Tuesday, March 8, 2022

Initial Themes in My Fieldwork

 

                                                                    Chunky Marinara

Drag as Inclusion/celebration:

Sandy Beach: book newer queens to work with more experienced queens. The mentor thing, it is what we do. Mimi caused a bit of a stir…drag exploded. At the same time, Ru Paul has shoved drag into the mainstream. Its exploded now. Is Ru Paul’s drag race now setting the standard? Will it go back to being cookie cutter…marketting yourself for television instead of entertainment and performance.

Cleophatra: Drag is a celebration of everything, life, unity, inclusion…it should never be something that excludes. The only label I need is my name.
Gender queer punk rock aret comedy, dance, camp, queens. Drag queens do not have to conform to a mold. The performance art community is very gender fluid in Philadelophia, in drag, burlesque everywhere. Drag can be cookie cutter or open. In AC, it is open

Farrah: Its our second high school…we were bullied in high school and now the drag community is like our cheer learders and the drag bars our schools. Its where we learn to be confident gay men. …The girls will rally the troops. Like if you are having a bad day…instead of being afraid, we go to our clubs and support each other, and believing in ourselves….

Stasha: We can use our drag to influence people for good reason. We support the gay youth. When I was 15 I was kicked out and now I like kids to come out and be there for them and tell em not to be a fraid if their family kicks them out. We can be your family. I feel like I can use that. Drag makes a gay acceptable. Feel comfortable, smile, be entertained. Take a break from your not so easy life. I use it as an opener…for comfotability and acceptability. Here, everyone is welcome.
                                                                     Tinsel and Pattaya



Drag Families:
SS “drag mother in the southern states…kinda collectivelty a family, you two or three, you have one someone who is more the show queen, you have another someone who is more the pageant queen, and then there are some that mother you and guide you, like any mother would give you life lessons”

Roxxy Star (31) gogo dancer for a hip hop troupe at a lesbian bar. Needed know know how to paint my face, so I went to the only one I would ever want to be my drap mother in Tuscon, Jenney Starr…she showed me everything. ..Drag mother is someone who mentors you and shows you how to be in the drag community, the oerson who paints your face first”.

Jackie: In this day and age it is mainstream…I don’t have a drag mother, but my one drag daughter, I inspired a lot, but bob, a biological woamn with huge breasts, she does drag, and I will tell her!...shes a CIS woman…she wore this little wig once, she has big boobs, and im like listen bitch! This does not work!

Stasha.: drag mother took me under her wing. She teached me everything she had went through..luckily, she took me in. She schooled me, and got me off the negativity I was into

Sherry Vine
In NYC, I got a drag mother, it is like a family, and Raven would critique my act and dress…she would help me with my act….now I have a millio drag daughters…

Quinn Matthew:
Stasha is the drag daughter of my best friend, the baby queens that get mentored and they get shown the way…they become family. We fight like brother and sister. We rely each other in the worst of times and celebrate with each other in thebest of times. I do male pageants, as a amna, But I help the girls as a mentor. I like to nurture and give them that snese of…

Sheqeela lee-used to work through the Miss USA ans Miss teen USA as a dance choreographer. (52 years old).
“I have over 40 some kids that call me “mother Lee”, ummm…not all of them do drag, most of them are heterosexual or homosexual males, black males, who look up to what I do as being successful in my career…we all have familes dinners and stuff like that, and mostly, we use it as an outlet, where people don’t have familes that accept them for their lifestyleso they have a place of comfort that they can come and be around, other gays or other people who accept them for being who they are.

                                                                   Mimi, Fifi and Honey


Freedom to define what feminine is:
(SS) we do have a more realistic view of what our bodies are…if you were a woman of that size, how would you do it…we get to be not a cookie cutter, we control the amount of femininity that we are presenting to the audience…”The miss america has become so blocked. When they are in swim suits they all have the same set of hips, and they go ahead and get breast implants to make sure they is the right cup size…we don’t have to do that…we can be one thing one day or even one act, and another thing the other” “In Missed America, I can do what I likes…I can serve up rack of lamb in swinsuit and come back serving lamb bites in evening gown (laughs)”

farrah: The way that I act on stage or present myself on stage, when I get dressed, put on things, it just takes over instinctively. The costume draws something out of me which is already there. It is natural. My male persona is more of a performance…I have had to practice being a man, lower my voice on the phone, for example, shake the hand a little more firm, masculine up. Probably my day to day life is more than a performance…Farrah is easy.

                                                          Champagne Bubbles


Why do drag?—freedom of expression
Miles: cosmetologist. I like the confidence that drag requires. When I put on a wig or a certain outfit I feel so confident. I go to the gay club here, I m in full get up and you are just free to be you. That’s what our community provides anyway.

Shaquilalee “It brings out the inner person that you always wanted to be…its larger than life, stuff I can do as shaqueeda, I can never do as Jerry…When I am in drag, I am looking at the straight guys, I love that attention…”
“I feel like a barbie doll that I never got to play with, and now I get to dress up and play with it”
Its very empowering, you can dominate the room (SL)

Savannah:It has empacted me on a level of sexiness, I am very thin…I can never…it allows me to be more sexy and bold than I get to be in my every day life….they have to look at me, I am powerful, I am 7 feet tall.”

Jackie Beat: drag used to be a rite of passage in the 70s and 80s, you would all get together for certain occassions in drag and I jus took it a little more seriouysly. There is something about a voice you discover when you are simultaneously not a man or a woman. You can pretty much say and do anything and people cut you slack (liminal)
…this is nirvavana..and hearing people laugh at my horrible jokes.

Savanah S- got into drag to pay for college from a military family, gotten so many opportunities through drag. “ every person is unique, just like stones…as drag queens we are that more rare jewel, because we can live as men or women…we know what women go through, to an extent, yet we are men.” (Savanah)

Roxxy…theater junkie, performer, one other kind of performance, but have severe nerves and anxiety and when it comes to doing that in front of other people, I freeze.”I have no desire to be a female in any sense, Roxxy is a character that comes out and expresses a whole nother side of me that IS me, but that is…that helped to break some barriers in the world and learn WHO I WAS….I think Roxxy has always been in there…it is a really liberating experience…”

CLEOphatra: I am a musical theater actor and I have been told because I am heavy that I wont be taken seriously until my 40s, and…it was devastating, because to be so inlove with something and so good at something and be told you have to wait 20 years…I was always hated drag…never thought it was for me…but I did costumes for Mark and then mimi contacted me, and I was hooked, weve talked on the phone everyday since, started making all her clothes and eventually dragged me in hsahaha to do the show…all of a sudden, drag became the artistic oulet I had been denied for the 5 years post college and then through being a drag queen I got my first off broadway role…I didn’t look like an actor is supposed to look like, but through drag I am able to accept the way that I am, that I am ok as I am…

NOAH “its an extension of ones being…it just sparkles.
…It celebrates everything that I was ever made fun of when I was a kid. ..I was always made fun of for being feminine, I was over the top and it kind of celebrates that…So it makes me feel like I can be myself and other people are that way too.

Chacha: Now I do it because it keeps me alive. It gets me out of depression, out of trouble. My mom and my sisiter passed a year and a half ago….repression…it was destrying me…so I went back to drag…I needde to put my energy into creating something. And…here I am…I ll be doing it until I am 90.

BDC: …the history of queer performance…gay people were forced to be underground, and this campy performance is a mockery of that society that is pushing them into the shadows…self knowleged and self referencing is so a part of camp…a character and and a commentary on the character all at. the same time.

Farrah: Make up costume and wig…when you act, people think they know who you are, but when you are in drag it is like you are wearing a mask, no one knows who you are…its like I am guarded behind the make up…its someone who takes the wheel for a couple of hours and lets me sit on the passenger side and relax and when I get home I can just…take the wig off and I am back to normal…like having a split personality and letting it take over.


                                               Original Miss'd America with Cast


Drag and Subversion:

MimI: I have always thought of my drag of being very brechtian, not trying to fool anyone, trapping them in the story, I never tried to convince you that I am a woman, I don’t really care…I want to get to the heart of the performance…camp. Its about this over the top…drag mocks identity and perceptions of identity. What is the idea of a woman, and then we just like crank it up, beyond barbie…its not even uber femme, it not even femme, its like, beyong the expectations of what is realistic for any living thing. Or simply what hair can do…the purpose of it is that it kind of solves the human need to be able toimagine what you want to be…not forgetting to play or imagine…we get so ingrained in yes no yes no, and…it lets us quesytion all of that drag is the antithessis of that. It gives you the ability to challenges and question whatever you like, drag is a political act, punk rock, activism, a fuck you to societiy’s rules…it is subversive in ots nature. It lives in that zone.

Cleophatra: Gender as a device for performance is one thing. Drag elevates itself beyond the specific gender binary and it allows itself to becomes a starting point for discussion gender and we see gender and speak about gender and a good diffuser for being able to discuss trans issues and the idea of sex…a lot of Trans females use drag as a vehicle to explore their gender.

Mimi: It would lose something if it was comepletely mainstream. There is something sexy about breakiung the rules.That is the reason why women who dress as men, that does not get the same attention. It is interesting to me…its not taboo for a woman to assume the roles of a mna, for a woman to wear a mans clothing…for a man, how dare you, you give up your male privledge and your male power to be a woamn…its seen as criminal. No one blinks an eye if a woman does it. There is something a little perverse about it…

BDLC:Painting drag with a broad brush..is like talking about art generally, there are many styles …drag is similar…camp sensisbility that I like so much …theres a way in which youre presenting something that is so…naïve to a situation, but in the way thatnthey perform it is clear that the actor is in on the joke with theaudience. The character highlights my positive qualities and my flaws but also a reflection of what I see around me in society…my character has a short attention span for instance..i see my character as a cultural commentary, but how that looks always shifts…it may with an audience, or what I am trying to talk about.

Farrah: If you think gender is all a performance, I would invite you to do it…to put of a pair of high heels and a wig and select a song…everything is real..and everything is a performasnce from the moment we get up and brush our teeth…I don’t understand…at one point we are all acting…for me EVERYTHING is real. EVERYTHING. I feel it. I feel that character…sometimes it takes me a while to get it out of me…ive become it. It could take hours…a shower. (embodiment-method acting) Its all in you…you have to borrow things from your personality to make it beilevable.

Mimi:It’s a really valid arguent…appropriation…but, you cant dress uplike that because you are not from that world…when is the point when you cant be anything but what you are? …Is all blackface wrong? It’s a good question. Ive seen it work. It’s the performance that matter, not the blackface. As long as it comes from a place of respect and love….it comes from an admiration of women and things that are feminine…and the other part is that…its an escape from the oppression that gay men have had for so long, because if you think about…growing up, gay men are picked on when they are growing up and stigmatized, not because they are gay, but because we are feminine. Its because he has femineine qualities…giving up his male power to be feminine. In some ways drag is not about protraying a WOMAN, it is about protraying femininity…its not what a woman does…it is a fantasy…its about gay men and their oppression.

Jackie: There needs to be affection in a performance…that judement does coem from the audience…we see that in black face in drag…palying diana ross…

                                                    Sherry Vine

Drag & Embodiing Femininity
Cleo is an extension of me, my personality doesn’t change, I tell dirtier jokes, but…I need that person to be an extension of me…there is something real in that. She is real. I cant play another person without being myself…

Ben de la creeme:Embodiying her on the stage has changed me, I feel much more aware and comfortable in my life about the way that evereything is a performance, and certainly the way I…can embody a character that comes natural…It has shifted my relationship to my gender presentation over the years in a way that when I was very young, I sortof was like,,,do I want to be a woman or…and I realized no, and..then I wanted to understand about misogyny in drag, I really wanted to understand the history and perspective…more often it’s a real container for qualities that exist in the people who perform it. Push the boundaries…I went through a period when I was way butcher in my daily life, like it let me let go of femininity in a way that I had not, and now I feel really comfortable in my skin with my femininity.

Chacha: People think that we are mocking women, but in my case it is a tribute, not a mocking…I know that women say that…how could you do that when you are not a woman? But you do not need to have a vagina to feel like a woman or a penis, you don’t, to feel or behave like a man, its all in you and how you feel.


Chacha: Females inspire me. I try to replicate the beauty I see in that women. The feamle members in mexico inspire me because they show me what real beauty is…it has nothing to do with the outside, but it’s the inside, and when you can show that…everyone is beautiful…I copy mannerisms and them I put them on the performance. I play six characters…from one to the other…now I put it all in performnace.

Farrah: We go between the two genders and stay in the same body…its had an interesting impact on my body. Sometimes I catch myself walking like farrah…

Farrah: Taking command of a room…they walk into a room and everyone stops and pays attention. My talent is being funny and charismatic. I do a 5 minute meal routine. I love making people laugh and smile.

FARRAH: our own way of taking our creativity, an illustion and play around with the insecurities I have had before, or I get to embrace the fact that I have always been a
feminine boy and that femininity can be very powerful….all the positive role models I have had in my life have always been women. Strong women like my mother and my boss. I was raised by  a lot of women. I have always been attracted to women’s power and what they are and what they can do.

Stasha: When Im stasha, they think im a full on woman. I love that. Im the poochie glam dance queen.

Manilla Luzon: women get so many liberties to be creative…I love being creative and I love pretty things…and it is fun to do it for yourself, instead of your girlfriends, I always loved fashion. I was forced out of the closet, I wasn’t ready, but…since everyone knew…I did what I wanted…when I was playig straight…I mean playing straight, that was the acting. If Ia ma coming out of the closet, I am taking all the dresses with me (laughs).

It all comes from within, but it is so influenced by so many women, my mother, actresses, pop starts, always drawing inspiration from women, all women. I don’t want to physically be a woman, but I love the powr they have. Drag is the perfect place for me to express myself…drag is about no boundaries, I don’t know where it is going to go, conchita wurst, the bearded drag queen…she is hot, always evloving working with what you have…to express yourself… sickening eye makeup and a beard, no boobs, not tucked, you don’t have to wera haels anymopre as long as you are dressing up…drag is about making sure that people look at you and say yes, this is who ai am , this is how I am expressing ourselves…we can present ourselves any way we want…

Partner sahara davenport died of heart failure at 27, as a result of using designer drugs like ketamine, she got off them with the help of her drag mother before she entered the world of entertainment.

Sherry…And drag is like turning the volume up … we are not playing women…its heightened…its an other. I see it as a character…I don’t see it as a woman or acting feminine.

Jackie B: We grew up watching carol burnett…we wanted it to be campy!
Women are allowed to express themselves…fashionably, hairstyles, emotionally…when you hear a torch song by some woman, its all over the place!...thats not what the male side of the world is…so when I see drag kings, it always shocks me a little bit because what they are really doing..is putting a wayy up and truning the emotions off..women can be so much more…
I don’t really appreciste the draggs that look like real girls…if I want to see real girls, ill hang out at the mall, I want to see a monster…shock value does not work though…

Jackie: Women are allowed to express themselves…fashionably, hairstyles, emotionally…when you hear a torch song by some woman, its all over the place!...thats not what the male side of the world is…so when I see drag kings, it always shocks me a little bit because what they are really doing..is putting a wayy up and truning the emotions off..women can be so much more…
I don’t really appreciste the draggs that look like real girls…if I want to see real girls, ill hang out at the mall, I want to see a monster…shock value does not work though…

                                                        Bebe Zahara Benet

Discovering Themes in Fieldwork: thick description and Interviews

 What the hell do I do with all these fieldnotes?



Discovering THEMES in your qualitative research:
  • WORD-BASED TECHNIQUES (easy)
  • TEXTUAL SCRUTINY (harder)
  • ANALYZING LINGUISTIC FEATURES (not impossible)
  • MANIPULATION OR THE TEXT (can't beat it- necessary)
Word-based techniques are typically a fast and efficient ways to start looking for themes, and are particularly useful at early stages of theme identification. These techniques are also easy for novice researchers to apply. 

1. Word repetitions
If you want to understand what people are talking about, look at the words they use.
  • Words that occur a lot are often seen as being salient in the minds of respondents. 
  • D'Andrade notes that "perhaps the simplest and most direct indication of schematic organization in naturalistic discourse is the repetition of associative linkages" (1991:294). 
  • Anyone who has listened to long stretches of talk, whether generated by a friend, spouse, workmate, informant, or patient, knows how frequently people circle through the same ideas using familiar language.
Cleophatra: Drag is a celebration of everything, life, unity, inclusion…it should never be something that excludes. The only label I need is my name.

Gender queer punk rock aret comedy, dance, camp, queens. Drag queens do not have to conform to a mold. The performance art community is very gender fluid in Philadelophia, in drag, burlesque everywhere. Drag can be cookie cutter or open. In AC, it is open

Word repetitions can be analyzed formally and informally. 
  • In the informal mode, you simply read the text and note words or synonyms that people use a lot. 
  • repetitions indicate some ideas were important, recurring themes. 
  • A more formal analysis of word frequencies can be done by generating a list of all the unique words in a text and counting the number of times each occurs. (sort of like "coding")
2. Indigenous categories
Look for local terms that may sound unfamiliar or are used in unfamiliar ways. 
  • Understanding indigenous categories and how they are organized has long been a goal of cognitive and linguistic anthropologists. 
  • The basic idea in this area of research is that experience and expertise are often marked by specialized vocabulary. 
to "read" someone
"camp"
"uber-femme"

3. Key-words-in-context (KWIC)
If you want to understand a concept, then look at how it is used. 
  • In this technique, once you identify key words, systematically search the texts you have to find all instances of the word or phrase. Each time they find a word, make a copy of it and its immediate context. Themes get identified by physically sorting the examples into piles of similar meaning.
Nothing, however, beats a careful scrutiny of the texts for finding themes that may be more subtle or that don’t get signified directly in the lexicon of the text. Scrutiny-based techniques are more time-intensive and require a lot of attention to details and nuances.

4. Compare and contrast
Themes represent the ways in which texts are either similar or different from each other.
  • This kind of detailed work keeps you focused on the data rather than on your preconceptions. Like a good journalist, you compare answers to questions across people, space, and time.
  • This approach is like "interviewing the text" 
    • "How is this text different from the preceding text?" 
    • "What kinds of things are mentioned in both?" 
    • "What if the informant who produced this text had been a woman instead of a man?" 
    • "How similar is this text to my own experiences?" 
    • "What does this remind me of?" 
  • This often creates questions that lead to clarification with followup interviews with principle informants, or a new focus in continuing interviews.
5. Social science questions
Besides identifying indigenous themes—themes that characterize the experience of your informants—I'm also interested in how textual data illuminate questions of importance to social science. (theoretical importance).
  • evidence of social conflict, cultural contradictions, informal methods of social control, things that people do in managing impersonal social relationships, methods by which people acquire and maintain achieved and ascribed status, and information about how people solve problems. 
  • examining the setting and context, the perspectives of the informants, and informants’ ways of thinking about people, objects, processes, activities, events, and relationships. "
  • ideas about gender, sexuality, the nature of sexual identity, the role of gender performance
  • be sensitive to conditions, actions/interactions, and consequences of a phenomenon and to order these conditions and consequences into theories. 
    • conditional matrix: a set of concentric circles, each level corresponding to a different unit of influence. At the center are actions and interactions. The inner rings represent individual and small group influences on these actions, and the outer rings represent international and national effects.
  • be careful not to overfit your data – that is, find only that for which they are looking. 
    • There is a trade-off between bringing a lot of prior theorizing to the theme-identification effort and going at it fresh. Prior theorizing, can inhibit the forming of fresh ideas and the making of surprising connections. But, theory-avoidance brings the risk of not making the connection between data and important research questions. 
    • Novice researchers (like yourselves) may be more comfortable with the tabula rasa approach. More seasoned researchers, who are more familiar with theory issues, may find the social science query approach more compatible with their interests.
I am studying gendered performance, so in addition to my principle goal, which is to give voice to an informant's "story", I am always looking for elicited and observed information that sheds light on my research questions:
  • what does all this say about gender and performativity
  • how does this comment on the feminist critique?
  • is drag inherently subversive?
  • What is drag?
  • What is femininity?
6. Searching for missing information
Instead of identifying themes that emerge from the text, search for themes that are missing in the text.
  • A lot can be learned from a text by what is not mentioned. 
  • Sometimes silences indicate areas that people are unwilling or afraid to discuss. 
  • There are things that are difficult to ask for various reasons (direct questioning)
  • Other times, absences may indicate primal assumptions made by informants-they leave out information that "everyone knows." (abbreviating) 
  • looks for what is not said in order to identify underlying cultural assumptions. 
  • searching for missing information is difficult. There are many reasons people do not mention topics. 
    • avoiding sensitive issues 
    • assuming investigator already knows about the topic,
    • people may not trust you 
    • people may not wish to speak when others are present 
    • people may not understand your questions or may want to answer the way they think YOU want them too. (observer's bias)
  • Distinguishing between when informants are unwilling to discuss topics and when they assume you already knows about the topic requires a lot of familiarity with the subject matter.
Using linguistic features of meaning such as metaphors, topical transitions, and keyword connectors to help identify themes.

7. Metaphors and analogies
People often represent their thoughts, behaviors, and experiences with analogies.
  • Pay particular attention to informants' use of metaphors and the commonalities in their reasoning and explanations. 
  • The object is to look for metaphors in rhetoric and deduce the schemas or scripts, or underlying principles, that might produce patterns in those metaphors. 
  • schemas or scripts are what make it possible for people to fill in around the bare bones of a metaphor, so the metaphors must be surface phenomena and cannot themselves be the basis for shared understanding. 
8. Transitions
Another linguistic approach is to look for naturally occurring shifts in thematic content. 
  • Linguistic forms of transition vary between oral and written texts. In written texts, new paragraphs are often used by authors to indicate either subtle or abrupt shifts in topics. In oral speech, pauses, change in tone, or particular phrases may indicate thematic transitions. 
  • once  patterns are discovered (and markers of shifts-voice quality, tone, style, etc), it can be generalized and make you more sensitive to situations where they may be absent or more subtle.
  • In two-party and multiparty speech, transitions occur naturally. In looking at conversation or discourse, you must closely examine linguistic features such as turn-taking, body language, speaker interruptions, and time holding the floor to identify transitions in speech sequences. 
9. Connectors
Look carefully at words and phrases that indicate relationships between things, to discover themes by searching groups of words and looking to see what kinds of things the words connect.
  • Words such as: if or then, rather than, and instead of often signify conditional relationships. (or lack of certainty)
  • The phrase: "is a" is usually associated with taxonomic categories (felt essential truths). 
  • Time-oriented relationships are expressed with words such as: before, after, then, and next.
  • Typically, negative characteristics occur less often than positive characteristics. So, simply searching for the words not, no, none, or the prefix non may be a quick way to identify themes. 
    • Hale (1999): attributes (e.g., X is Y), contingencies (e.g., if X, then Y), functions (e.g., X is a means of affecting Y), spatial orientations (e.g., X is close to Y), operational definitions (e.g., X is a tool for doing Y), examples (e.g., X is an instance of Y), comparisons (e.g., X resembles Y), class inclusions (X is a member of class Y), synonyms (e.g., X is equivalent to Y), antonyms (e.g., X is the negation of Y), provenience (e.g., X is the source of Y), and circularity (e.g., X is defined as X).
  • Metaphors, transitions, and connectors are all part of a native speaker’s ability to grasp meaning in a text. So, we tend to do this NATURALLY. By making these features (and our own analytical process) more explicit, we sharpen our ability to find themes.
Sometimes, theme discovery, requiring some physical manipulation of the text itself.

10. Unmarked texts
One way to identify new themes is to examine any text that is not already associated with a theme 

  • This technique requires multiple readings of a text. 
    • On the first reading, salient themes are clearly visible and can be quickly and readily marked with different colored pencils, sticky tabs or highlighters (I like colors). 
    • In the next stage, the search is for themes that remain unmarked. 
  • This tactic–marking obvious themes early and quickly—forces the search for new, and less obtrusive themes.
11. "Pawing"
I highly recommend pawing through texts and marking them up with different colored highlighter pens. 

  • underlining key phrases because they make some (as yet not totally understood) sense-otherwise known as eyeballing
  • In this method, you get a feel for the text by handling your data multiple times. (I have been known to print out my interviews, spread their them out on the floor, tack bunches of them to a bulletin board, and sort them into different file folders and -wait for patterns to hit me).
  • This may not seem like a very scientific way to do things, but it is one of the best ways to begin hunting for patterns in qualitative data. Once you have a feel for the themes and the relations among, then we see no reason to struggle bravely on without a computer. Of course, a computer is required from the onset if the project involves hundreds of interviews, or if it’s part of a multi-site, multi-investigator effort. Even then, there is no substitute for following hunches and intuitions in looking for themes to code in texts (Dey 1993).

12. Cutting and sorting
Cutting and sorting is a more formal way of pawing and a technique I use quite a bit. It is particularly useful for identifying sub-themes. 

  • The approach is based on a powerful trick most of us learned in kindergarten and requires paper and scissors. 
    • First, read through the text and identify quotes that seem important. 
    • Cut out each quote (making sure to maintain some of the context in which it occurred) and paste the material on small index cards. 
    • On the back of each card, we then write down the quote’s reference—who said it and where it appeared in the text. 
    • Then we lay out the quotes randomly on a big table and sort them into piles of similar quotes. 
    • Then we name each pile. These are the themes. 
  • An advantage to the cutting and sorting technique is that the data can be used to systematically describe how such themes are distributed across informants. After the piles have been formed and themes have been named, simply turn over each quote and identify who mentioned each theme.

Discussion
The variety of methods available for coding texts raises some obvious questions:

(1) Which technique generates more themes?

  • there is no best method, but word-based techniques are easiest for novices

(2) When are the various techniques most appropriate?

  • The choice of techniques depends minimally on the kind and amount of text, the experience of the researcher, and the goals of the project. 
    • Word-based techniques (e.g., word repetitions, indigenous categories, and KWIC) are probably the least labor intensive. Word-based techniques are also the most versatile.  Given their very nature, however, they are best used in combination with other approaches.
    • Scrutiny-based techniques (e.g., compare and contrast, querying the text, and examining absences) are most appropriate for rich textual accounts and tend to be overkill for analyzing short answer responses. If you are beginning to explore a new topical area, you might want to start with compare-and-contrast techniques before moving on to the more difficult tasks of querying the text or searching for missing information. If the primary goal of the this portion of the investigation is to discover as many themes as possible, then nothing beats using these techniques on a line-by-line basis.
    • Linguist-based approaches are better used on narrative style accounts rather than short answer responses. Looking for transitions is the easiest technique to use, especially if the texts are actually written by respondents themselves (rather than transcribed from tape recordings of verbal interviews). Searching for metaphors is also relatively easy once you know what kind of things to look for in the texts. Looking for connecting words and phrases is best used as a secondary wave of finding themes, once you have a more definite idea of what kinds of themes you finds most interesting.
    • In the early stages of exploration, nothing beats a thorough reading and pawing through of the data. It is particularly good for identifying major themes. The cutting and sorting techniques are most helpful. 
    • An even more powerful strategy would be to combine multiple techniques in a sequential manner. 
      • For example, you might begin by pawing through the data to see what kinds of themes just stick out. As part of this process, they might want to make comparisons between paragraphs and across informants. A quick analysis of word repetitions would also be appropriate for identifying themes at such an early stage of the analysis. If key words or indigenous phrases are present, you might follow-up by conducting more focused KWIC analyses. If the project is examining issues of gender and sexuality, for instance, you might also look for texts that are indicative of these things. Texts representing major themes can be marked either on paper or by computer. 
      • You also might consider beginning by looking for identifying all metaphors and similes, marking them, cutting them out and sorting them into thematic categories. (I like this one)
(3) When do you know when you’ve found all the themes?

  • There is no magic formula to answer this question. One strategy would be to interview people until some number of respondents in a row (say five or more) fail to mention anything new.
  • another (my case) is to interview everyone you can (small sample) who has some knowledge as they emerge and then continually repeat the steps above.
  • At some point you are willing to be DONE (there is always another study).

Monday, March 7, 2022

Gathering Stories: What to do with interviews

 


 "Stepping into the Worldview of Others"


When we interview informants, we step into their worldview by stepping out of our own, we LISTEN CAREFULLY, but also notice the ARTIFACTS and MANNERISMS through which they express themselves and their identity.

  • Good Interviewing is a collaboration between you and your informant, not very different from a friendly talk.
  • skills:
    • establishing rapport
    • letting your informant drive the direction of the interview: digressing, topic changing, etc.
    • listening carefully
    • steering the interview in response to your informants' accounting
THE INTERVIEW

  • Expect the unexpected answer and follow its lead
  • Work from your structured (prepared) questions (theory/assumptions) but listen carefully to answers to see where they go-BE FLEXIBLE
  • It is our job to reveal our informants' perspectives and experiences rather than our own.
  • ASKING QUESTIONS
    • closed questions: answer is finite (don't ask too many)
    • open questions: answer begs elaboration (takes research to know what might be significant or meaningful to the informant)
      • demonstrates your level of interest
      • puts the informant at ease
      • creates a more comfortable interview situation
      • collects EMIC information
      • need to listen carefully and follow up taking the informants' lead
    • examples of OPEN questions
      • what do you think about the changes happening in this neighborhood?
      • describe the first time you ...on this street.(memory/oral history)
      • Who was the first person that taught you how to hustle? (activity/practice)
      • What do you remember about...? (memory/oral history)
      • What is that bag? Why do you carry it around? (artifact)
      • describe a typical day on this block. (cultural/daily life-ideal)
      • What stands out as a memorable event here? (cultural/daily life-real)
      • How would you describe yourself? Your community? The people who work here? (identity/indigenous categories)
  • Learning to LISTEN (THICK DESCRIPTION)
    • don't INTERRUPT or MOVE CONVERSATION back to THEMSELVES
    • use your body language to express the importance of informants words
      • look at your informant (eye contact)
      • don't check your watch or phone (put them away)
      • back-channel
      • encourage responses verbally (acknowledgement, follow-up questions, embellishments with examples, asking for clarification)
  • Etiquette
    • arrange interview at your informant's convenience
    • explain the project in plain language
    • agree on a quiet place to talk
    • arrive on time and be prepared
    • dress appropriately to make your informant comfortable
    • be sensitive to social cues (when someone is finished, doesn't want to answer, etc.)
    • express gratitude (thank you note, token -cup of coffee, etc.)
RECORDING AND TRANSCRIBING
  • bring notebook, pen and recorder
  • familiarize yourself with your recording device
  • test recording device.
  • take notes while you record (note time imprint of interesting statements, jot down basic information, make note of nonverbal information)
    • surroundings
    • body language
    • things that transpire during interview
    • informants appearance
  • Transcribe everything that your informant says. You may (for this assignment) leave out UMMMM, and like you knows, etc. although you may want to note 'hesitation', nervousness, other emotions)
  • bring your informants' language to life
    • do not fix/alter grammar
    • ... where necessary
      • pausing
    • note things like emphasis and other para-linguistic features

GATHERING FAMILY (subculture) STORIES

  • three ways to think about the stories informants tell, which lie at the heart of ethnography (our ability to tell their stories through us)
    • stories PRESERVE a culture's values and beliefs
    • stories help individuals endure, transform, or reject cultural values for themselves
      • stories that perform a function are told over and over again
      • important stories have been crafted and hold strong meaning
    • stories exist because of the relationship between story tellers and their audience.
  • family stories are expressions of individual differences and identities within families
  • strong emotions are tied into and expressive of contested stories within families (or subcultures)
    • stories have a STABLE CORE, but differ in terms of: 
      • embellishments 
      • individual temperament, 
      • ability as a storyteller
      • agenda
    • when we record important stories we must distinguish
      • what facts are stable (core)?
      • what is the chronology
      • what characters are key?
      • what is the central conflict in the story?
      • what is the theme (purpose/main point/cultural value)?
      • Does the story contain a "moral"?
    • Organize variants of stories
      • what are the features that vary?
      • why do these features vary (with whom)?
      • what do variations suggest about the tellers?
      • what do variations suggest about the audience (you only, group, outside, inside, overheard, etc.).
GATHERING ORAL HISTORIES
  • a life history is the story of an informant's life, shared with the fieldworker, which measures itself in terms of cultural significance. (ETHNOHISTORY)
  • a systematic collection of living people's TESTIMONY about their life experiences
    • can be mundane or significant
  • can be Visual, Auditory, or Textual








    Story Corps 3

    FIELDWRITING: Using character, setting and theme to create a portrait

    • study your fieldnotes
    • use language techniques discussed to discover initial themes BEFORE any follow-up interviews
    • themes can guide the direction of interviews and analysis and bring your characters to life
    • place your character (informant) against a cultural backdrop
      • Details of character
        • physical features
        • material artifacts
        • body language
        • oral language patterns/characteristics (don't make judgement)
        • personal history
      • Details of setting
        • time
        • place
        • weather
        • color
        • other sensory impressions and information
        • (techniques)
          • outside to inside
          • general to detail
          • floor to ceiling
      • Details of Theme
        • come from active interpretation of your fieldnotes
        • themes are BIGGER than the details you collect
        • themes reflect important cultural trope (values, stories, beliefs, practices)
        • give reader the sense that they participated in the research

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