Field Working Reading and Writing Research pptx

They discovered that they shared a fascination with ethnographic fi eldwork and began their work together on many writing and research processes by taking and teaching courses, design-ing

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Field Working

Reading and Writing Research

FOURTH EDITION

Reading and Writing Research

Bonnie Stone Sunstein

For Bedford/St Martin’s

Senior Developmental Editor: Joelle Hann

Production Editor: Peter Jacoby

Production Supervisor: Samuel Jones

Senior Marketing Manager: Molly Parke

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Text Design: Claire Seng-Niemoeller

Cover Design: Donna Dennison

Cover Art: Hundertwasser, Friedensreich (1928–2000) © copyright The apartments hang

from the underside of the meadows Mixed techniques (1970), 44 ⫻ 63 cm Private collection Photo credit: Erich Lessing/Art Resources, NY

Composition: Cenveo Publisher Services

Printing and Binding: RR Donnelley and Sons

President: Joan E Feinberg

Editorial Director: Denise B Wydra

Editor in Chief: Karen S Henry

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Associate Director, Editorial Production: Elise S Kaiser

Managing Editor: Shuli Traub Library of Congress Control Number: 2011927765Copyright © 2012, 2007, 2002, 2000 by Bedford/St Martin’s

All rights reserved No part of this book may be reproduced, stored in a retrieval system,

or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, except as may be expressly permitted by the applicable copyright statutes or in writing by the Publisher

Manufactured in the United States of America

Implicit in this book is our philosophy of teaching:

that teaching is a way of learning We dedicate this book

to all the students who have been our teachers.

About the Authors

Bonnie Stone Sunstein and Elizabeth Chiseri-Strater

have been collaborators and friends for a long time

They hope you’ll notice, while reading this book, that

they enjoy working together

During the school year, Bonnie is professor of both English and education at the University of Iowa,

where she teaches courses in nonfi ction writing,

research methods, English education, and folklore

She is the director of undergraduate writing in the

English department, coordinates the English

Edu-cation Program in the Department of Teaching and

Learning, and is a faculty member in the Language,

Literacy, and Culture PhD program Elizabeth is professor of English and

women and gender studies at the University of North Carolina at Greensboro,

where she teaches courses in nonfi ction writing, research methods, rhetoric,

and composition She develops programs in writing across the curriculum, and

served as director of Freshman Composition

Bonnie and Elizabeth were each writing teachers long before they met as PhD students at the University of New Hampshire They discovered that they

shared a fascination with ethnographic fi eldwork and began their work together

on many writing and research processes by taking and teaching courses,

design-ing and givdesign-ing workshops, and consultdesign-ing with teachers and students in

second-ary schools and colleges They still belong to the same writing group

Together, they have taught in summer programs at the University of New Hampshire, the Smithsonian Institution, and Northeastern University’s Martha’s

Vineyard Summer Institute They often present their work together at

profes-sional conferences and workshops They’ve authored four editions of

FieldWork-ing as well as a book for teachers, What Works: A Practical Guide for Teacher

Research (Heinemann/Boynton Cook, 2006), and several articles and book

chap-ters Separately, Bonnie and Elizabeth have written chapters and articles about

ethnographic writing, portfolio-keeping, and, of course, collaboration Bonnie’s

book Composing a Culture (Heinemann/Boynton Cook, 1994) and Elizabeth’s

book Academic Literacies (Heinemann/Boynton Cook, 1991) are ethnographic

fi eld studies of writing communities

To the Instructor

When we set out to write this book four editions ago, we wanted

FieldWork-ing: Reading and Writing Research to gather together the concepts, readings,

and exercises we had each used in the courses we teach In other words, we

wanted to write the book we wished we’d had We’ve been proud of the results,

and we’ve learned much from our readers along the way FieldWorking has

cre-ated communities of students and teachers — not only in writing and research

classes, but also in anthropology, sociology, journalism, and folklore courses

We’ve enjoyed hearing from our readers, and in each new edition, we highlight

some of their work on the pages of our book and its companion Web site

Conducting fi eldwork brings the research and writing processes together

It teaches the conventions of writing and rhetoric that students need to master,

and introduces them to research strategies that are essential for college

writ-ers But in choosing their own research sites, interacting with others, and

docu-menting their experiences, students also learn to observe, listen, interpret, and

analyze the behaviors and language of those around them — and then include

these perspectives in their own writing Research confi ned to the library or the

Internet bring information to life in the same way, just as writing confi ned to

discrete skills doesn’t animate students’ ideas doesn’t necessarily Doing

ethno-graphic writing and research empowers students to invest in their rhetorical and

research skills in a way that more traditional composition work simply can’t

Additionally, students commit more of themselves to the topics they tigate because fi eldwork allows them actual contact with people and cultures,

inves-often ones different from their own As a result, students develop a greater

understanding of the “self ” — their own habits, biases, assumptions — as they

refl ect on their encounters with the “other.” But the most compelling reason for

any instructor to use this investigative approach is that through the process of

fi eldworking, students become better readers, researchers, and writers

Each chapter in FieldWorking introduces specifi c research concepts and

short writing activities (“boxes”) that allow students to practice skills that are

essential to good fi eldwork The readings, by both professional and student

writ-ers, are designed to motivate students and model the skills and strategies they’ll

need for their own projects We’ve put each reading in the chapter where it best

serves as an example or expansion of the topic at hand, and we discuss it both

before and after we present it

One way to use the writing activities is to have students create a single, extended fi eldwork project that spans the semester Another way is to assign a

x To the Instructor

number of small units that allow students to master the reading, writing, and research skills of a fi eldworker in a few discrete projects

But in either case, students are interpreting, analyzing, and building

a cumulative record of their own research as they learn and practice lected into a research portfolio, this work becomes an essential record of their efforts and of the fi eldwork they’ve conducted And so the research portfo-lio becomes an essential tool that they (and you) can use for evaluation and future reference

Col-How Is the Fourth Edition Like Earlier Editions?

● Activities that emphasize writing, critical thinking, and self-refl ection

appear throughout the book in 34 “boxes” that center on specifi c skills, such as observing, taking notes, interviewing, using archives, and respond-ing to texts These popular exercises can be used individually or as compo-nent parts of a larger research project

● Two chapters devoted entirely to college-level writing help students understand that the rhetorical concepts of purpose, audience, and voice are

integral to their research Chapter 2, “Writing Self, Writing Cultures:

Under-standing FieldWriting,” shows students how to begin writing fi eldnotes, and Chapter 8, “FieldWriting: From Down Draft to Up Draft,” helps students assemble their data, shape it into a draft, and polish it into a fi nal essay

● FieldWriting sections in every chapter discuss writing strategies related

to the chapter’s focus, presenting issues of grammar, convention, style, and craft while reminding students that fi eldwork is always about writing

● Abundant models from professional and student writers include 20 readings from well-known voices, such as Gloria Naylor, Jamaica Kincaid, Oliver Sacks, and Joan Didion, writing in an array of disciplines and genres — anthropology, folklore, sociology, natural science, education,

fi ction, nonfi ction, and journalism In addition, nine full student research essays and numerous shorter examples appear throughout the book — with more available on the book’s companion Web site

● Instruction for keeping a research portfolio appears in each chapter, showing students how to refl ect, interpret, and analyze the data they collect

as they share both the processes and the products of their fi eldwork

● A free and open companion Web site offers more help with writing, research, and formatting documents; additional examples of professional and student essays; more boxed exercises (including a section on urban folk and fairy tales); and suggestions for further research in other mediums such as art, fi lm, and poetry Worksheets, consent forms, sample syllabi, and the Instructor’s Manual are also downloadable from the site

● Coverage that works well with university initiatives that fall outside

traditional academic disciplines Our selection of projects and student

writing samples for FieldWorking are appropriate for students engaged in

To the Instructor xi

living-learning communities, local outreach projects, and service-learning and study-abroad programs

What’s New in the Fourth Edition?

Over the course of three editions and 15 years, we’ve collected comments from

students and instructors who have used FieldWorking both in formal class

set-tings and in independent fi eld projects We’ve been lucky to hear from so many

people and see some of their work, and we’ve tried to incorporate their

sugges-tions and meet their needs while developing new ideas of our own as we

con-tinue teaching with the book ourselves We’ve seen new technologies shift the

nature of research and access to materials in ways we never would have

imag-ined when we began teaching Among the new features in our fourth edition are:

● Expanded coverage of working with online cultures, communities,

and archives, as well as thorough instruction for evaluating online sources and help for using digital recording devices A full model student essay in Chapter 3, entitled “Out Patients,” demonstrates effective research and documentation of an online community

● More writing coverage throughout the book includes expanded fi

eld-writing sections in each chapter, focusing on important topics such as using language effectively, considering an audience, and working with rhetoric New objectives at the start of each chapter indicate the writing skills covered in the chapter, guiding students to develop essential critical-thinking and rhetorical skills

● More examples of student and professional writing, including four new

student essays, eight new professional readings by writers such as H L “Bud”

Goodall and Ofelia Zepeda, and numerous smaller excerpts throughout the book Selections cover a range of contemporary topics from urban graffi ti and fake disorders to the Ronald Reagan library, cemetery culture, tattoo art, and street pianos, while providing strong models of writing and research

● Streamlined for more focused reading and use, this edition has been

redesigned to include new mini-summaries of major skills throughout the

book, as well as end-of-chapter activities that guide students through a short, effective exercise before they move on to the next chapter

More Digital Choices for FieldWorking

FieldWorking doesn’t stop with a book Online, you’ll fi nd both free resources

and affordable premium resources to help students get even more out of the

book and your course You’ll also fi nd convenient instructor resources, such as

downloadable sample syllabi, classroom activities, and even a nationwide

com-munity of teachers To learn more about or order any of the following

prod-ucts, contact your Bedford/St Martin’s sales representative, e-mail sales support

(sales_support@bfwpub.com), or visit the Web site at bedfordstmartins.com.

xii To the Instructor

Companion Web site for FieldWorking

bedfordstmartins.com/fi eldworking

Send students to free and open resources, choose fl exible premium resources to supplement your print text, or upgrade to an expanding collection of innovative digital content

Free and open resources for FieldWorking provide students with to-access reference materials, visual tutorials, and support for working with sources

easy-● Additional student and professional readings, more samples of research portfolios, and extra “box” exercises

● Links to fi eldworking resources in media such as fi lm, art, radio, and poetry

● Research and Documentation Online by Diana Hacker

● Bedford Bibliographer — a tool for collecting source information and

mak-ing a bibliography in MLA, APA, and Chicago styles

● Three free tutorials from ix visual exercises by Cheryl Ball and Kristin

ments, the fi rst ever peer review game, and VideoCentral Re:Writing Plus can be

purchased separately or packaged with the print book at a signifi cant discount

An activation code is required To order Re:Writing Plus packaged with the print

book, use ISBN 978-1-4576-0662-5

E-Book Options bedfordstmartins.com/Fieldworking/catalog

With Bedford/St Martin’s e-books, students can do more and pay less For

about half the price of a print book, the e-book for FieldWorking offers the

com-plete text combined with convenient digital tools, such as highlighting, taking, and search Both online and downloadable options are available Use ISBN 978-0-312-64408-6

note-Instructor Resources

You have a lot to do in your course Bedford/St Martin’s makes it easy for you to fi nd the support you need — and to get it quickly

To the Instructor xiii

The Instructor’s Manual for FieldWorking, available in PDF format,

can be downloaded from bedfordstmartins.com/fi eldworking In addition to

chapter overviews and teaching tips, the manual includes sample syllabi and

suggestions for classroom activities

TeachingCentral (bedfordstmartins.com/teachingcentral) offers ford/St Martin’s entire list of print and online professional resources in one

Bed-place You’ll fi nd landmark reference works, sourcebooks on pedagogical issues,

award-winning collections, and practical advice for the classroom — all free for

instructors

Bits (bedfordbits.com) collects creative ideas for teaching a range of

com-position topics in an easily searchable blog A community of teachers — leading

scholars, authors, and editors — discuss revision, research, grammar and style,

technology, peer review, and much more Take, use, adapt, and pass the ideas

around Then come back to the site to comment or to share your own suggestions

Content cartridges for the most common course management tems — Blackboard, WebCT, Angel, and Desire2Learn — allow you to download

sys-digital resources for your course To fi nd the cartridges available for

FieldWork-ing , visit the Bedford/St Martin’s online catalog at bedfordstmartins.com/

Fieldworking/catalog

How Can You Use FieldWorking?

We’ve designed this book to provide material for a semester-long course The

accompanying Instructor’s Manual offers sample syllabi as well as suggestions

for different or abbreviated ways to put this course together Our colleague

Jen-nifer Cook, professor of English at Rhode Island College, is a longtime user of

FieldWorking, and her additions to the Instructor’s Manual for this edition

pro-vide imaginative ways to organize your writing course to include FieldWorking

You may download the Instructor’s Manual from the Bedford/St Martin’s Web

site at bedfordstmartins.com/fi eldworking.

How you use FieldWorking will depend on the overall purpose and theme of

your course and the other texts you want to include The text can serve alone in

an undergraduate composition/research course Or you can use it in an

ethno-graphic reading/writing course together with several full-length ethnographies,

such as Mules and Men, Translated Woman, and My Freshman Year, or with a

col-lection of ethnographic essays, such as Sun after Dark or An Anthropologist on

Mars We’ve compiled lists of our current favorite options for further reading in

Appendix C at the end of the book

You might have the class start out with Chapters 1–3, which introduce dents to the key theories about studying cultures as well as writing and reading

stu-strategies You can then have students move around in the book, depending on

the specifi c focus of your course For example, Chapter 6, “Researching

Lan-guage: The Cultural Translator,” includes many short readings and exercises

focused on language and culture that can serve as a unit of language study within

any course As well, as we mentioned above, service-learning, study-abroad, and

xiv To the Instructor

university outreach programs provide wonderful opportunities for the kind of student fi eldwork this book facilitates

We believe strong teaching requires the courage to learn alongside your students It also requires the hope that students will refl ect on their own lives

through their reading and writing about others In FieldWorking, we invite you

and your students to engage in this refl ective process together

About the Cover Art

The cover art for each of the four editions of FieldWorking has featured a

differ-ent work by the Viennese artist Friedensreich Hundertwasser (1928–2000) We

fi nd his paintings exciting, colorful, and visually ethnographic, evoking the tiple perspectives of people interacting with their environments

mul-When we learned more about Hundertwasser’s art and architecture, we discovered in his personal writing and philosophy strong statements about his experience painting different habitats and surroundings from the inhabi-tants’ perspectives Critic Pierre Restany notes that the “extra-lucid power of his analytical sensitivity makes him the perfect decoder of global culture and its guided information.” No wonder we fi nd his work so compelling! If you can’t make it to Kunst Haus Wien in Vienna, Austria (and so far, we haven’t), you can take a virtual tour of the museum (the house Hundertwasser designed and built) and view the galleries that sell his art at www.hundertwasser.at and www.kunsthauswien.com

Acknowledgments

Effective writing, as we have tried to convey in this book, requires collaboration

It requires a subculture of selected readers—writers’ own trusted “insiders”—

before it can successfully move to an outside audience For this book, we shared each reframed idea and each revision with our own subculture of trusted col-leagues, whom we wish to acknowledge and thank

Our thanks go to both our students and our colleagues who have uted their exercises, short writings, and full essays for use in this edition of

contrib-FieldWorking, helping to keep the book’s coverage rich and fascinating: Kathryn Auman, Alan Benson, Beth Campbell, Elise Chu, Moira Collins, Jennifer S Cook, Cary Cotton, Matt Gilchrist, Zuleyma Gonzalez, Kendra Greene, Deidre Hall, Nancy Hauserman, Janet Ingram, Brett Johnson, Rossina Liu, Sam Mahlstadt, Taurino Marcelino, Amie Ohlmann, William Purcell, Teresa Shorter, Jeannie Banks Thomas, Aidan Vollmer, and Lauren Wallis

We again thank the students and colleagues who contributed their writings

to previous editions of FieldWorking: Lori Bateman, Brenda Boleyn, Meg Buzzi,

Laura Carroll, Julie Cheville, Karen Downing, Atyia Franklin, Angela Hager, Joelle Hann, Mimi Harvey, Jennifer Hemmingsen, Simone Henkel, David Jak-stas, Nick Kowalczyk, Heather Kreiger, Amy Lambert, Yolanda Majors, Cindie Marshall, Maggie McKnight, Donna Niday, Ivana Nikolic, Holly Richardson,

To the Instructor xv

Paul Russ, Katie Ryan, Sam Samuels, Terra Savage, Chinatsu Sazawa, Lia

Schultz, David Seitz, Angela Shaffer, Grant Stanojev, Pappi Thomas, Emily

Wemmer, and Rick Zollo Since our fi rst edition in 1997, this book has created a

permanent community of fi eldworkers

For giving us their perspectives on the text, we thank our research tants, Amie Ohlmann and Emily Benton, who read the third edition thoroughly

assis-to help us see how we might effectively refresh it for the fourth edition

Of course, we thank the students and teachers from the courses we have taught with this text: in Iowa, in Greensboro, at the Smithsonian Institution,

at the Center for the Humanities at the University of New Hampshire, at the

Martha’s Vineyard Summer Institute of Northeastern University, and at

vari-ous other summer cultural studies institutes — the Fife Conference at Utah

State University, the Louisiana Voices Institute at the University of Louisiana in

Lafayette, Celebrate New Hampshire, and the New England Community

Heri-tage Project at the University of New Hampshire

We greatly appreciate the thoughtful comments we received from reviewers

of the third edition: Kate Adams, Allan Hancock College; Neil P Baird, Western

Illinois University; Linda Burgess, California State University; Nicole Caswell,

Kent State University; Stephen Criswell, University of South Carolina at

Lan-caster; Emily Dotson, University of Kentucky; Stephen M Fonash, Pennsylvania

State University; Shasta Grant, Ball State University; Matthew Hartman, Ball

State University; Martha Marinara, University of Central Florida; Cynthia K

Marshall, Wright State University; Margaret A McLaughlin, Georgia Southern

University; Brooke Neely, University of California; Elizabeth J O’Day,

Millers-ville University; Jane Slama, Allan Hancock College; and Mary C Tuominem,

Denison University

Both of our universities were generous with fellowships throughout these four editions, providing us with support, time, and research assistance within our

academic appointments We thank the Obermann Center for Advanced Studies at

the University of Iowa for two generous grants of time and resources; the

Wood-row Wilson Foundation in Princeton, New Jersey, for one of the fi rst Imagining

America grants for our forst Web site, www.fi eldworking.com; and the National

Network for Folk Arts in Education in Washington, D.C., for its recognition and

support Our colleagues’ and students’ enthusiasm, careful work, and faith allow

us to share our confi dence about the value of FieldWorking with our readers.

Very few textbook authors can claim over 20 years of support from one tor, but we are proud to say that we can: Nancy Perry’s vision, judgment, exper-

edi-tise, business acumen, and friendship have guided this book (and us) from one

important taxi ride and “What if?” question in 1991 through four editions of

this book Like the fi nest of teachers, Nancy has allowed us our independence as

we’ve shaped our book We have learned so much from our collaboration with

her She deserves her reputation as the best in the business among composition

book editors We are proud to know her

We also wish to mention our remarkable two-edition collaboration with our development editor, Joelle Hann We’ve often felt that Joelle is our third author

xvi To the Instructor

Her eye for detail, her continuity, and her overall love for this project have taken

it from our very full and comprehensive third edition through to a trimmer but

no less comprehensive fourth edition Joelle’s discipline and scheduling have guided our own As a fi eldworker herself, she created the lovely “Travel Jour-nal: Brazil” and photos for the third edition — and we hope you will read it on our Web site as a model of the verbal snapshot This edition would not exist as

it does without Joelle’s expertise or the insightful preliminary editing of Sara Eaton Gaunt We thank project editor Peter Jacoby and copy editor Wendy Polhemus-Annibell, whose combined work refi ned our understanding of the possibilities of fi ne-tuning Thanks also go to editorial assistants Andrew Flynn and Emily Wunderlich for shepherding this project through administrative tasks big and small

Finally, we thank our now adult children: Tosca Chiseri, Alisha Strater, Amy Sunstein, and Stephen Sunstein In four different ways, they have grown with

us over the writing of four editions of this text As we wrote this book, they taught us, as our students do, more than we ever thought we could learn

Bonnie Stone Sunstein Elizabeth Chiseri-Strater

To the Student

There’s both joy and satisfaction in understanding people and situations different

from our own FieldWorking gives you special license and formal ways to hang

out, observe carefully, and speculate about talk and behavior This book can show

you how to interpret people’s lives and surroundings through their eyes, not just

your own And this book also can help you see yourself and your own cultural

atti-tudes more clearly — since any study of an “other” is also a study of a “self.”

FieldWorking assumes that you want to do fi eldwork and not just read about

it Fieldwork is an artistic craft It showcases the cultures that it represents, just

as woodcarving, quilting, and music making showcase the cultures they

rep-resent To understand and present other cultures, you will need to practice the

crafts of engaged reading, listening, speaking, and researching — and the art of

writing about your fi ndings in clear and engaging prose

Understanding This Book

There is no single way to use FieldWorking, and if you’re taking a course, your

instructor will surely have ideas about how to use it Perhaps you need to learn

how to do research and writing that will help you throughout your academic

career but aren’t yet sure what direction you want to take Or perhaps you plan

to focus on cultural studies, anthropology, or education Wherever you begin

and whatever your ultimate goals may be, FieldWorking will help you to work

with ideas, readings, and assignments that are effective with all new fi

eldwork-ers and in courses about fi eldwork

We invite you to make the book work for your own purposes We know one student, for example, who took our book to Mount Everest and used it to study

the culture of the Sherpas and the climbers at the base camp Other students have

used it as a guide for extended fi eldwork in India and Ecuador Many students, of

course, have used the book to study more familiar but yet unexplored fi eldsites

within their own communities We’d like you to read the entire book, but the way

you choose to proceed within it will depend entirely on your own research plans

Chapter 1 introduces the idea that in all fi eld research you are acting as both participant and observer at the same time In Chapter 2, we offer some key strat-

egies — for fi nding and narrowing your topic, taking notes, and writing — that are

fundamental to any fi eldwork project We return to writing in Chapter 8 at the end of

the book, but you’ll notice that we emphasize writing skills throughout each chapter

Each of the middle chapters is devoted to a different category of collecting data in the fi eldworking process Chapter 3 discusses the fundamental idea that

xviii To the Student

when you set out to study a culture, you “read” it as if it were a text This chapter includes a section on researching online cultures and communities Chapter 4 focuses on how to write about a cultural setting (the sense of place that a researcher

fi nds) — both for yourself and for the people who live and work there If you’re interested in examining the behaviors of a person or group, you may want

to work fi rst with Chapter 5 You also could go directly to Chapter 6 if your research centers on interviews or language histories We’ve devoted Chapter 7

to archives — the “stuff” of a culture, from family letters to Internet resources; if your project involves mostly archival research, you might want to consult this chapter fi rst Our last chapter, Chapter 8, covers more essential college writ-ing skills — composing a draft, and revising and editing your fi nal study — tying together the threads about writing that we’ve woven throughout the book

Understanding FieldWorking’s Special Features

With the help of our students, our colleagues, and their students, we’ve designed

some special features for this edition of FieldWorking Although this book may

look a little like a traditional textbook, it doesn’t act like one Chapters end with

a very practical exercise rather than review questions, and summaries of ideas are presented throughout for quick and easy reference We trust that you will ask your own questions about the material presented here and will also sum-marize important concepts as you encounter them We help you with your fi eld-work in a variety of ways, however, each represented in one of the extra features:

● Box exercises: Each chapter has several exercises that provide opportunities to practice research skills before you engage in a major project They provide good ways to practice research habits or change the direction of a project You may want to explore your research site with each exercise, or you may use the activities to try out a broad range of places or subjects We hope that the boxes will save you from obstacles or problems you may not have anticipated

● Readings: We hope you’ll enjoy reading excerpts from our students’ and colleagues’ fi eldwork — as well as previously published professional pieces, both fi ction and nonfi ction In this edition, we sometimes use brief excerpts

to illustrate a point and then offer the full text of the selection on our book’s companion Web site These readings (and our responses to them) illustrate the ideas we’re describing in each section of text, and we hope that they will give you confi dence as you do your own research and write about it

● Overview of writing skills: Each chapter opens with a list of writing skills related to the specifi c fi eldwork skills we cover in the pages that follow As you move through the chapter, keep these skills in mind They will guide the development of your fi eldwork project — and your college writing

● FieldWriting: Because writing is such an essential part of the research process, we introduce a specifi c issue of grammar, style, or convention

To the Student xix

in each chapter These issues refl ect the concerns and frustrations our own students have experienced during the writing involved in their own

fi eldwork Some of these ideas will be reminders to you, some will offer old ideas with the new perspective of writing about fi eldstudies, and others will

be new and, we hope, useful to any writing you do

● The Research Portfolio: A research portfolio is a place for a fi eldworker

to gather work, review it, and present the process of research to herself, her fellow researchers, and her instructor It is also a tool that helps the fi eld-worker decide what she wants to accomplish next Many of our students have enjoyed using these sections to guide their own portfolio-keeping

To review the entire portfolio process for yourself, try reading all eight Research Portfolio sections together, from fi rst to last For many, keeping the portfolio is an essential bridge to interpretation and analysis

● “Do This” activities: In this edition, we end each chapter with a short

activity that connects with the fi eldworking skills we’ve introduced

Whereas the box exercises are exploratory, the “Do This” activities offer practical, immediate, and hands-on help with jump-starting your work We urge you to try them out before moving on to a new chapter

● Online resources and support: FieldWorking’s companion Web site at

bedfordstmartins.com/fi eldworking offers additional help for developing your research, writing, and fi eldworking skills Here you will fi nd addi-tional writing tips as well as help with documenting sources, formatting papers, and fi nding resources in other media such as fi lm, art, and poetry

You can also browse through more sample student projects and portfolios for helpful models for your own work, and download worksheets and con-sent forms What’s more, the site is free and easy to use

And about Us

The single voice that addresses you in FieldWorking is really a double voice We

wrote this book together (many drafts’ worth) on a Macintosh Powerbook, and

we have shared this project for well over a decade Colleagues and students who

used the three previous editions have contributed continually to its growth, and

you’ll see much of their work represented here on our pages We acknowledge

the huge role that our students’ voices, ideas, and projects play in helping us

shape each version of the book

As you read FieldWorking, we hope you’ll take what is useful to you and

ignore what you can’t use You can skip around — or read the book from

begin-ning to end But please remember that your fi eld research should be meabegin-ningful

and valuable to you and to the people you study We hope that you will fi nd your

own voice in your fi eldwriting Work on a project you care about, and you’ll

make others care about it, too

Bonnie Stone Sunstein Elizabeth Chiseri-Strater

To the Instructor ix

To the Student xvii

1 Stepping In and Stepping Out: Understanding Cultures 1

Defi ning Culture: Fieldwork and Ethnography 2

Stepping In: Revealing Our Subcultures 4

BOX 1: Looking at Subcultures 5

Investigating Perspectives: Insider and Outsider 6

Stepping Out: Making the Familiar Strange and the Strange Familiar 8

Body Ritual among the Nacirema, Horace Miner 8

BOX 2: Making the Ordinary Extraordinary 13

Posing Questions: Ethnographic vs Journalistic 14

Folk “Cure” Sold Locally High in Lead, Lorraine Ahearn 14

BOX 3: Engaging the Ethnographic Perspective 18

Fairfax Residents Become U.S Citizens, Julie

O’Donoghue, Fairfax Connection 19

Fieldworking with This Book 22

An Ethnographic Study: “Friday Night at Iowa 80” 23

Friday Night at Iowa 80: The Truck Stop as Community and Culture, Rick Zollo (Student Project) 24

Doing Research Online 39

FieldWriting: Establishing a Voice 40

A Community Action Study 43

House for the Homeless: A Place to Hang Your Hat,

Ivana Nikolic (Student Project) 44

Refl ection as Critique 51

The Research Portfolio: Defi nitions and Purpose 52

DO THIS: Select a Fieldsite 54

2 Writing Self, Writing Cultures: Understanding FieldWriting 55

Exploratory Writing 57

Freewriting, Peter Elbow 58

BOX 4: Exploratory Writing 61

FieldWriting: Point of View and Rhetoric 63

Keeping a Notebook 66

On Keeping a Notebook, Joan Didion 66

BOX 5: Exploratory Notetaking with a Group 72

Getting at the Details 73

Look at Your Fish, Samuel H Scudder 74

BOX 6: Double-Entry Notes 78

Fieldnotes: The Key to Your Project 80

Organizing Your Fieldnotes 83

BOX 7: Sharing Your Initial Fieldnotes 85

Analyzing Your Fieldnotes 86

BOX 8: Questioning Your Fieldnotes 88

Feng-Shui: Refl ections on a Sociology Class,

Amy Lambert (Student Project) 92

Double Voiced Fieldnotes 93

Representing Ethnographic Experiences, H L “Bud” Goodall 94

The Research Portfolio: Refl ecting on Your Fieldnotes 99

DO THIS: Question Your Notes 100

3 Reading Self, Reading Cultures: Understanding Texts 101

Reading Cultures as Text and Texts as Culture 102

Mama Day, Gloria Naylor 103

BOX 9: Responding to Text 109

Positioning: Reading and Writing about Yourself 111

BOX 10: Positioning Yourself 113

Understanding Positioning: Checking In on Yourself 115

BOX 11: Unlearning Our Privilege (by Mimi Harvey) 117

Getting Permission 119

BOX 12: From Ethos to Ethics (by Julie Cheville) 122

Reading an Object: The Cultural Artifact 124

BOX 13: Reading an Artifact (by Beth Campbell ) 126

The Uses of Cultural Artifacts 129

Everyday Use, Alice Walker 129

Responding to Reading 136

BOX 14: Fieldworking Book Clubs (by Kathleen Ryan) 137

FieldWriting: Published and Unpublished Written Sources 140

Reading Electronic Communities 141

Out Patients, Elise Wu (Student Project) 143

Working with Online Communities 155

BOX 15: Locating Online Cultures 158

The Research Portfolio: An Option for Rereading 161

DO THIS: Read Your Fieldsite 163

4 Researching Place: The Spatial Gaze 165

Personal Geography 166

On Seeing England for the First Time, Jamaica Kincaid 167

BOX 16: Recalling a Sense of Place 168

Selective Perception 170

FieldWriting: The Grammar of Observation 172

BOX 17: Writing a Verbal Snapshot 175

Deepening Description through Research 179

The Cemetery as Marketplace in Salem, Massachusetts,

Jeannie Banks Thomas 179

Learning How to Look: Mapping Space 186

BOX 18: Mapping Space 187

Learning How to Look: Finding a Focal Point 192

BOX 19: Finding a Focal Point 193

Learning How to Look: Identifying Unity and Tension 194

Strike a Pose, Karen Downing (Student Project) 195

Learning How to Look: Colonized Spaces 197

The Happy Canyon, Jennifer Hemmingsen (Student Project) 198

The Research Portfolio: Learning from Your Data 204

A Pose on “Strike a Pose,” Karen Downing (Portfolio Refl ection) 215

DO THIS: Map Your Space 217

5 Researching People: The Collaborative Listener 219

The Interview: Learning How to Ask 220

BOX 20: Using a Cultural Artifact in an Interview 222

Learning How to Listen 225

BOX 21: Establishing Rapport 229

Recording and Transcribing 230

Ralph’s Sports Bar, Cindie Marshall (Student Project) 234

BOX 22: Analyzing Your Interviewing Skills 242

The Informant’s Perspective: An Anthropologist on Mars 244

An Anthropologist on Mars, Oliver Sacks 245

Gathering Family Stories 249

BOX 23: Writing a Family Story 250

One Family Story: The Core and Its Variants 252

Gathering Oral Histories 255

Taking Care, Nancy Hauserman 257

Listening Is an Act of Love, Dave Isay 260

I Can Read, I Can Write, Jennette Edwards (Online Only)

BOX 24: Starting an Oral History 261

FieldWriting: Using Character, Setting, and Theme to Create a Portrait 264

BOX 25: Writing a Verbal Portrait (by Jennifer S Cook) 266

The Research Portfolio: Refl ective Documentation 268

DO THIS: Refl ect on Researching People 270

6 Researching Language: The Cultural Translator 271

Linking Body Language and Culture 272

BOX 26: Observing Body Language (by Amie Ohlmenn) 274

Linking Words and Culture 276

Cheek, Lafcadio Hearn 276

BOX 27: Listening for Words: Creating a Glossary 279

Using Insider Language in Your Writing 281

Words as Cultural Artifacts 282

Researching Occupation: Recording Insider Language 290

BOX 28: Describing Occupational Terms 291

Verbal Performance: Curses 293

BOX 29: Gathering Verbal Performances:

Proverbs, Jokes, and Sayings 295

Researching Urban Legends 297

Being a Cultural Translator 297

A Language Journey, Ofelia Zepeda 298

FieldWriting: Dialogue on the Page 305

The Research Portfolio: Synthesis 307

DO THIS: Translate Culture 310

7 Researching Archives: Locating Culture 311

Everything, Perfectly, Forever, A Kendra Greene (Student Project) 314

Family Archives 317

Slaves in the Family, Edward Ball 320

BOX 30: A Box about Boxes 324

Historical Archives 325

University Archives 327

Museum Archives 328

BOX 31: Sorting through Public Archives 330

The Attic and Its Nails, Naomi Shihab Nye (Poem) 332

Organizing Archival Material 333

Alternative Archives 335

On Dumpster Diving, Lars Eighner 336

BOX 32: Alternative Archives (by Deidre Hall) 341

Electronic Archives: Using the Internet 343

FieldWriting: Annotated Bibliographies 345

The Research Portfolio: Representing the Unfl at Stuff 347

DO THIS: Search the FieldWorking Archives 349

8 FieldWriting: From Down Draft to Up Draft 351

Drafting Drafts 353

Shitty First Drafts, Anne Lamott 354

Questioning Your Draft 358

Thickening Your Draft 361

BOX 33: Listening to the Voices in Your Draft (by David Seitz) 367

Representing Culture in Your Fieldwriting 369

Crafting a Text 371

Disability Is Beautiful, William Harvey Purcell 371

FieldWriting: Analytic Section Headings 379

Revising for a Reader 381

Some Notes on Revision, Donald M Murray 381

BOX 34: Sharing Data: Partners in Revision 383

The Research Portfolio: One-Page Analysis and Annotated Table of Contents 385

A Final Comment: Paying Attention to Writing 388

DO THIS: Smooth Your Final Draft 390

Appendix A: MLA Documentation Guidelines 391

Appendix B: APA Documentation Guidelines 401

Appendix C: Works Cited and Recommended Readings 409

Glossary 415

Credits 419

Index 421

Field Working

Reading and Writing Research

Ordinary living involves all the skills of fi eldworking — looking, listening,

collect-ing, questioncollect-ing, and interpreting — even though we are not always conscious of

these skills Many of us enjoy people-watching, checking out how others talk,

dress, behave, and interact We question the signifi cance of someone’s wearing

gold, hooped earrings or displaying a dragon tattoo We wonder how a certain

couple sitting in a restaurant booth can

com-municate when they don’t look each other in

the eye Fieldworkers question such

behav-iors in a systematic way

What is a “fi eld”? And how does a person

“work” in it? The word fi eld carries a wide

range of meanings, but for an anthropologist

“working in the fi eld” means talking,

listen-ing, recordlisten-ing, observlisten-ing, participatlisten-ing, and

sometimes even living in a particular place

The fi eld is the site for doing research, and

fi eldworking is the process of doing it

Close looking and listening skills mark trained fi eldworkers who study groups of people in contexts — others’ and

their own The job of this book is to help you become more conscious as

you observe, participate in, and read and write about your own world and

the worlds of others Although we don’t claim to turn you into a professional

• start your research portfolio

Long before I ever heard of anthropology,

I was being conditioned for the role of stepping in and out of society It was part

of my growing up process to question the traditional values and norms of the family and to experiment with behavior patterns and ideologies This is not an uncommon process of fi nding oneself Why should a contented and satisfi ed person think of standing outside his or any other society and studying it?

—HORTENSE POWDERMAKER

2 Chapter 1 | Stepping In and Stepping Out: Understanding Cultures

ethnographer, we borrow ethnographic strategies to help you become a fi worker, and we focus on showing you effective ways to write about your pro-cess We’ll guide you as you conduct and write up your own fi eldwork and as

eld-you read about the fi eldwork of others FieldWorking will make eld-you consider

your everyday experiences in new ways and help you interpret other people’s behaviors, languages, and thoughts But most of all, the fi eldwork itself will help you understand why you react and respond in the ways you do This book will encourage you not only to watch others but also to watch yourself as you watch them

You’ve probably spent many hours noticing behavior patterns and tioning routines among the people you’ve lived with and learned from In the quotation that introduces this chapter, anthropologist Hortense Powdermaker

ques-suggests that as we grow up, we “step out” a bit; we “adopt the outsider stance”

as we watch the people inside our own group We also “step in” to unfamiliar

groups and examine them closely, which is the fi eldworker’s “insider stance.” As

insiders, we wonder if there might be a better technique for mincing garlic or cooling pies that is less laborious than our family’s method

As outsiders moving to a new school, we might question the ritual cheers aimed against the rival or different rules for submitting papers

When we visit another country, we need to learn new rules for ductions and farewells in order to behave appropriately When we vol-unteer as part of a community service program, we need to fi nd a way

intro-to conform intro-to the routines we notice rather than challenge them Fieldworkers study the customs of groups of people in the spaces they inhabit

Inquiry into the behavior patterns of others prepares us for doing fi work Powdermaker also asks why any “satisfi ed and contented person” would want to research everyday ways of behaving, talking, and interacting One answer is that fi eldworking sharpens our abilities to look closely at surround-ings People, places, languages, and behaviors can be familiar because we’ve lived with them, but when we move or travel and fi nd ourselves strangers, the very same things can be unfamiliar or uncomfortable Another answer is that knowing our assumptions and recognizing our stereotypes help develop toler-ance and respect for customs and groups different from ours For example, head coverings — turbans, veils, yarmulkes, ceremonial headdresses, and even baseball caps worn backward — may seem strange to us until we understand their history and signifi cance Studying and writing about diverse people and cultures does not necessarily make us accept difference, but it can make us aware of our assumptions and sometimes even of our prejudices

eld-Defi ning Culture: Fieldwork and Ethnography

Culture is a slippery term To some people, it implies “high culture” — classical music, etiquette, museum art, or extensive knowledge of Western history

But fi eldworkers know that every group has a culture, so there is no useful

Refer to the glossary at the

back of this book, or online

at bedfordstmartins.com/

fi eldworking, for help

with terms specifi c to

fi eldworking

Defi ning Culture: Fieldwork and Ethnography 3

distinction between “high” and “low” cultures Anthropologists have tried to

defi ne what culture is for as long as they’ve been thinking about it, and they have

developed contrasting defi nitions

We defi ne culture as an invisible web of behaviors, patterns, rules,

and rituals of a group of people who have contact with one another and

share a common language Our defi nition draws from the work of many

anthropologists:

Some Defi nitions of Culture

● “Culture is local and manmade and hugely variable It tends also to be integrated A culture, like an individual, is a more or less consistent pattern

of thought and action” (Benedict 46)

● “A society’s culture consists of whatever it is one has to know or believe

in order to operate in a manner acceptable to its members [I]t does not consist of things, people, behavior, or emotions It is rather an organiza-tion of those things” (Goodenough 167)

● “Cultures are, after all, collective, untidy assemblages, authenticated by belief and agreement” (Myerhoff 10)

● “Man is an animal suspended in webs of signifi cance which he himself

has created I take culture to be those webs” (Geertz, Interpretation of

Cultures 14).

Cultural theorist Raymond Williams writes that culture is one of the most

diffi cult words to defi ne, and these anthropologists’ defi nitions illustrate this As

you can see, defi nitions of culture can be both metaphorical (“webs”) and

struc-tured (patterns of belief and behavior as well as untidy deviations from those

patterns)

In your fi eldworking experiences, you will be constantly asking yourself,

“Where is the culture?” of the group you are investigating The goal of fi

eldwork-ing is to fi nd it You will fi nd evidence in the language of the group you study,

in its cultural artifacts, or in its rituals and behaviors Fieldworkers investigate

the cultural landscape, the larger picture of how a culture functions: its rituals,

its rules, its traditions, and its behaviors And they poke around the edges at the

stories people tell, the items people collect and value, and the materials people

use to go about their daily living By learning from people in a culture what it

is like to be part of their world, fi eldworkers discover a culture’s way of being,

knowing, and understanding

Fieldworkers who live, observe, and describe the daily life, behaviors, and

language of a group of people for long periods of time are called ethnographers

4 Chapter 1 | Stepping In and Stepping Out: Understanding Cultures

This book draws on the work of a wide range of classic and contemporary

anthropologists and folklorists Ethnography, the written product of their

work, is a researched study that synthesizes information about the life of a people or group Researchers in many disciplines rely on ethnographic meth-ods: anthropologists, folklorists, linguists, sociologists, oral historians, and those who study popular culture Ethnographic researchers conduct fi eld-work in an attempt to understand the cultures they study And as they study the culture of others, they learn patterns that connect with their own lives and traditions

Fieldworkers historically studied foreign or exotic cultures and ally judged these other cultures to be less sophisticated or developed than their own Fieldworkers of all backgrounds must guard against this attitude

occasion-of colonization Contemporary fi eldworkers no longer restrict their research

to non-Western cultures But all fi eldworkers, even those who investigate

local cultures and subcultures, risk projecting their own assumptions onto

the groups they study They must be ready and willing to unpack their own cultural baggage and embark on a collaborative journey with those they study

Stepping In: Revealing Our Subcultures

As coauthors of this book, we have ourselves come to our interest in

eth-nography from membership in a dizzying array of subcultures As

collabo-rators, we share the culture of academia We are graduates of the same Ph.D program in which we learned to conduct ethnographic fieldwork As middle-aged professors, we’ve both taught in public urban, suburban, and rural schools; directed college writing centers and programs; and taught many college English and education courses And as mothers of young adults, both of us have spent years navigating the child-centered cultures of nursery school carpools, pediatric waiting rooms, and soccer and Special Olympics teams

In each of these subcultures, we communicated through special guages with insiders We knew the ways of behaving and interacting, and we shared belief systems with the others in each group Yet we held membership

lan-in many subcultures at the same time, and we could move among them As members over the years, we were unaware of those groups as actual cultures, but looking back as fi eldworkers, we now understand that we, like you, have always been in a position to research the people around us And we don’t always need to go very far from home to fi nd groups of people whose ways

of behaving and communicating are different and interesting, yet unfamiliar

to us

As you begin to think about conducting fi eld research projects, review your own subcultures; you may fi nd that they offer intriguing possibilities for research

BOX 1

Looking at SubculturesPURPOSE

We consider any self-identifi ed group of people who share language, stories, rituals, behaviors, and values a subculture Some subcultures defi ne themselves by geography (southerners, Texans, New Yorkers) Others defi ne themselves by ethnicity or language (Mexicano, Irish, Belgian, Filipino, Ghanaian) And others defi ne their interests by shared rituals and behaviors (fraternities, Girl Scouts, Masons, Daughters of the American Revolution, computer hackers) Whether it’s your bowling league, your neighborhood pickup basketball team or group of bicycle freestylers, your church, your community government, or your school’s ecology club, you simultaneously belong to many different subcultures With this box, we’d like you to recall your subculture affi liations and share them with others in your class

ACTION

List some of the subcultures to which you belong For each subculture you mention, jot down a few key details that distinguish the group—behaviors, insider phrases, rules, rituals, and the specifi c locations where these behaviors usually occur You might want to divide your list into a few categories or columns, such as

Write a paragraph or short essay describing one of these subcultures, either seriously or satirically

RESPONSE

Some of our students have belonged to these subcultures: computer interest groups, online discussion groups, listservs, deer hunters, gospel singers, specialty book clubs, volleyball teams, science fi ction conventioneers, auctiongoers, fl y fi shermen, billiard players, bull riders, lap swimmers, bluegrass musicians, stock car racers

Chinatsu Sazawa is a native of Japan, where as a teenager she experienced karaoke quite differently from the way Americans do Here is what she writes about the sub-culture of Japanese karaoke participants:

The Karaoke Box is a small soundproof room with a karaoke machine, a table, and sofas Customers can reserve it for $5 to $20 an hour and sing as much as they like

This habit is to weekend Karaoke Box warriors as a sports gym is to exercise lovers

We enjoy karaoke and perform extensively to release our stress by singing, ing, and dancing The most important thing for weekend Karaoke Box warriors is

shout-to be effi cient at the Box Paying by the hour, we do our best shout-to sing as many songs

as possible As we enter the Karaoke Box, we go directly to a remote control and the book listing the available songs While we take off our jackets and put our bags down, we check “the code” of our opening song and punch in the number

on the remote During the one minute while the machine searches for the song,

we prepare to sing, taking off the sanitary plastic covering on the microphone and connecting it to the machine We adjust the key of the song by pressing the Key Changer button.

It is an understood rule among us that we take turns and sing only one song each turn It’s also a courtesy to avoid singing too many long songs (songs that would last over fi ve minutes, such as “Hotel California”) While others are singing, instead of listening we constantly fl ip the pages of the book of available songs and select the songs we will sing in our following turns It’s important to punch in the code num-bers before the other people’s songs end so that the next song starts immediately without down time We even press the Stop Performance button just as the song begins its ending

We talk very little in the Box except to ask questions like “Whose song is that?” or say “That was good!” Seven or eight minutes before our time expires, we receive a phone call from the front desk That’s the cue to punch in the number of our closing songs We often select closing songs that everyone in the room can sing together

While the last person is singing, the rest of the people clean up the room—pile the books of available songs, place the mikes on the table, throw garbage in the bin—and get ready to leave When we pass the front desk, we look for discount cou-pons for our next visit

Investigating Perspectives:

Insider and Outsider

Fieldworkers realize that ordinary events in one culture might seem nary in another When people say “that’s really weird” or “aren’t they strange,”

extraordi-a fi eldworker heextraordi-ars these comments extraordi-as signextraordi-als for investigextraordi-ation When you fi rst ate dinner at someone’s home other than yours, you may have felt like an out-sider You stepped out of your own home and stepped in to a set of routines and rituals different from your own You may have noticed who set the table, passed the food, served, ate fi rst, talked, signaled that the meal was over, cleared off the table, and washed the dishes Or as an insider among your own relatives, youmay have always observed their quirky behaviors To avoid a head cold, your mother may use crystals and a spiritual chant, but your best friend’s mother may depend on echinacea and vitamin C

Although we would not classify modern families as subcultures, they do have some of the features of a subculture and prepare us to observe outside our own home territory When you visit another place, you may notice that people move and talk more slowly or quickly, more quietly or noisily, or that they use space differently than you’re used to A fi eldworker steps out to adopt

BOX 1 continued

Investigating Perspectives: Insider and Outsider 7

an outsider’s perspective when investigating unfamiliar (or even familiar)

pat-terns, attempting to unveil the many layers of behaviors and beliefs that make

people think as they think and act as they act

Anthropologist Renato Rosaldo offers a good example of stepping out, using the outsider’s detached perspective to look at a familiar routine, the family ritual

of making breakfast:

Every morning, the reigning patriarch, as if in from the hunt, shouts from the kitchen, “How many people would like a poached egg?” Women and children take turns saying yes or no

In the meantime, the women talk among themselves and designate one among them the toastmaker As the eggs near readiness, the reigning patriarch calls out to the designated toastmaker, “The eggs are about ready

Is there enough toast?”

“Yes” comes the deferential reply “The last two pieces are about to pop up.” The reigning patriarch then proudly enters, bearing a plate of poached eggs before him Throughout the course of the meal, the women and chil-dren, including the designated toastmaker, perform the obligatory ritual praise song, saying, “These sure are great eggs, Dad.” (47)

With his detached language and his careful detailing of their routine, Rosaldo

depicts this North American middle-class family as if it were part of a different

tribe or culture He uses his interpretive skills as an ethnographer to create a

parody — in jest and fun — to allow his family to see themselves as an outsider

might describe them

But fi eldworkers do not depend entirely on the detachment or objectivity that comes from stepping out of a culture They rely on basic human involve-

ment — their gut reactions or subjective responses to cultural practices — as

well In another example from Rosaldo’s fi eldwork, he shows how his own

per-sonal life experience shaped his ability to understand headhunters As a ritual of

revenge and grief over a deceased relative, the Ilongots of the Philippines sever

human heads When Rosaldo and his anthropologist wife, Michelle, lived and

studied among the Ilongot people for several years, they were unable to

under-stand the complex emotions surrounding headhunting But after Michelle died

in an accident during fi eldwork, Rosaldo began to understand the headhunters’

practice of killing for retribution It was his own experience — rage and grief

over his wife’s death — that allowed him insight into the cultural practice of

the people he was studying Even though their value systems were different,

Rosaldo and the Ilongots shared the basic human response to a loved one’s

death

So it is not always objectivity or detachment that allows us to study ture, our own or that of others Subjectivity — our inner feelings and belief

cul-systems — allows us to uncover some features of culture that are not always

apparent As a fi eldworker, you will conduct an internal dialogue between your

subjective and objective selves, listening to both, questioning both You combine

8 Chapter 1 | Stepping In and Stepping Out: Understanding Cultures

the viewpoints of an outsider stepping in and an insider stepping out of the culture you study And studying culture is as much about the everyday prac-tices of cooking and eating, such as poaching eggs, as it is about the unfamiliar tribal practices of killing as a part of grieving Detachment and involvement, subjectivity and objectivity, insider and outsider stances are equally coupled in

famil-a technique thfamil-at distfamil-ances the refamil-ader from the event or prfamil-actice under sideration In the following reading written in 1956, “Body Ritual among the Nacirema,” anthropologist Horace Miner also depends on satire to depict an ordinary set of daily practices as strange and unfamiliar As you read this essay, try to fi gure out what everyday rituals Miner is satirizing

con-Body Ritual among the Nacirema

Horace Miner

The anthropologist has become so familiar with the diversity of ways in which different peoples behave in similar situations that he is not apt to be surprised by even the most exotic customs In fact, if all of the logically possible combinations

of behavior have not been found somewhere in the world, he is apt to suspect that they must be present in some yet undescribed tribe This point has, in fact, been expressed with respect to clan organization by Murdock (71) In this light, the magical beliefs and practices of the Nacirema present such unusual aspects that it seems desirable to describe them as an example of the extremes to which human behavior can go

Professor Linton fi rst brought the ritual of the Nacirema to the attention

of anthropologists twenty years ago (326), but the culture of this people is still very poorly understood They are a North American group living in the territory between the Canadian Cree, the Yaqui and Tarahumare of Mexico, and the Carib and Arawak of the Antilles Little is known of their origin, although tradition states that they came from the east According to Nacirema mythology, their nation was originated by a culture hero, Notgnihsaw, who is otherwise known for two great feats of strength—the throwing of a piece of wampum across the river Pa-To-Mac and the chopping down of a cherry tree in which the Spirit of Truth resided

Stepping Out: Making the Familiar Strange and the Strange Familiar 9

Nacirema culture is characterized by a highly developed market economy which has evolved in a rich natural habitat While much of the people’s time is

devoted to economic pursuits, a large part of the fruits of these labors and a

con-siderable portion of the day are spent in ritual activity The focus of this activity is

the human body, the appearance and health of which loom as a dominant concern

in the ethos of the people While such a concern is certainly not unusual, its

cer-emonial aspect and associated philosophy are unique

The fundamental belief underlying the whole system appears to be that the human body is ugly and that its natural tendency is to debility and disease Incar-

cerated in such a body, man’s only hope is to avert these characteristics through

the use of the powerful infl uences of ritual and ceremony Every household has

one or more shrines devoted to this purpose The more powerful individuals in the

society have several shrines in their houses and, in fact, the opulence of a house is

often referred to in terms of the number of such ritual centers it possesses Most

houses are of wattle and daub construction, but the shrine rooms of the more

wealthy are walled with stone Poorer families imitate the rich by applying pottery

plaques to their shrine walls

While each family has at least one such shrine, the rituals associated with it are not family ceremonies but are private and secret The rites are normally only

discussed with children, and then only during the period when they are being

ini-tiated into these mysteries I was able, however, to establish suffi cient rapport with

the natives to examine these shrines and to have the rituals described to me

The focal point of the shrine is a box or chest which is built into the wall In this chest are kept the many charms and magical potions without which no native

believes he could live These preparations are secured from a variety of specialized

practitioners The most powerful of these are the medicine men, whose assistance

must be rewarded with substantial gifts However, the medicine men do not

pro-vide the curative potions for their clients, but decide what the ingredients should

be and then write them down in an ancient and secret language This writing is

understood only by the medicine men and by the herbalists who, for another gift,

provide the required charm

The charm is not disposed of after it has served its purpose, but is placed in the charm-box of the household shrine As these magical materials are specifi c

for certain ills, and the real or imagined maladies of the people are many, the

charm-box is usually full to overfl owing The magical packets are so numerous

that people forget what their purposes were and fear to use them again While

the natives are very vague on this point, we can only assume that the idea in

retaining all the old magical materials is that their presence in the charm-box,

before which the body rituals are conducted, will in some way protect the

worshipper

Beneath the charm-box is a small font Each day every member of the family, in succession, enters the shrine room, bows his head before the charm-box, mingles

different sorts of holy water in the font, and proceeds with a brief rite of ablution

The holy waters are secured from the Water Temple of the community, where the

priests conduct elaborate ceremonies to make the liquid ritually pure

10 Chapter 1 | Stepping In and Stepping Out: Understanding Cultures

In the hierarchy of magical practitioners, and below the medicine men

in prestige, are specialists whose designation is best translated men.” The Nacirema have an almost pathological horror of and fascination with the mouth, the condition of which is believed to have a supernatural infl uence

“holy-mouth-on all social relati“holy-mouth-onships Were it not for the rituals of the mouth, they believe that their teeth would fall out, their gums bleed, their jaws shrink, their friends desert them, and their lovers reject them They also believe that a strong rela-tionship exists between oral and moral characteristics For example, there is a ritual ablution of the mouth for children which is supposed to improve their moral fi ber

The daily body ritual performed by everyone includes a mouth-rite Despite the fact that these people are so punctilious about care of the mouth, this rite involves a practice which strikes the uninitiated stranger as revolting It was reported to me that the ritual consists of inserting a small bundle of hog hairs into the mouth, along with certain magical powders, and then moving the bundle in a highly formalized series of gestures

In addition to the private mouth-rite, the people seek out a man once or twice a year These practitioners have an impressive set of paraphernalia, consisting of a variety of augers, awls, probes, and prods The use of these objects in the exorcism of the evils of the mouth involves almost unbelievable ritual torture of the client The holy-mouth-man opens the cli-ent’s mouth and, using the above mentioned tools, enlarges any holes which decay may have created in the teeth Magical materials are put into these holes

holy-mouth-If there are no naturally occurring holes in the teeth, large sections of one or more teeth are gouged out so that the supernatural substance can be applied

In the client’s view, the purpose of these ministrations is to arrest decay and to draw friends The extremely sacred and traditional character of the rite is evi-dent in the fact that the natives return to the holy-mouth-men year after year, despite the fact that their teeth continue to decay

It is to be hoped that, when a thorough study of the Nacirema is made, there will be careful inquiry into the personality structure of these people One has but to watch the gleam in the eye of a holy-mouth-man, as he jabs an awl into

an exposed nerve, to suspect that a certain amount of sadism is involved If this can be established, a very interesting pattern emerges, for most of the popula-tion shows defi nite masochistic tendencies It was to these that Professor Linton referred in discussing a distinctive part of the daily body ritual which is performed only by men This part of the rite involves scraping and lacerating the surface of the face with a sharp instrument Special women’s rites are performed only four times during each lunar month, but what they lack in frequency is made up in bar-barity As part of this ceremony, women bake their heads in small ovens for about

an hour The theoretically interesting point is that what seems to be a antly masochistic people have developed sadistic specialists

preponder-The medicine men have an imposing temple, or latipso, in every community

of any size The more elaborate ceremonies required to treat very sick patients can only be performed at this temple These ceremonies involve not only the