Ethnovideography: Difference between revisions
Ems amoloza (talk | contribs) |
Ems amoloza (talk | contribs) |
||
| Line 14: | Line 14: | ||
==External links== |
==External links== |
||
*[http://www.dgroups.org/groups/iNARS/index.cfm?op=dsp_resource_details&resource_id=26129&cat_id=15055 Development Dialogue] |
*[http://www.dgroups.org/groups/iNARS/index.cfm?op=dsp_resource_details&resource_id=26129&cat_id=15055 Development Dialogue] |
||
*[http://www.youtube.com/watch?v=BwvL13IidBw Ethnovideography Study on Indigenous Knowledge in Environmental Conservation, Caramoan, Camarines] |
|||
Revision as of 04:39, 27 June 2008
Ethnovideography is a methodology of using video in the study of peoples, communities, groups or sub-groups.[1] Although originally experimented upon by the Los Banos science community in the early nineties as adjuncts to environmental impact assessments (EIAs), studies of indigenous knowledge systems and documentation of agricultural best practice, it traces its roots in the Cinema Verite movement of the fifties and sixties, the difference being its emphasis on small format or digital format video and its adoption of extra-sociological subjects.[2]
Being a methodology, ethnovideography is theory-based and adopts a set of procedures or protocols. The earliest mention of ethnovideography in current literature comes from an Asian Development Bank project document authored by a team of environmental experts headed by Sylvia Guerrero, former Dean of the University of the Philippines College of Social Work and Community Development. Guerrero et al (1992) defined ethnovideography as:
...a research procedure developed at the UPLB Institute of Development Communication which makes use of small-format video-generated non-alphanumeric data for social analysis. This procedure entails video documentation of five types of subjects: people, places, processes, events and social problems... [3]
Credited for coining the term ethnovideography as well as its development as a methodology, Alexander Flor considers it more than a research methodology but a knowledge system and a form of development intervention as well. Flor was a professor of development communication at the University of the Philippines Los Banos who underwent a Fulbright-PAEF post-doctoral tour in the US in 1989. The tour included a summer at the USC Center for Visual Antrhopology, wherein Flor's exposure to the use of video in urban anthropology contributed to his early constructs on ethnovideography. Flor's influences include Professor Alain Martinot who mentored him on Cinema Direct technique under a French Foreign Ministry grant. His early work on ethnovideography was sponsored by the Users' Perspectives with Agricultural and Rural Development (UPWARD) facility of the Lima-based International Potato Center. Succeeding research were conducted mostly by his graduate students: Bandara[4], Hardono[5], and Maya[6].
In 2002, the book, Ethnovideography: Video Based Indigenous Knowledge Systems, was co-published by SEAMEO-SEARCA and CIP-UPWARD.
References
- ^ Flor, A.G. 2002. Ethnovideography. SEAMEO-SEARCA and CIP-UPWARD
- ^ Flor, A.G. 1983. Participatory Film-Making: A Structural Analysis of Cinema Direct. DevCom Quarterly. UPLB Institute of Development Communication
- ^ Guerrero, S.H. 1992. Inception Report for Improving the Implementation of Environmental impact Assessment. Asian Development Bank
- ^ Bandara, R. 1994. Usefulness and Effectivity of Ethnovideography as a Training Tool in Sri Lanka. University of the Philippines Los Banos Graduate School
- ^ Hardono.1993. Usefulness and Effectivity of Ethnovideography in Documenting Indigenous Knowledge on Sustainable Agriculture in Indonesia. University of the Philippines Los Banos Graduate School
- ^ Iis Nana Maya. 1993. Usefulness and Effectivity of Ethnovideography in Research Agenda Setting. University of the Philippines Los Banos Graduate School