The aim of this paper is twofold. First, it puts forward an ethnographic approach for studying content production within events. Second, drawing from substantial interview material, it shows how festival-goers perceive differences between public and private, and permanent and ephemeral when sharing their live event experiences.
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This paper discusses sketching as a spatial and embodied ethnographic research method. Rather than a means to represent fieldwork experiences in quasi-photographic images, this method prompts researchers to slow down and open their senses. In doing so, sketching can initiate an imaginative and interpretive ethnographic process. In order to explore this process we draw on [first author’s] sketches of fieldwork encounters, made in the context of his participant observation in a Dutch Asylum Seekers’ Residence Centre. The sketches were made to imagine and interpret this border-space as it may be experienced by asylum seekers. Unlike other ethnographic research methods, sketching allowed [first author] to imagine his own perspective as well as the perspectives of asylum seekers involved in these encounters. In doing so, the sketches shed light on non-verbal, embodied interactions between asylum seekers and [first author], situated in the spatial and social setting of the Centre. Based on three fieldwork encounters, the paper demonstrates [first author’s] process of: (1) gaining access to the unfolding situations in front of his eyes; (2) registering his own perspectives of these situations; (3) imagining different perspectives of asylum seekers involved in these situations; (4) searching for different, and sometimes conflictual ways of framing these situations. Based on perceptual skills as well as contextual knowledge, the slow process of sketching helped us to gain critical and relational insights into the spaces opened up by these encounters.
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Ethnographic fieldwork is a balancing act between distancing and immersing. Fieldworkers need to come close to meaningfully grasp the sense-making efforts of the researched. In methodological textbooks on ethnography, immersion tends to be emphasized at the expense of its counterpart. In fact, ‘distancing’ is often ignored as a central tenet of good ethnographic conduct. In this article we redirect attention away from familiarization and towards ‘defamiliarization’ by suggesting six estrangement strategies (three theoretical and three methodological) that allow the researcher to develop a more detached viewpoint from which to interpret data. We demonstrate the workings of these strategies by giving illustrations from Machteld de Jong’s field- and text-work, conducted among Moroccan-Dutch students in an institution of higher vocational education.
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This project establishes a collaborative network centered around the Amsterdam Museum, comprising key stakeholders from prominent cultural institutions, including the Centraal Museum Utrecht and the Rotterdam Museum. The consortium is designed to explore the transformative potential of co-creation in museums, focusing on enhancing visitor engagement, fostering inclusivity, and integrating digital technologies into cultural practices. Key personnel will provide interdisciplinary expertise in communication and cultural heritage, facilitating a robust understanding of stakeholder dynamics and collaborative processes. The research aims to analyze how co-creation can bridge the gap between museums and their diverse audiences, creating a sense of ownership and connection. Initial observational findings suggest that co-creation practices significantly enhance visitor experiences while revealing stakeholders' desires for deeper collaborative opportunities. To achieve these objectives, qualitative methods such as semi-structured interviews, focus groups, and ethnographic observations will be employed, delivering rich insights into the impact of co-created programming. An essential output of this project will be an academic publication aimed at foundational research on effective co-creation practices within the cultural sector. Furthermore, the consortium will pursue a larger grant application to secure sustainable funding for ongoing research initiatives, ensuring the long-term viability and impact of this collaborative network. This will not only advance academic discourse but also facilitate knowledge transfer between academia and museums, enriching cultural engagement strategies. Ultimately, the project aspires to enhance the visibility and societal relevance of cultural institutions, fostering innovative solutions to contemporary challenges through collaborative research and community involvement.
