{"id":1940,"date":"2019-05-07T12:12:06","date_gmt":"2019-05-07T11:12:06","guid":{"rendered":"https:\/\/worlddanceheritage.org\/?p=1940"},"modified":"2023-08-21T14:52:35","modified_gmt":"2023-08-21T13:52:35","slug":"dance-research-data-model","status":"publish","type":"post","link":"https:\/\/worlddanceheritage.org\/dance-research-data-model\/","title":{"rendered":"Presentation of the Dance Research Data (4.6.4)"},"content":{"rendered":"\n<figure class=\"wp-block-image aligncenter size-large is-resized\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-datasets.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-datasets.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-datasets-300x169.jpg 300w\" decoding=\"async\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"Data research dataset.\" class=\"wp-image-1955 lazyload\" style=\"width:420px;height:236px\" width=\"420\" height=\"236\"  sizes=\"(max-width: 420px) 100vw, 420px\" \/><noscript><img decoding=\"async\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-datasets.jpg\" alt=\"Data research dataset.\" class=\"wp-image-1955\" style=\"width:420px;height:236px\" width=\"420\" height=\"236\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-datasets.jpg 560w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/dance-datasets-300x169.jpg 300w\" sizes=\"(max-width: 420px) 100vw, 420px\"><\/noscript><\/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-6ab5bbbfda2ec\" 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-6ab5bbbfda2ec\" 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\/dance-research-data-model\/#From_Data_to_Writing_Model\" >From Data to Writing Model<\/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\/dance-research-data-model\/#Dance_Analysis_Data_Timeframes\" >Dance Analysis Data Timeframes<\/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\/dance-research-data-model\/#Data_Clustered_Around_Key_Themes\" >Data Clustered Around Key Themes<\/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\/dance-research-data-model\/#Traditional_Realist_Tale_Narrative\" >Traditional (Realist) Tale Narrative<\/a><\/li><\/ul><\/nav><\/div>\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"From_Data_to_Writing_Model\"><\/span>From Data to Writing Model<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">As I started writing the results, I was presented with various possibilities.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As stated by Sandelowski (1998, p. 376), \u2018qualitative researchers must choose which story, of the many stories available to them in a data set\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the choice of my storyline, I was guided by the data. The process of writing the results section developed in stages and was interconnected with the analysis process.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As summarised in Figure 11 (Holliday 2007, p. 90), the phases of data analysis and writing the discussions fed off each other, in line with a constructionist epistemology.<\/p>\n\n\n\n<figure class=\"wp-block-image aligncenter\"><img data-src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/data-research-writing.jpg\" data-srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/data-research-writing.jpg 558w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/data-research-writing-300x272.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/data-research-writing-441x400.jpg 441w\" decoding=\"async\" width=\"558\" height=\"506\" src=\"data:image\/gif;base64,R0lGODlhAQABAIAAAAAAAP\/\/\/yH5BAEAAAAALAAAAAABAAEAAAIBRAA7\" alt=\"\" class=\"wp-image-1941 lazyload\"  sizes=\"(max-width: 558px) 100vw, 558px\" \/><noscript><img decoding=\"async\" width=\"558\" height=\"506\" src=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/data-research-writing.jpg\" alt=\"\" class=\"wp-image-1941\" srcset=\"https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/data-research-writing.jpg 558w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/data-research-writing-300x272.jpg 300w, https:\/\/worlddanceheritage.org\/wp-content\/uploads\/2019\/05\/data-research-writing-441x400.jpg 441w\" sizes=\"(max-width: 558px) 100vw, 558px\"><\/noscript><figcaption class=\"wp-element-caption\"> <br><strong>Figure 11<\/strong> \u2013 <a href=\"https:\/\/artlesstanzim.files.wordpress.com\/2014\/05\/holliday-qualitative_research_full.pdf\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"From data to writing (Holliday, 2007, p. 90) (opens in a new tab)\">From data to writing (Holliday, 2007, p. 90)<\/a> <\/figcaption><\/figure>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Dance_Analysis_Data_Timeframes\"><\/span>Dance Analysis Data Timeframes<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The first section I wrote was the dance analysis, which was organized around six timeframes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This structure was driven by the data because, as I analyzed the videos, six timeframes emerged, each with distinct characteristics.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Also, by watching the videos and analyzing all the other data sources, it emerged that the most famous dancers were very influential in the way the dance developed.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, in line with the idea of agency in the way social actors shape heritage, the sections within each timeframe revolved mainly around some pivotal figures in the history of Raqs sharqi.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the end of each timeframe, I wrote an analysis section to draw some analytical conclusions and connect the data with the conceptual framework.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I did not do analysis within the timeframes sections as I did not want to interrupt the flow of the story.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the analysis sections, I used tables to organize, summarise and present the data following Wolcott (1990, pp. 63\u201364), who suggests that graphics \u2018not only provide valuable supplements to printed text but can condense and expedite the presentation of supporting detail\u2019.<\/p>\n\n\n\n<h2 class=\"wp-block-heading has-text-align-center\"><span class=\"ez-toc-section\" id=\"Data_Clustered_Around_Key_Themes\"><\/span>Data Clustered Around Key Themes<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">As I wrote the dance analysis, the data clustered around key themes, some of which were key themes from the literature and the conceptual framework, and others emerged during the analysis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Therefore, I wrote a subsequent chapter (Chapter 6), where these key themes were discussed synchronically across the timeframes.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Doing so, allowed me to bring more analysis into the writing and also to add some relevant data (in particular, but not only, from the one-to-one interviews), which did not fit into the chronological representation of the dance analysis.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, I went from the more particular details of the dance analysis to the wider discussions, in an inductive writing process.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I then wrote the conclusions, with general considerations and recommendations, in a final separate chapter (Chapter 7).<\/p>\n\n\n\n<h2 class=\"wp-block-heading\"><span class=\"ez-toc-section\" id=\"Traditional_Realist_Tale_Narrative\"><\/span>Traditional (Realist) Tale Narrative<span class=\"ez-toc-section-end\"><\/span><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">The type of narrative I chose could be considered a <a href=\"https:\/\/www.researchgate.net\/publication\/308721085_Handbook_of_Qualitative_Research_in_Sport_and_Exercise\" target=\"_blank\" rel=\"noreferrer noopener\" aria-label=\"traditional or realist tale (opens in a new tab)\">traditional or realist tale<\/a>, as explained by Sparkes and Smith (2014, p. 156), because I tried to foreground the voices of the participants, or of the authors of textual data.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">However, contrary to Sparkes and Smith\u2019s (ibid) explanation of traditionalist narrative, I did not try to disappear completely from the narrative.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Since I have experience in Raqs sharqi myself as a practitioner and having traveled to <a href=\"https:\/\/worlddanceheritage.org\/raqs-sharqi-2\/\">Egypt for dance<\/a> training, I inserted opinions from my own experience where I thought it would enrich the representation of the data.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So, although my writing does not fit into the category of a confessional tale, which Sparkes and Smith (2014, p. 157), identify with \u2018highly personalized styles\u2019 adding that the process of the research and its problems are \u2018the main focus rather than just the findings\u2019, it has some elements of it.<\/p>\n\n\n\n<p class=\"has-very-light-gray-background-color has-background wp-block-paragraph\">Also, in line with my constructionist epistemology, I did not aim to express a \u2018reality\u2019. Rather, following Smith\u2019s (2006) consideration that heritage is a discourse, I tried to build a discourse that emerged from practitioners\u2019 considerations and their interaction with the artefactual remains of dance from the past (the videos).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hence, my narrative could be best described as a \u2018modified realist tale\u2019, as described by Sparkes (2002, pp. 51\u201354), in which the presence of the author is felt (for example, the author declares his\/her social background), whilst still foregrounding the findings and the participants\u2019 voices.<\/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; <span style=\"text-decoration: underline;\"><a href=\"https:\/\/worlddanceheritage.org\/research-reflexivity\/\">Reflexivity for the methodological strategy<\/a>.<\/span><\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Writing a dance research data model, analysis &#038; timeframes, clustered on key themes. The traditional narrative for intangible heritage.<\/p>\n","protected":false},"author":2,"featured_media":1955,"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-1940","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>Presentation of the Dance research data model and themes (4.6.4)<\/title>\n<meta name=\"description\" content=\"Writing a dance research data model, analysis &amp; timeframes, clustered on key themes. 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