The post the other day of Tiberius left me somewhat pensive. Tiberius is not the people who talk the talk. Rather the opposite. Your comment (often divergent) are reflections from thoughtful and addressed the key issues in any conversation. What is art
science and scientist what art is one of those recurring themes in any manual of introduction to research design. What is interesting is to ask that question about a specific method or research strategy, such as ethnography. Not boring, I will focus my reflection on just two texts on different fields of ethnography. These texts appear in the third edition of the Handbook of Qualitative Research edited by Norman K. Denzin and Yvonna S. Lincoln and topics quite significant. Obviously the selection is subjective and is justified by my own affinities in the field of research.
In Critical Ethnography: The Politics of Collaboration, Douglas Foley and Angela Valenzuela intended to "highlight the differences between the" critical ethnographers "to make criticism of the academic culture, those who write policy studies and applied that directly involve themselves in political movements "(p. 217). The article shows that "not all critical ethnographers are politically active. Not all knowledge generated is both theorized / practiced universally / locally. Not everyone uses reflection and collaborative research methods "(p. 217). This is so for several reasons, including the difficulty of implementing ethnographic research without crossing the barrier and partial direct intervention - of which raises interesting derived for the issue of representation in qualitative research. The article shows that to accept certain methods must be changed before the schemes of "the academy." Foley and Valenzuela take themselves and their department at the university ( Department of Anthropology, University of Texas, USA. UU. ) as case studies, to account for how risky it is now characterized as being critical political and methodological practices of the current followers of the current. This is because, today:
"The problem for many critical ethnographers is that knowledge must be political [but] an academically acceptable way. Consequently, many liberal academics spend much of his time writing and publishing critical culture to meet the demands of academia and their colleagues "(p. 222).
Making a parallel, it is clear the need for "the academy" and stakeholders adapt their methods of evaluation of research results not only the idiosyncrasies of the qualities, but different ways of doing qualitative research . The performative no place in qualitative research until the barrier of the assessment (broadly defined) will be overcome, at least in the English context.
The second item brought up is Arts-Based Inquiry: Performing Revolutionary Pedagogy of Susan Finley, referred to "Usefulness of art-based approaches when the objective is political activism" (p. 681). The article begins with a quote from Norman Denzin (2000) [The art and politics of interpretation. In N. Denzin & Y. Lincoln (Eds.), Handbook of Qualitative Research, Thousand Oaks, Sage , 500-515], for whom the art-based research can help develop "a radical aesthetic ethic ... [it] bases its representations of the world from interpretive practices in order to develop [among other things in vogue] critique of racism, homophobia and theorizing postcolonial Third World. " The author believes the use of technological media in social movements as creators and supports alternative spheres of public discourse. Its use by the researcher role involves move towards a more artistic and active, where it can participate in the representations, express the relational dynamics and reduce the data to a particular scenery. However, the desired result shall in any case, a simple recording media, but a social performación. Finley has recently developed his ideas in two very suggestive: At Home At School (AHAS) documentary: Ethics and power in using film in arts-based research and Whose Voice Is It?: The Colonizing Potential in social Creating Participatory performances and films, both presented in the program the Second International Congress of Qualitative Inquiry , May 4-6, 2006, University of Illinois .
Obviously these ideas do not always have to be made in favor of political activism - even in the field where they show their full potential - but it can also be used in everyday research. Very
about some recent news in my environment, not without grace the turn on these same issues are Kath Fisher and Renata Phelps [ Recipe or performing art? Challenging conventions for writing action research theses, Action Research, Vol 4, No. 2, 2006, 143-164 ]. In their paper these authors moved to performative theories slippery slope of the presentation of doctoral thesis based on qualitative methods. There is a clear break between what theses theorize and the reality of his presentation, based always on the "model-of-the-five" chapters "comprehensive introduction, literature review, methodology, analysis and conclusions. But
"What about students who have taken action research? Are these conventions apply? Can be made to fit their research process less conventional container five-strands and remain true in practice? Are you taking an unacceptable risk for deviating from the conventional? Or can [better] to write their thesis under the 'performative art' is action research? (Dick, 2002) [Postgraduate Programs using action research, The Learning Organization, 9 (4), 159-170 ]
In my view, the use of the performative and the arts in qualitative research attempts to answer mainly to these issues. We
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