.1386/jcca_00027_1.

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In this article, I offer an ethnographic account of Wutong Shan, and engage landscape painting as an interpretative device. Wutong Shan represents a unique phenomenon of urban transformation in that its residents cultivate a life harkening back to a rural past in an attempt to build a utopia unfettered by the deafening noise of modernity, which can easily be found down the road in Shenzhen, China’s newest city. Similar to what landscape painters throughout history have created through image, Wutong residents create a world of retreat, escape and natural beauty in a space at the edge of the urban. Both a landscape painting and this ethnographic place are built through a set of creative acts, a sense of self-cultivation, and a desire for escape. In Wutong Shan, the other side of the creative process is a livable environment rather than an art object. One of the ways I read landscape painting to understand Wutong Shan is by thinking with contemporary Chinese art works that, through illusion, revisit the landscape in light of industrial urbanization. I bring together three strains of thinking: (1) my contemporary ethnographic research on Wutong Art Village, (2) understandings of Chinese landscape paintings and their associated conceptions of nature and utopia and (3) contemporary art that renegotiates the landscape form, analysed through the emergent field of eco-art history.

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Loewenthal, John. "Book Review: The Art of Life and Death: Radical Aesthetics and Ethnographic Practice." Anthropology & Aging 39, no. 1 (April 23, 2019): 112–14. http://dx.doi.org/10.5195/aa.2018.199.

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Ratna Kumar, Dr J. Vijay. "Researching visually using visual ethnographic methodology." International Journal of Current Humanities & Social Science Researches (IJCHSSR) ISSN: 2456-7205, Peer Reviewed Journal 2, no. 2 (June 30, 2018): 11. http://dx.doi.org/10.52443/ijchssr.v2i2.65.

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According to Sarah Pink (2001) defines the visual ethnographic as the use of visual images and technologies such as video, film, photography, art, drawing and sculpture in qualitative social research to both produce and represent knowledge. It includes using the visual as a documenting tool to produce visual records, in interviews, to elicit comments from informants, in participant observation to research ways of seeing and understanding, analysing visual and material culture and using visual media to represent the findings of such research. Visual ethnography deals with the visual and perceptual study of culture, material culture and forms of human behaviour in different communities and environments. Visually we can communicate knowledge and experience and ideas in ways that we never express in written words or spoken words, in social research, the visual is gaining significance as a research method.

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Stovall, Maya. "Public Library: Crystal Meth, Choreography, Conceptual Art." TDR/The Drama Review 64, no. 2 (June 2020): 138–54. http://dx.doi.org/10.1162/dram_a_00924.

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The public video project The Public Library includes the performance of writing field notes and of choreographed dance sequences — which together serve as an ethnographic prompt for discussions about city life in northwestern Canada. The growing presence of crystal methamphetamine in sidewalk life and in the lives of First Nations persons is part of the discussion.

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Hernandez, Analays Alvarez. "An Auto-Ethnographic Entrée en Matière and Mise en Contexte." Latin American and Latinx Visual Culture 4, no. 1 (January 1, 2022): 101–9. http://dx.doi.org/10.1525/lavc.2022.4.1.101.

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This Dialogues section seeks to contribute to the scholarship on Latin American art in Canada and “Latinx Canadian art.” We aim to broaden the historical and current narratives of art and artists from Latin America north of the United States, taking into account Canada’s history of migration and its official bilingual status (French-English), multilingual and multicultural reality, and relationship with Indigenous peoples. Adding to the urgency of studying the presence of Latin American art in Canada, there is also a need to focus on the work of artists and curators with a Latin American background. They are developing languages of expression, practices, and aesthetics that no longer conform to the “Latin American art” category. It is thus essential to highlight the multiple artistic initiatives that are allowing them to gain visibility and recognition within both the local and global artistic milieus. We posit that today it is almost impossible to overlook both the historical and the ongoing presence of Latin American art and artists in Canada and the recent emergence of a vibrant, ever-expanding contemporary Latinx Canadian art scene. This section proposes six groundbreaking contributions that, from coast to coast, offer further data and analysis, case studies, and investigations into museum archives: from Vancouver to Montréal, from pre-Columbian art and material culture to contemporary art, from the Chilean diaspora of the 1970s to more recent migration waves, from curatorial strategies to the classroom.

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Journal articles on the topic 'Ethnographic art'

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