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| Preface | |
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| Acknowledgments | |
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| Introduction to Critical Ethnography: Theory and Method | |
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| Defining Terms: What Is the Critical in Critical Ethnography? | |
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| Dialogue and Others | |
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| The Method and Theory Nexus | |
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| Summary | |
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| Warm-Ups | |
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| Methods: "Do I Really Need a Method?" A Method ... or Deep Hanging Out? | |
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| "Who Am I?" Starting Where You Are | |
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| "Who Else Has Written About My Topic?" Being a Part of an Interpretive Community | |
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| The Power of Purpose: Bracketing Your Subject | |
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| Preparing for the Field: The Research Design and Lay Summary | |
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| The Research Design | |
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| The Lay Summary | |
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| Interviewing and Field Techniques | |
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| Formulating Questions | |
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| Two Classic Models | |
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| One: The Patton Model | |
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| Two: The Spradley Model | |
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| Extra Tips for Formulating Questions | |
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| More Models | |
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| Initial Brainstorming and Puzzlements | |
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| Memory and the Oral History Interview | |
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| Langellier and Peterson's Four Entry Points of Analysis | |
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| Attributes of the Interviewer and Building Rapport | |
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| Mindful Rapport | |
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| Anticipation | |
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| Positive Na�veness | |
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| Active Thinking and Sympathetic Listening | |
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| Status Difference | |
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| Patiently Probing | |
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| Classic "Threats" | |
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| Coding and Logging Data | |
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| An Alternative View: Amira De La Garza and the Four Seasons of Ethnography | |
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| Summary | |
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| Warm-Ups | |
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| Three Stories: Case Studies in Critical Ethnography | |
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| Local Activism in West Africa | |
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| Key Concepts in Postcolonial and Marxist Theory | |
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| Key Concepts in Postcolonialism | |
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| Key Concepts in Marxist Thought | |
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| Secrets, Sexuality, and Oral History | |
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| Key Concepts in Phenomenology | |
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| Subjectivity and Belonging | |
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| Biopolitics and Affect | |
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| Key Concepts in Sexuality | |
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| Community Theatre: Conflicts and Organization | |
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| Key Concepts in Theories of Difference: Race | |
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| Key Concepts in Theories of Difference: Gender | |
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| Problems of Gender in the Field: "Women Like Us and Women Not Like Us" | |
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| Warm-Ups | |
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| Ethics | |
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| Ethics Is ... | |
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| Advocacy and Ethics | |
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| Religion and Ethics | |
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| Interview With Desmond Tutu | |
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| The Question of Freedom | |
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| Critical Ethnography and the Ethics of Reason, the Greater Good, and Others | |
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| Reason | |
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| The Greater Good | |
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| Maria Lugones: Contemporary Ethics, Ethnography, and Loving Perception | |
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| World Traveling and Loving Perception | |
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| Summary | |
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| Warm-Ups | |
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| Methods and Ethics | |
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| Codes of Ethics for Fieldwork | |
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| Code of Ethics of the American Anthropological Association | |
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| Extending the Codes | |
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| Moral Dilemmas | |
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| Conceptual Errors | |
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| Dialogical Performance | |
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| Warm-Ups | |
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| Methods and Application: Three Case Studies in Ethical Dilemmas | |
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| Local Activism in West Africa | |
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| Advocacy, Representation, and Voice | |
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| Method and Advocacy | |
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| Secrets, Sexuality, and Oral History | |
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| Trust, Confidentiality, and Informed Consent | |
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| Method and Confidentiality | |
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| Community Theatre: Conflicts and Organization | |
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| Fairness, Critical Judgment, and Policy Implications | |
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| Method and Criticism | |
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| Warm-Ups | |
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| Performance Ethnography | |
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| Foundational Concepts in Performance and Social Theory | |
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| Performance as Experience | |
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| Performance as Social Behavior | |
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| Performance as Language and Identity | |
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| Performativity | |
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| Utopian Performatives | |
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| The Performance Interventions of Dwight Conquergood | |
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| Process and Performance | |
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| The Body and Scriptocentrism | |
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| Dialogical Performance | |
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| Cultural Politics | |
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| Staging Ethnography and the Performance of Possibilities | |
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| The Subjects | |
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| The Audience | |
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| The Performers | |
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| Autoethnography and/or Reflexive Ethnography | |
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| Three Examples of Critical Reflexivity in Autoethnography | |
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| Warm-Ups | |
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| It's Time to Write: Writing as Performance | |
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| Getting Started: In Search of the Muse | |
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| Research Questions and Statement of Purpose | |
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| The Muse Map and the Road Map | |
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| Schedules and Time Management | |
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| First Draft and Free Writing | |
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| The Anxiety of Writing: Wild Mind and Monkey Mind | |
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| Continents, Islands, and the Editor | |
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| Writing as Performance and Performance as Writing | |
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| Performative Writing Is to Embrace | |
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| Performative Writing Is to Enact | |
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| Performative Writing Is to Embody | |
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| Performative Writing Is to Effect | |
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| Warm-Ups | |
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| The Case Studies | |
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| Staging Cultural Performance | |
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| Why Did Joan Choose to Adopt and Direct a Cultural Performance From Her Fieldwork? | |
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| How Did Joan Translate Her Fieldwork to the Stage? What Was Her Process? | |
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| What Stage Techniques Did Joan Adapt? | |
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| Did Joan Encourage a Collaborative Process in Directing the Performance? | |
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| Could Joan Have Employed a More Collaborative Approach? | |
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| Oral History and Performance | |
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| What Is Poetic Transcription? | |
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| Did Robert's Theoretical Analysis Threaten to Diminish the Living Voices and Perspectives of His Narrators? | |
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| The Fieldwork of Social Drama and Communitas | |
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| When Did the Breach Occur? | |
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| How Did the Crisis Evolve? | |
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| What Form Did Redressive Action Take? | |
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| How Did Communitas Invoke Reintegration? | |
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| Warm-Ups | |
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| References | |
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| Index | |
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| About the Author | |