Fourteenth and Fifteenth classes: Interviewing, Transcribing

By now, you should know the drill: everything one can say about photography and ethnography one can say about interviewing: it is doing what you do in your day to day world anyway, only a bit more structured.

An interview is a conversation: like most conversations (as opposed to idle chit chat, which is swell but something different) it has a point. You are talking about something. But it is as much an opportunity for communion as it is an instrument in data mining (perhaps more the former than the latter). So you don't go into it with a strict "must get answers to these questions" mentality. It is not an oral questionnaire. No matter what ethics boards want to tell you to do, you can;t predict the course of an interview any more than you can predict the course of a conversation. You can make intelligent guesses, and have intelligent expectations, but it isn't rocket science (it's harder than rocket science, because you are dealing with the trajectories of human interaction (see how I did that with the word 'trajectories'? I'm balls to the wall clever sometimes)).

But you know this already, don't you? Because you all slavishly read the Statement of the American Folklore Society On Research with Human Subjects, particularly where it says:

On occasion, a folklorist may employ a questionnaire or other survey instrument at the initial stages of research, but these are rapidly abandoned in favor of close conversation, careful observation, and prolonged participation.

and

There is almost no folklore research that can be conducted using a pre-formulated set of questions. As folklorists learn more about the traditions that are the focus of their research, the kinds of questions they ask will necessarily change. Each response provokes new and unanticipated questions, each question leads to new areas of inquiry. In folklore and other ethnographic research, the questions to be asked cannot be known or formulated in advance. In many respects, folklore research is a type of investigative journalism; but it is deeper, longer lasting, and more responsible: the bonds established between the researchers and community members are more personal and enduring.

and

Folklore research presents no more risk to human subjects than any sustained, deep, and wide-ranging conversation about cultural beliefs and social practices.

So that's that.

After the interview is the transcription. You will all have read Ives (on reserve at the library). And, based on the exercise in class, creating a transcription is a subjective exercise: no two will be exactly the same, and each will depend not so much on the relative strengths and weaknesses of the transcriber as on the way they choose to interpret the recording. How literal one is in terms of trying to capture accent, how one uses punctuation to express pauses, changes in thought and idea, etc., are as much framing devices as what one chooses to write down in the ethnography and what one puts in the picture in photography.

Get the interview assignment handout here.

Eleventh and Thirteenth classes: Ethnography

Ethnography is a weird thing. It is fieldwork at its most basic, on one level. You go somewhere and observe. It is highly subjective, but over time one gets to see patterns. What you are creating is a primary document that can be later translated into something more textual: it is a record of your impressions and observations there.

The idea I try to put across is that you are doing what you do normally: you go into a space and try and figure out what is going on and how you should operate. To do ethnography, reflect on what you do when you go to a new place for the first time. You tend to hang back and check things out a little bit, get the lay of the land, see what happens and where, see if you can figure out what you should and shouldn't, can and can't do.

The ethnographer does the same thing, albeit with the intent of translating that experience into a more formal text that will be read by an undisclosed third person.

With that in mind, we went out boldly into the world (the cafeteria) and as a group recorded what happened. Each person was seemingly dissatisfied with the activity (and with the entire exercise) but, when we got back, it was weird to hear what other people had seen, how they created shorthand for it, and so on.

In the middle of everything I went to Milwaukee for the annual meeting of the American Folklore Society. So here are three cool things from there:

1. The Onion started there, and they give out free copies.
2. Lots of German's (Budweiser, Schlitz, etc.) so ate German food.
3. Not a huge amount of Africans (at least not compared with Germans) but that doesn't stop one from eating at African Hut and ordering the Mandingo Warrior Platter. (Get menu here.)

Get the ethnography assignment handout here.

Ninth and Tenth classes: Margaretbennettpaloozathon '06

If only all irruptions in the schedule were as pleasurable as this one. Margaret Bennett, that Hebridean firecracker, entered our lives for a week of things.

First she came to our class not to hit on Clare, as the picture may imply (oh, see last post) but to talk about some of the practical aspects of conducting fieldwork.

For those who have trouble remembering:

1. Have a bag
2. Put things in it
3. Things should include
   1. Recorder, all cords for same, microphone, and instruction manual
   2. Spare recording media
   3. Extra batteries
   4. Bottle of water
4. Bring bag with you
5. Position equipment so that it can pick up sound good but
6. Don't position equipment so that your interviewee is uncomfortable
7. Things of ways to reciprocate for their time: this might include
   1. Offering to make them copies of the interview
   2. Bringing them something like a housewarming present (everybody likes muffins)
   3. Cure them of their diseases (*swamis or angels only)
   4. Don't bring them booze (revision to standard folklore protocol 1975)
   5. Cookies: everybody likes cookies too
8. And, in all instances, like in life, don't be a turd (my paraphrase).

Then, on Thursday, we finally got a taste of lore (some of you who signed up with a less talk, more rock approach must have been waiting for this). Her talk on the songs of immigration (or emigration) indicated not only the time-depth of the tradition in a Cape Breton and Scottish repertoire, but also how they can be used as a source of historical data. Take that, "real disciplines."

Seventh and Eighth Classes: Photography

First off, here's a link to an article about post 9/11 Photoshopping. It should work from on-campus or from anywhere with a subscription to the database.

Between writing that sentence and this one, it has been something like five weeks. Damn.

So, the next couple of posts are going to be the entire course since then, condensed into nuggets.

Photography is put forward as evidence, as proof, because it is the visual evidence we seek. Because it involves mechanical reproduction, unlike drawings or text, it is somehow more real. People more profound than I (and there are a few, as hard as you may find that to believe: your homework is to find one) have written about the relationship between the image and the real: just watch the special features of The Matrix; or take intro Phil (into an empty bathroom and introduce him to the ways of... sorry, different intro Phil) and read Plato's allegory of the cave; or consult just about anything written while smoking Gallois cigarettes.

Essentially, what is photographed, what is framed by the sides of the image, what is left outside the frame, how focus is drawn, the level of 'staging': all these are questions dealing with the ostensible objectivity of the photograph.

So a photograph is subjective? Big deal. The solution is adverting to the fact that the photographer - i.e. you, when you take pictures - is making conscious decisions about the subject matter, and is not a mere conduit for neutral information. Therefore, explain the decision-making process, which means explain the reason you took the photograph the way you did, and explain the context in which the photo was taken.

Lastly, the photograph is not sufficient on its own to explain something. As the photographer (the ethnographic photographer, that is: I don't care what you do with snapshots or if you've been subjected to art photography classes) you have to provide information about the contents: who are the participants, where and when did it take place, and any other extraneous information.

Here is the photography assignment handout as a pdf (since it has images, it's larger than usual).

Ethics Review: A How-To Guide

Let's go through it together, shall we?

First, get the form. A PDF is available for those with typewriters; a Microsoft Word version is there for the rest of us.

You'll only be using the first seven pages: the next two are for long term projects or ones that require a final review. Hold on to the last one.

Now, let's take the questions one at a time.

Title of Proposed Research:

Come up with a title: It doesn't have to be catchy yet. "Ethnography of a Shopping Mall" or "Interview with a Sculptor" will suffice for now.

Date submitted to the REB:

October 5th, 2006

Project Start Date:

October 5th, 2006

Expected Completion Date:

November 21, 2006

Principal Investigator(s): Provide name(s), academic status (faculty, undergraduate student, graduate student or other (please specify), department, e-mail address, office telephone, home telephone.

[Put your name here], undergraduate student, [your department/ degree/ programme/ whatever], [your email]. [Don't give them your phone number: they're lonely and want friends]

Co-Investigator(s): Provide name(s), department, academic status, e-mail address, office telephone.

You don't have one: leave this blank

Supervisor(s): (if principal Investigator is a student): provide department, e-mail address, office telephone:

Ian Brodie, Heritage and Culture, ian_brodie@cbu.ca, x1418

The undersigned parties certify that they have consulted, and undertake to comply with, the Tri-Council Policy Statement Ethical Conduct for Research Involving Humans.

[By the time we get through this, you will have, so it won't be a lie]

Principal Investigator(s):

[when you print it off, you put your John Hancock here]

Co-Investigator(s):

n/a

Supervisor(s):

[when you hand it in, I'll put my John Hancock here]

Has funding been received for this research?

No

If yes, from what agency and for what period?

n/a

If no, has funding been requested for this research?

No

If yes, from what agency and for what period?

n/a

Summary: Provide, in 150 to 300 words, a summary of the proposed research, indicating clearly the role of the research participants and any procedures to which they will be subjected. (Include copies of any questionnaires, interview guides or other instruments with your application)

[Easiest thing to do is say 'see attached'. and then attach your proposal]

Risk: In your opinion, does this research pose more than minimal risk (Tri-Council Policy Statement, Section 1.C1, page 1.5) to participants?

The answer should be 'no', but you should read what it says in the policy (follow the link) and really think about it first. Why are they asking this? What is the nature of your research and how does it relate to this?

What are the risks of harm in this research project and how will your research methodology address these risks?

Note that not only physical injury, but also anxiety or embarrassment, are included in the concept of harm. Describe means adopted to minimize risk and means (such as provision of counseling) to deal with harms which participants may experience. Describe as well the potential benefit that will result from this research that justifies the above risk of harm.

Again, the answer should be 'no'. But it isn't impossible that certain activities are possibly subject to some sort of scrutiny: even if everyone involved is fully consenting, there are some frosh week activities, for example, that may contradict official school policy or current legal practice. So, think twice, and, what is more, your informants might not think that harm embarrassment can come to them but you might be cleverer than that, so sometimes you act on behalf of your informants.

Deception: Does this research involve deception or partial disclosure?

No [You're telling them what you are doing, and you aren't recording things secretly]

If yes, refer to the Tri-Council Policy Statement, Section 2, specifically Article 2.1(c) and subsequent commentary (pages 2.1 to 2.3), and provide an explanation of how you plan to comply with the requirements of that Section for debriefing. Describe as well the potential benefit which will result from this research, which justifies waiving the normal requirements for full disclosure.

n/a [but hey, read it anyway]

Research Participants:

Hopefully you have an idea now-ish.

Number of Participants: How many individuals will participate in this research?

Typically, one.

Recruitment: How will they be recruited, and from what population?

You are likely to directly approach them as representative of the folk group under discussion.

Inducements: Will any inducements (money, grade points, etc.) be offered to encourage participation?

No [Well, no-ish. Interestingly enough, this is the greyest of areas in folkloristics. Does sitting people down and offering them pizza, scotch, etc. qualify as 'inducements'? It isn't the same as paid participation in clinical trials: it is the same kind of reciprocity that one would do if one were asking a favour of a friend (help me move, I'll buy beer). So, once again, take a ponder.]

If yes, indicate how compliance with Section 2B of the Tri-Council Policy Statement concerning voluntariness (page 2.4) will be achieved. If academic rewards are to be used, give details of alternative means of achieving equivalent rewards.

n/a

Informed Consent: Will individual consent be sought from all participants?

Yes [you will be telling people what you are doing.]

If yes, provide the information requested below. If no, explain why such consent will not be obtained and indicate how the requirements for waiver of informed consent are being met. The requirements for such waivers are described in Section 2 of the Tri-Council Policy Statement (pages 2.1 to 2.12).

(below)

Informing Participants: How will the nature of the research be explained to potential participants, in compliance with Section 2D of the Tri-Council Policy Statement (pages 2.5 to 2.8)? Attach a copy of any document(s), such as an explanatory letter, to be used for this purpose.

You will explain it to them.

Evidence of Consent: If written evidence of informed consent will be obtained, attach a copy of the consent form. If written evidence of informed consent will not be used, explain in detail how you intend to comply with the requirements of Section 2A of the Tri-Council Policy Statement, particularly Article 2.1(b) and subsequent commentary (pages 2.1 to 2.3).

You will, in the case of interviewing people, explain the project to them when the recorder is on, and ask them if it is still okay. See 2.1 (b): about the "culturally unacceptable" ways of finding informed consent. You can also reference the Statement of the American Folklore Society On Research with Human Subjects and what they say about evidence of informed consent.

Children as Research Participants: If the proposed research involves children as participants, provide a statement indicating how compliance with Section 2E and specifically with Articles 2.5, 2.6 and 2.7 of the Tri-Council Policy Statement (pages 2.9 to 2.11) will be achieved.

n/a

Incompetent Adults as Research Participants: If the research involves adults of diminished competence as participants, provide a statement indicating how compliance with Section 2E and specifically with Articles 2.5, 2.6 and 2.7 of the Tri-Council Policy Statement (pages 2.9 to 2.11) will be achieved.

n/a

Anonymity/Confidentiality: Will complete anonymity of participants and confidentiality of data be maintained?

No

If yes, explain the procedures to be used to ensure anonymity of participants and the confidentiality of data both during the research and in the release of the findings. If no, explain the procedures to be used to discuss limits to anonymity and confidentiality and to obtain participants agreement to waive anonymity.

See Statement of the American Folklore Society On Research with Human Subjects again, this time looking at 'Confidentiality'. Then write something.

Describe the procedures for securing written records, questionnaires, video/audio tapes and electronic data, etc.

Everything is going to go into the Beaton Institute Archive. It will be accessioned, described, stored, and made accessible by institute staff, in accordance with any restrictions you may place upon it (for example, you may insist that pseudonyms be used for particular informants, or you may put a hold of ten years on the info until the risk of embarrassment has passed).

Indicate how long the data will be securely stored and the method to be used for final disposal of the data.

[X] Paper Records

[X] Data will be retained indefinitely in a secure location

[X] Audio/Video Recordings

[X] Data will be retained indefinitely in a secure location

[X] Electronic Data (you will be using digital copies of things, so include this too.

[X] Data will be retained indefinitely in a secure location

[ ] Other (Provide details on type, retention period and final disposition, if applicable).

I don't think this will apply.

Feedback: Describe the measures which you propose for providing feedback to research participants concerning the outcome of the research.

Give them a copy of your paper. Easy peasy.

Continuing Review: All research requires brief annual reports and a brief report upon completion of the research. Suitable report forms are included at the end of this file. Research involving more than minimal risk may require additional measures for continuing review. If your research involves more than minimal risk, describe here the measures you propose for facilitating continuing review of this research, in compliance with Article 1.13 of the Tri-Council Policy Statement (pages 1.10 to 1.11)

Since it doesn't involve more than minimal risk, no problem.

Additional Information: Please feel free to append any additional information which you feel may be helpful to the REB in evaluating this application.

Attach your proposal.

And that's all there is to it. Only do one copy: I'll mark it up and suggest any changes needed. Then we'll submit it.

YAY!