{"id":1568,"date":"2019-05-05T11:54:12","date_gmt":"2019-05-05T10:54:12","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=1568"},"modified":"2023-07-16T17:46:12","modified_gmt":"2023-07-16T16:46:12","slug":"methods-framework","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/methods-framework\/","title":{"rendered":"Dance and Heritage Methodology Strategy and Framework (4.1 and 4.2)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-full\"><a href=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/heritage-studies-methods.jpg\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/heritage-studies-methods.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/heritage-studies-methods.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/heritage-studies-methods-300x169.jpg 300w\" decoding=\"async\" width=\"560\" height=\"315\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Heritage studies methods\" class=\"wp-image-1574 lazyload\"  sizes=\"(max-width: 560px) 100vw, 560px\" \/><noscript><img decoding=\"async\" width=\"560\" height=\"315\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/heritage-studies-methods.jpg\" alt=\"Heritage studies methods\" class=\"wp-image-1574\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/heritage-studies-methods.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/heritage-studies-methods-300x169.jpg 300w\" sizes=\"(max-width: 560px) 100vw, 560px\"><\/noscript><\/a><\/figure>\n\n\n\n<div id=\"ez-toc-container\" class=\"ez-toc-v2_0_88 counter-hierarchy ez-toc-counter ez-toc-grey ez-toc-container-direction\">\n<p class=\"ez-toc-title\" style=\"cursor:inherit\">Table of Contents<\/p>\n<label for=\"ez-toc-cssicon-toggle-item-6ab5bb90a3dd0\" class=\"ez-toc-cssicon-toggle-label\"><span class=\"\"><span class=\"eztoc-hide\" style=\"display:none;\">Toggle<\/span><span class=\"ez-toc-icon-toggle-span\"><svg style=\"fill: #999;color:#999\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" class=\"list-377408\" width=\"20px\" height=\"20px\" viewBox=\"0 0 24 24\" fill=\"none\"><path d=\"M6 6H4v2h2V6zm14 0H8v2h12V6zM4 11h2v2H4v-2zm16 0H8v2h12v-2zM4 16h2v2H4v-2zm16 0H8v2h12v-2z\" fill=\"currentColor\"><\/path><\/svg><svg style=\"fill: #999;color:#999\" class=\"arrow-unsorted-368013\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\" width=\"10px\" height=\"10px\" viewBox=\"0 0 24 24\" version=\"1.2\" baseProfile=\"tiny\"><path d=\"M18.2 9.3l-6.2-6.3-6.2 6.3c-.2.2-.3.4-.3.7s.1.5.3.7c.2.2.4.3.7.3h11c.3 0 .5-.1.7-.3.2-.2.3-.5.3-.7s-.1-.5-.3-.7zM5.8 14.7l6.2 6.3 6.2-6.3c.2-.2.3-.5.3-.7s-.1-.5-.3-.7c-.2-.2-.4-.3-.7-.3h-11c-.3 0-.5.1-.7.3-.2.2-.3.5-.3.7s.1.5.3.7z\"\/><\/svg><\/span><\/span><\/label><input type=\"checkbox\"  id=\"ez-toc-cssicon-toggle-item-6ab5bb90a3dd0\" checked aria-label=\"Toggle\" \/><nav><ul class='ez-toc-list ez-toc-list-level-1 ' ><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-1\" href=\"https:\/\/worlddanceheritage.org\/methods-framework\/#Introduction\" >Introduction<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-2\" href=\"https:\/\/worlddanceheritage.org\/methods-framework\/#Methodological_Framework\" >Methodological Framework<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-3\" href=\"https:\/\/worlddanceheritage.org\/methods-framework\/#Choosing_a_Qualitative_Methodology\" >Choosing a Qualitative Methodology<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-4\" href=\"https:\/\/worlddanceheritage.org\/methods-framework\/#Sensitising_Conceptual_Framework\" >Sensitising Conceptual Framework<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-5\" href=\"https:\/\/worlddanceheritage.org\/methods-framework\/#Relativist_Ontology_and_Constructionist_epistemology\" >Relativist Ontology and Constructionist epistemology<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-6\" href=\"https:\/\/worlddanceheritage.org\/methods-framework\/#Interpretive_Paradigm\" >Interpretive Paradigm<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-7\" href=\"https:\/\/worlddanceheritage.org\/methods-framework\/#Choice_of_Research_Methods\" >Choice of Research Methods<\/a><\/li><li class='ez-toc-page-1 ez-toc-heading-level-2'><a class=\"ez-toc-link ez-toc-heading-8\" href=\"https:\/\/worlddanceheritage.org\/methods-framework\/#Footnotes\" >Footnotes<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Introduction\"><\/span>Introduction<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In Chapter 3, I developed a holistic model of living heritage, based on a dialogical paradigm of heritage.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this chapter, I will describe the methodological process and approach for this research, following from the conceptual framework.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">First, I will explain how the conceptual framework has influenced the research questions, paradigm, and methodology.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I will then focus on my choice of research methods, based on the research questions, practical considerations and validity issues.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the rest of this chapter, I will cover:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>the three research methods I adopted<\/li>\n\n\n\n<li>ethical issues<\/li>\n\n\n\n<li>data analysis and presentation<\/li>\n\n\n\n<li>reflexivity<\/li>\n\n\n\n<li>validity and reliability and judgment criteria<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Methodological_Framework\"><\/span>Methodological Framework<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The conceptual framework of living heritage has been a sensitizing heuristic tool to guide my interpretation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Because of the holistic, dialogic, and people-centered nature of this framework, the resulting research framework is based on a:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>qualitative methodology<\/li>\n\n\n\n<li>an <a href=\"https:\/\/worlddanceheritage.org\/terminology\/\">interpretivist paradigm<\/a><\/li>\n\n\n\n<li>a relativist ontology<\/li>\n\n\n\n<li>a constructionist epistemology<\/li>\n<\/ul>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Choosing_a_Qualitative_Methodology\"><\/span> Choosing a Qualitative Methodology <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Theoretically, the living heritage model is grounded in humanistic disciplines, such as sociology, anthropology and philosophy.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As a result, the most appropriate research methodology is qualitative.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Many research scholars (Maykut and Morehouse, 1994; Mason, 2002; Marshall and Rossman, 2010; Hammersley, 2013; Sparkes and Smith, 2014) posit that qualitative methodology is:<\/p>\n\n\n\n<ul class=\"wp-block-list\">\n<li>based around people<\/li>\n\n\n\n<li>flexible and exploratory as data emerge as the research progresses<\/li>\n\n\n\n<li>inductive, meaning that, rather than trying to prove a general theory it builds a view of the phenomenon under scrutiny starting from the data<\/li>\n\n\n\n<li> interested in the social context from which the data emerge and it focuses on a few individuals, rather than a big number of participants.  <\/li>\n<\/ul>\n\n\n\n<p class=\"wp-block-paragraph\">Because people are central in living heritage, qualitative research is appropriate because it is, as Marshall and Rossman (2010, p. 2) posit, \u2018pragmatic, interpretive, and grounded in the lived experiences of people\u2019.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Sensitising_Conceptual_Framework\"><\/span>Sensitising Conceptual Framework<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">In this research, although I followed a sensitizing conceptual framework, which was deductive in the sense that it guided my gaze, the analysis (in particular the way I decided to structure and present the data through timeframes of transition) was inductive as it was guided by the data as they emerged, primarily from the video analysis (see footnote one at the bottom).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to <a aria-label=\"Sparkes and Smith (2014) (opens in a new tab)\" href=\"https:\/\/www.routledge.com\/Qualitative-Research-Methods-in-Sport-Exercise-and-Health-From-Process\/Sparkes-Smith\/p\/book\/9780415578356\" target=\"_blank\" rel=\"noreferrer noopener\">Sparkes and Smith (2014)<\/a>, qualitative methodology is based on a relativist ontology; subjectivist, transactional, and constructionist epistemology and has a hermeneutical and dialectic approach.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Relativist_Ontology_and_Constructionist_epistemology\"><\/span>Relativist Ontology and Constructionist epistemology <span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">This research, in line with its qualitative methodological approach, is based on a relativist ontology, as opposed to a realist one.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A realist ontology is based on the assumption that social reality exists outside of social agents (Bilgrami, 2002; Smith, 2008; King and Horrocks, 2010).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For instance, a positivist paradigm is based on a realist ontology, as Sparkes (1992a, p. 20) notes, \u2018positivism postulates that the social world external to individual cognition is a real-world made up of hard, tangible and relatively immutable facts\u2019. <\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As my conceptual framework revolves around people, I am more interested in the discourse that these social agents create in relation to heritage, rather than any possible social reality.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, I have adopted a relativist ontology, which, as Bilgrami (2002, p. 21) explains, is \u2018unperturbed by the disagreement over truth between two believers, relativizing the truth of the disagreed upon belief to each of their points of view\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As a result, I have adopted a constructionist epistemology, according to which knowledge is constructed from the interaction between \u2018the investigator and the object of investigation\u2019 (Guba and Lincoln, 1994, p. 114) in a transactional and subjectivist way.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Mason, (2002, p. 3) qualitative research is \u2018grounded in a philosophical position which is broadly \u2018interpretivist\u2019 . . . concerned with how the social world is interpreted, understood, experienced, produced or constituted\u2019.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Interpretive_Paradigm\"><\/span>Interpretive Paradigm<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">Consequently, I have adopted an interpretive paradigm. Mason (2002) and Hammersley (2013) suggest that an interpretivist paradigm revolves around how people see the world they live in and how they interpret it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The focus is idiographic, meaning \u2018trying to understand particular people and events in specific socio-historical circumstances\u2019 (Hammersley, 2013, p. 27).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Mason states that researchers who employ the interpretive paradigm can use texts, interviews or objects as sources of data, but all approaches see people as \u2018social actors, or active social agents\u2019 (Mason, 2002, p. 56).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">According to Sparkes (1992b, p. 24), \u2018a range of research traditions can be located within the interpretive paradigm that go under various names including: . . . qualitative research\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I chose the research methods based on research questions that emerged from the literature review and the conceptual framework (as mentioned in 3.8), following a qualitative methodology and an interpretive paradigm.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Choice_of_Research_Methods\"><\/span>Choice of Research Methods<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">I linked the research questions to the methods following Mason (2002, p. 30), who posits that \u2018your methodological strategy is <em>the logic by which you go about answering your research questions<\/em>\u2019. <\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/research-method-choices.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/research-method-choices.jpg 726w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/research-method-choices-300x234.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/research-method-choices-682x533.jpg 682w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/research-method-choices-512x400.jpg 512w\" decoding=\"async\" width=\"726\" height=\"567\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" class=\"wp-image-1583 lazyload\"  sizes=\"(max-width: 726px) 100vw, 726px\" \/><noscript><img decoding=\"async\" width=\"726\" height=\"567\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/research-method-choices.jpg\" alt=\"\" class=\"wp-image-1583\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/research-method-choices.jpg 726w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/research-method-choices-300x234.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/research-method-choices-682x533.jpg 682w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/research-method-choices-512x400.jpg 512w\" sizes=\"(max-width: 726px) 100vw, 726px\"><\/noscript><figcaption class=\"wp-element-caption\">Table 7 &#8211; Illustrates my choice of research methods, according to the questions.  <br> From the research of <a href=\"https:\/\/worlddanceheritage.org\/about-us\/\">Dr Valeria Lo Iacono (2019)<\/a> <\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">I chose to select more than one research method, in order to capture the complexity of the phenomenon of raqs sharqi heritage from different angles, to understand, as Maykut and Morehouse state (1994, p. 146), \u2018the phenomenon of interest . . . from various points of view and ways of knowing\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, the idea was to give \u2018strong credibility to the findings\u2019 (Maykut and Morehouse, 1994, p. 146), in the event of convergence of themes emerging from the different methods and, as Mason maintains (2002, p. 33), to \u2018enhance the quality of the data through some non-realist form of \u2018triangulation\u2019 of method\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the following section, I will delve deeper into each method, the reasons for choosing them, and the sampling process.<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Footnotes\"><\/span>Footnotes<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">1 &#8211; As Elo and Kyng\u00e4s (2008, p. 109) explain, \u2018an approach based on inductive data moves from the specific to the general, so that particular instances are observed and then combined into a larger whole or general statement . . . A deductive approach is based on an earlier theory or model and therefore it moves from the general to the specific\u2019.<\/p>\n\n\n\n<p class=\"has-vivid-red-color has-white-background-color has-text-color has-background wp-block-paragraph\"><strong>Next Page &gt;&gt; <\/strong><a href=\"https:\/\/worlddanceheritage.org\/data-collection-summary\/\"><span style=\"text-decoration: underline;\"><strong>Summary of Data Collection and Analysis Process<\/strong><\/span><\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The methodological framework and dance heritage methodology used. Sensitizing concepts, frameworks, and a relativist ontology and paradigm.<\/p>\n","protected":false},"author":2,"featured_media":1574,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[19],"tags":[],"class_list":["post-1568","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-methods"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Dance and Heritage methodology strategy and framework (4.1 and 4.2)<\/title>\n<meta name=\"description\" content=\"The methodological framework and dance heritage methodology used. 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Sensitizing concepts, frameworks, and a relativist ontology and paradigm.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/worlddanceheritage.org\/methods-framework\/\" \/>\n<meta property=\"og:site_name\" content=\"World Dance Heritage Research Centre\" \/>\n<meta property=\"article:published_time\" content=\"2019-05-05T10:54:12+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2023-07-16T16:46:12+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/heritage-studies-methods.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"560\" \/>\n\t<meta property=\"og:image:height\" content=\"315\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Valeria\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@danceperception\" \/>\n<meta name=\"twitter:site\" content=\"@danceperception\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Valeria\" \/>\n\t<meta name=\"twitter:label2\" content=\"Estimated reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"5 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/methods-framework\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/methods-framework\\\/\"},\"author\":{\"name\":\"Valeria\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#\\\/schema\\\/person\\\/a5061c4e7e43b91e456683b9699ebb42\"},\"headline\":\"Dance and Heritage Methodology Strategy and Framework (4.1 and 4.2)\",\"datePublished\":\"2019-05-05T10:54:12+00:00\",\"dateModified\":\"2023-07-16T16:46:12+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/methods-framework\\\/\"},\"wordCount\":977,\"publisher\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/methods-framework\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/05\\\/heritage-studies-methods.jpg\",\"articleSection\":[\"Methodology\"],\"inLanguage\":\"en-GB\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/methods-framework\\\/\",\"url\":\"https:\\\/\\\/worlddanceheritage.org\\\/methods-framework\\\/\",\"name\":\"Dance and Heritage methodology strategy and framework (4.1 and 4.2)\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/methods-framework\\\/#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/worlddanceheritage.org\\\/methods-framework\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/worlddanceheritage.org\\\/wp-content\\\/uploads\\\/2019\\\/05\\\/heritage-studies-methods.jpg\",\"datePublished\":\"2019-05-05T10:54:12+00:00\",\"dateModified\":\"2023-07-16T16:46:12+00:00\",\"description\":\"The methodological framework and dance heritage methodology used. 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