The Art of Ethnography is a fully illustrated translation of a "Miao album" -- a Chinese genre originating in the eighteenth century that used prose, poetry, and detailed illustrations to represent minority ethnic groups living in frontier regions under imperial Chinese control. These bound collections of hand-painted illustrations and handwritten text reveal how imperial China viewed culturally "other" frontier populations. They also contain valuable information for anthropologists, geographers, and historians, and are coveted by art collectors for their beautiful imagery. "Miao" in this context refers not just to groups that called themselves Miao (Hmong) or were classified as such by the majority Han culture, but generally to the many minority peoples in China's southwest. This lovely volume reproduces each of the eighty-two illustrations from the original album and the corresponding Chinese calligraphic text, along with an annotated English translation. Each entry depicts a different ethnic group residing in Guizhou. The album is anonymous and dates from sometime after 1797. Laura Hostetler's Introduction discusses the genesis and evolution of the Miao album genre and the sociopolitical context in which the albums were first made, the ethnographic content of the texts, the composition of the illustrations, and the albums' authorship and production. She situates the albums within the context of early modern imperial expansion internationally by introducing comparative examples of Japanese and Ottoman ethnography. Color illustrations from other Miao albums and comparable works from other cultures give the reader a sense of the chromatic richness of Miao album illustrations and of their place in world ethnography.

Brimming with examples, this book demonstrates how qualitative researchers can use autoethnography as a method for qualitative research. Topics include a brief history of autoethnography; the purposes and practices of doing autoethnography; interpreting, analyzing, and representing personal experience; and evaluating autoethnographic work.

Ethnographic Experiments with Artists, Designers and Boundary Objects is a lively investigation into anthropological practice. Richly illustrated, it invites the reader to reflect on the skills of collaboration and experimentation in fieldwork and in gallery curation, thereby expanding our modes of knowledge production. At the heart of this study are the possibilities for transdisciplinary collaborations, the opportunity to use exhibitions as research devices, and the role of experimentation in the exhibition process. Francisco Martínez increases our understanding of the relationship between contemporary art, design and anthropology, imagining creative ways to engage with the contemporary world and developing research infrastructures across disciplines. He opens up a vast field of methodological explorations, providing a language to reconsider ethnography and objecthood while producing knowledge with people of different backgrounds.

Between Art and Anthropology provides new and challenging arguments for considering contemporary art and anthropology in terms of fieldwork practice. Artists and anthropologists share a set of common practices that raise similar ethical issues, which the authors explore in depth for the first time. The book presents a strong argument for encouraging artists and anthropologists to learn directly from each other's practices 'in the field'. It goes beyond the so-called 'ethnographic turn' of much contemporary art and the 'crisis of representation' in anthropology, in productively exploring the implications of the new anthropology of the senses, and ethical issues, for future art-anthropology collaborations. The contributors to this exciting volume consider the work of artists such as Joseph Beuys, Suzanne Lacy, Marcus Coates, Cameron Jamie, and Mohini Chandra. With cutting-edge essays from a range of key thinkers such as acclaimed art critic Lucy R. Lippard, and distinguished anthropologists George E. Marcus and Steve Feld, Between Art and Anthropology will be essential reading for students, artists and scholars across a number of fields.

In turn creative thinker and street flâneur, careful planner and adventurer, empathic listener and distant voyeur, recluse writer and active participant: the ethnographer is a multifaceted researcher of social worlds and social life. In this book, sociologists Sarah Daynes and Terry Williams team up to explore the art of ethnographic research and the many complex decisions it requires. Using their extensive fieldwork experience in the United States and Europe, and hours spent in the classroom training new ethnographers, they illustrate, discuss, and reflect on the key skills and tools required for successful research, including research design, entry and exit, participant observation, fieldnotes, ethics, and writing up. Covering both the theoretical foundations and practical realities of ethnography, this highly readable and entertaining book will be invaluable to students in sociology and other disciplines in which ethnography has become a core qualitative research method.

The Art of Life and Death explores how the world appears to people who have an acute perspective on it: those who are close to death. Based on extensive ethnographic research, Andrew Irving brings to life the lived experiences, imaginative lifeworlds, and existential concerns of persons confronting their own mortality and non-being. Encompassing twenty years of working alongside persons living with HIV/AIDS in New York, Irving documents the radical but often unspoken and unvoiced transformations in perception, knowledge, and understanding that people experience in the face of death. By bringing an "experience-near" ethnographic focus to the streams of inner dialogue, imagination, and aesthetic expression that are central to the experience of illness and everyday life, this monograph offers a theoretical, ethnographic, and methodological contribution to the anthropology of time, finitude, and the human condition. With relevance well-beyond the disciplinary boundaries of anthropology, this book ultimately highlights the challenge of capturing the inner experience of human suffering and hope that affect us all--of the trauma of the threat of death and the surprise of continued life.

Universities have become important sources of patronage and professional artistic preparation. With the growing academization of art instruction, young artists are increasingly socialized in bureaucratic settings, and mature artists find themselves working as organizational employees in an academic setting. As these artists lose the social marginality and independence associated with an earlier, more individual aesthetic production, much cultural mythology about work in the arts becomes obsolete. This classic ethnography, based on fieldwork and interviews carried out at the California Institute of the Arts in the 1980s, analyzes the day-to-day life of an organization devoted to work in the arts. It charts the rise and demise of a particular academic art "scene," an occupational utopian community that recruited its members by promising them an ideal work setting. Now available in paperback, it offers insight into the worlds of art and education, and how they interact in particular settings. The nature of career experience in the arts, in particular its temporal structure, makes these occupations particularly receptive to utopian thought. The occupational utopia that served as a recruitment myth for the particular organization under scrutiny is examined for what it reveals about the otherwise unexpressed impulses of the work world.

Vasilii Kandinsky, whom many consider to be the father of abstract painting, was also a trained ethnographer with an abiding interest in the folklore of Old Russia. In this provocative book, Peg Weiss provides an entirely new interpretation of Kandinsky's art by examining for the first time how this commitment to his ethnic Russian heritage influenced the painter's work throughout his career.

This book is a follow-up to Inside Schools. It reviews the position of ethnography in educational research in the light of current issues and of the author's own research over the past ten years. Starting from an analysis of teaching as science and as art, Peter Woods goes on to review the general interactionist framework in which his own work is situated, and how this relates to postmodernist trends in qualitative research. The approach is illustrated through reference to the author's own personal history and research career, and his recent research on creative teaching, critical events, and his teachers reactions to school inspections. How to represent such research is a central feature, and includes a consideration of the tools used in that task and how they relate to the ethnographer's self, whatever forms of representation are selected, however, the audiences' own concerns will guide them in their interpretation of the work. Prominent themes include: * the person of the ethnographer in research * the art of teaching and new ways of representing it, while not forgetting the science of teaching and of research * research for educational use, and the uses of educational research * collaborative work between researchers and teachers The issues covered include such matters as research purposes, research design, research careers, access, data collection, data analysis, truth criteria, the relationship between theory and research methods, writing-up, and dissemination.

All societies are shaped by arts, media, and other persuasive practices that can awe, captivate, enchant or otherwise seem to cast a spell on the audience. Likewise, scholarship itself often is driven by a sense of wonder and a willingness to be open to what lies beyond the obvious. This book broadens and deepens this perspective. Inspired by Stephen Tyler’s view of ethnography as an art of evocation, international scholars from the fields of aesthetics, anthropology, and rhetoric explore the spellbinding power of elusive meanings as people experience them in daily life and while gazing at works of art, watching films or studying other cultures. The book is divided into three parts covering the evocative power of visual art, the immersion in ritual and performance, and the reading, writing, and interpretation of texts. Taken as a whole, the contributions to the book demonstrate how astonishment and evocation deserve an important place in the conceptual repertoire of the human sciences.