Expectation vs. reality: A skill summary on participant observation.
More and more in my research, I’m having my preconceived notions debunked and reset. Some of the most enlightening experiences I have had are my participant observations. I assumed it would be a difficult task to complete given the scope of my focus. I could not nail down individual locations or events for participant observation. I couldn’t think of specific opportunities like the ones I had read in the works of Matthew Engleke or Lila Ellen Grey. Engleke did participant observations at apostolic African churches. Grey positioned herself in attending, performing, and studying fado music. Granted, sitting in on classes and in rehearsals were options. But these wouldn’t give as full a scope as I needed. What I found was that the breadth of focus I was exploring aided me in finding many opportunities. What follows is a skill summary of the lessons I’ve learned about participant observation.
1. Be mindful at all times. The scope of “being a minority theatre student at UMBC” is a very broad one.The fact that I was studying “being” as an experience made me feel limited in my participant observation. What I discovered was that my “participant observation” could begin at any moment. The daily interactions and happenings within the department were a part of my study. Whether it was in the lobby in passing, over email, this was part of the experience of “being” within the department for them. I had to be aware and mindful of when these opportunities arose. Furthermore, I had to use the tools at my disposal at that time to record and document.
2. Be respectful and adaptive. As any of these interactions could become participant observation, the ethics could become a little tricky. Recording and usage, whether in writing, audio, or video, had to be approved. I had to make sure that the individuals knew I was participating and that they were okay with it. I also had to worry about if my participating and their awareness of it would alter the experience. It became a fine line to tread, one that I am still navigating and refining. If someone wasn’t okay with me recording them, then am I even allowed to reference my memory of the event? This is a difficult aspect of this type of work. But respect for the community and their wishes is of utmost importance. So, respect and adapt.
3. Find hooks for yourself. In more outright environments of participant observation, such as rehearsals or classes, it’s much easier to be prepared. In situations where you are allowed to record, use that to your advantage as much as possible. Take pictures, audio, video, everything. When you can’t do that, finding sensory and experiential hooks for yourself is vital. You can’t write down every word every person says, and you definitely can’t write down every thought you have. So rely on the environment, on key words and notes to bring you back there. The feel of the room. Focus on your other senses. This helps you find ways to hook into the experiences later when writing and organizing. You need a way to bring yourself back to that situation, and your personal, physical experience is your best guide.
4. Leave your assumptions at the door. This is the most vital, and the note that I have to remind myself of the most regularly. If you bring your own assumptions into the observation, it will undoubtably color your experience. You will be looking for things to affirm your thoughts and notions. In class, we discussed taking notes from the perspective of others, and this is one of the most helpful strategies. From both a sensory standpoint and to achieve objectivism, considering others’ perspectives is vital. This is not to say that you should entirely abandon your own perspective. As an outsider participating and observing, your experience is key in your understanding. Just be open. Be understanding, be honest.
