This study explores the historic relationship between pop music divas and gay male fandom. It charts fan experiences from the early 60s with Judy Garland to contemporary times with pop diva Lady Gaga. This project also gives a description of the embodied experience of Brett Farmer's "queer sublimity of diva reception." Farmer (2005) argues that diva worship among gay men has become a queer sublimity, "the transcendence of a limiting heteronormative materiality and the sublime reconstruction, at least in fantasy, of a more capacious, kinder, queerer world" (p. 170). Using the methods of participant observation in drag performance and karaoke singing, performance ethnography, and autoethnography, I attempt to understand how a diva's performance can influence the lives of gay men and how it can inspire visions of a more perfect world for everyone.

Este estudo etnomusicológico, pautado pelo método etnográfico, busca explorar as dimensões sonoras dos manifestos e espaços de ocupação dos atuais movimentos de contestação estudantil ocorridos na Universidade Federal do Rio Grande do Sul (UFRGS) iniciados nos dois últimos meses de 2016, concomitantemente às mobilizações nacionais que geraram grande impacto na sociedade e na comunidade escolar e acadêmica. A partir da noção de narrativas sonoras baseadas em relatos e materiais audiovisuais proveniente do contato com os participantes, esta pesquisa se propôs a compreender as dinâmicas de participação dos sujeitos envolvidos na criação e difusão de performances nos espaços reais/virtuais, incluindo sites e redes de compartilhamento. O referencial teórico-metodológico foi construído a partir das perspectivas etnomusicológicas que abordam os estudos da performance (SEEGER, 2008), (LUCAS, 2013), (TURINO, 2008), (WONG, 2008), além de abordagens aliadas às interfaces dos Sound Studies como o ethos sônico cohabeiro (ZAMBIAZZI DOS SANTOS, 2015) e a realização de soundwalks (percursos sonoros) propostos pela acustemologia (FELD, 1982, 2001, 2004, 2015). O estudo dialoga com as contribuições teóricas recentes sobre o contexto dos protestos e movimentos de ocupação, bem como uma relação entre campos reais e virtuais (MILLER, 2012), (MANABE, 2015), (COOLEY, 2008) e com os estudos sobre as juventudes latino americanas (REGUILLO, 2000, 2012), (CANCLINI, 2011, 2012, 2105). / This ethnomusicological study, based on the ethnographic method, seeks to explore the sound dimensions of the manifestos and spaces of occupation of the current student protest movements that occurred in the Federal University of Rio Grande do Sul (UFRGS) initiated in the last two months of 2016, concomitantly with the national mobilizations which have had a great impact on society and the school and academic community. Based on the notion of sound narratives based on reports and audiovisual materials from contact with participants, this research aimed to understand the participation dynamics of the subjects involved in the creation and diffusion of performances in real / virtual spaces, including websites and networks. sharing. The theoretical-methodological framework was constructed from the ethnomusicological perspectives that approach the performance studies (SEEGER, 2008) (LUCAS, 2013), (TURINO, 2008), (WONG, 2008) Sound Studies interfaces like a ethos sônico cohabeiro (ZAMBIAZZI DOS SANTOS, 2015) and the realization of soundwalks proposed by the acustemology (FELD, 1982, 2001, 2004, 2015). The study discusses recent theoretical contributions on the context of occupational protests and movements, as well as the relationship between real and virtual fields (MILLER, 2012), (MANABE, 2015), (COOLEY, 2008) and the studies on the Latin American youths (REGUILLO, 2000, 2012), (CANCLINI, 2011, 2012, 2105).

Este estudo etnomusicológico, pautado pelo método etnográfico, busca explorar as dimensões sonoras dos manifestos e espaços de ocupação dos atuais movimentos de contestação estudantil ocorridos na Universidade Federal do Rio Grande do Sul (UFRGS) iniciados nos dois últimos meses de 2016, concomitantemente às mobilizações nacionais que geraram grande impacto na sociedade e na comunidade escolar e acadêmica. A partir da noção de narrativas sonoras baseadas em relatos e materiais audiovisuais proveniente do contato com os participantes, esta pesquisa se propôs a compreender as dinâmicas de participação dos sujeitos envolvidos na criação e difusão de performances nos espaços reais/virtuais, incluindo sites e redes de compartilhamento. O referencial teórico-metodológico foi construído a partir das perspectivas etnomusicológicas que abordam os estudos da performance (SEEGER, 2008), (LUCAS, 2013), (TURINO, 2008), (WONG, 2008), além de abordagens aliadas às interfaces dos Sound Studies como o ethos sônico cohabeiro (ZAMBIAZZI DOS SANTOS, 2015) e a realização de soundwalks (percursos sonoros) propostos pela acustemologia (FELD, 1982, 2001, 2004, 2015). O estudo dialoga com as contribuições teóricas recentes sobre o contexto dos protestos e movimentos de ocupação, bem como uma relação entre campos reais e virtuais (MILLER, 2012), (MANABE, 2015), (COOLEY, 2008) e com os estudos sobre as juventudes latino americanas (REGUILLO, 2000, 2012), (CANCLINI, 2011, 2012, 2105). / This ethnomusicological study, based on the ethnographic method, seeks to explore the sound dimensions of the manifestos and spaces of occupation of the current student protest movements that occurred in the Federal University of Rio Grande do Sul (UFRGS) initiated in the last two months of 2016, concomitantly with the national mobilizations which have had a great impact on society and the school and academic community. Based on the notion of sound narratives based on reports and audiovisual materials from contact with participants, this research aimed to understand the participation dynamics of the subjects involved in the creation and diffusion of performances in real / virtual spaces, including websites and networks. sharing. The theoretical-methodological framework was constructed from the ethnomusicological perspectives that approach the performance studies (SEEGER, 2008) (LUCAS, 2013), (TURINO, 2008), (WONG, 2008) Sound Studies interfaces like a ethos sônico cohabeiro (ZAMBIAZZI DOS SANTOS, 2015) and the realization of soundwalks proposed by the acustemology (FELD, 1982, 2001, 2004, 2015). The study discusses recent theoretical contributions on the context of occupational protests and movements, as well as the relationship between real and virtual fields (MILLER, 2012), (MANABE, 2015), (COOLEY, 2008) and the studies on the Latin American youths (REGUILLO, 2000, 2012), (CANCLINI, 2011, 2012, 2105).

This study presents the process of creating a performance ethnography of my family’s narratives about familial chronic illness and disability. I label this process performing narrative medicine. By documenting and granularly analyzing the process of my performance ethnography, the following chapters provide a step-by-step discussion of how families communicate about chronic illness/disability through storytelling and humor, and how/what performance does as a method, metaphor and object of study to further our current communicative practices and understandings of chronic illness and disability in families. I argue that performing narrative medicine is a heuristic for families living with chronic illness and disability, and a method that may be used and applied outside the context of my own family. The chapters in my dissertation directly address the following questions: How does my performance work as embodied knowledge to gain greater understanding of the lived experience of familial disability/chronic illness? How does the use of humor as a communicative construct, and performance ethnography work as a practice of “performing narrative medicine?” What are our scholarly stakes in performing narrative? How too might binding narrative medicine to performance inform how we do qualitative research? How do the respective motions of narrative medicine and research practices/principles of performance ethnography converge and cross-fertilize each other? Does a work like narrative medicine endow storytelling and performance with a consequentiality? This performance ethnography of familial disability and chronic illness contributes to understandings of families dealing with chronic illness/disability, extends narrative medicine as a theoretical construct, and speaks to a long tradition of the practice of performance ethnography. Overall, performing narrative medicine reveals the underlying communication competencies at work in families living with chronic illness and disability. Through the use of humor and performance as a communication practice, I reveal the power of empathy. The power in realizing our own human capacities to relate to one another across differences, and continue the work of “living well.” This dissertation emphasizes the power of performance to constitute alternative ways of performing and understanding familial chronic illness, by emphasizing the work of creating, implementing and studying performance.

Este estudo etnomusicológico, pautado pelo método etnográfico, busca explorar as dimensões sonoras dos manifestos e espaços de ocupação dos atuais movimentos de contestação estudantil ocorridos na Universidade Federal do Rio Grande do Sul (UFRGS) iniciados nos dois últimos meses de 2016, concomitantemente às mobilizações nacionais que geraram grande impacto na sociedade e na comunidade escolar e acadêmica. A partir da noção de narrativas sonoras baseadas em relatos e materiais audiovisuais proveniente do contato com os participantes, esta pesquisa se propôs a compreender as dinâmicas de participação dos sujeitos envolvidos na criação e difusão de performances nos espaços reais/virtuais, incluindo sites e redes de compartilhamento. O referencial teórico-metodológico foi construído a partir das perspectivas etnomusicológicas que abordam os estudos da performance (SEEGER, 2008), (LUCAS, 2013), (TURINO, 2008), (WONG, 2008), além de abordagens aliadas às interfaces dos Sound Studies como o ethos sônico cohabeiro (ZAMBIAZZI DOS SANTOS, 2015) e a realização de soundwalks (percursos sonoros) propostos pela acustemologia (FELD, 1982, 2001, 2004, 2015). O estudo dialoga com as contribuições teóricas recentes sobre o contexto dos protestos e movimentos de ocupação, bem como uma relação entre campos reais e virtuais (MILLER, 2012), (MANABE, 2015), (COOLEY, 2008) e com os estudos sobre as juventudes latino americanas (REGUILLO, 2000, 2012), (CANCLINI, 2011, 2012, 2105). / This ethnomusicological study, based on the ethnographic method, seeks to explore the sound dimensions of the manifestos and spaces of occupation of the current student protest movements that occurred in the Federal University of Rio Grande do Sul (UFRGS) initiated in the last two months of 2016, concomitantly with the national mobilizations which have had a great impact on society and the school and academic community. Based on the notion of sound narratives based on reports and audiovisual materials from contact with participants, this research aimed to understand the participation dynamics of the subjects involved in the creation and diffusion of performances in real / virtual spaces, including websites and networks. sharing. The theoretical-methodological framework was constructed from the ethnomusicological perspectives that approach the performance studies (SEEGER, 2008) (LUCAS, 2013), (TURINO, 2008), (WONG, 2008) Sound Studies interfaces like a ethos sônico cohabeiro (ZAMBIAZZI DOS SANTOS, 2015) and the realization of soundwalks proposed by the acustemology (FELD, 1982, 2001, 2004, 2015). The study discusses recent theoretical contributions on the context of occupational protests and movements, as well as the relationship between real and virtual fields (MILLER, 2012), (MANABE, 2015), (COOLEY, 2008) and the studies on the Latin American youths (REGUILLO, 2000, 2012), (CANCLINI, 2011, 2012, 2105).

Sundown towns are communities with a history of excluding African Americans and that are predominantly White on purpose. Although sundown towns have inevitably changed over time, a number of them continue to be alarmingly White, and their reputations continue to persist. Sundown towns are widespread across the U.S. and despite their prevalence, very little research exists on the topic. Furthermore, sundown towns were largely maintained through oral tradition. In this dissertation, I explore oral history interviews with community residents about the history of sundown towns in southern Illinois. Based on over two years of fieldwork, I examine how community narratives construct present realities of sundown towns in new and nuanced ways. I am also interested in how these narratives function. I argue that race is central to investigating the history of sundown towns and use performance as an analytical tool to understand racial dimensions in community members' stories. I examine how everyday community narratives reveal racialized performances and construct current manifestations of sundown towns. I further examine the process of translating these narratives into a staged performance. Ultimately, I argue that exploring everyday community narratives from the field to the stage allows a heuristic view of the living history of sundown towns. My approach to this study is deeply informed by critical performance ethnography and Critical Race Theory. These methods work together as modes of inquiry that enable analysis of community narratives as well as my role as a researcher, with the aspiration of social change. I enter this research with the agenda to deconstruct racist structures and add to social justice discourses. In this dissertation, I strive to create space for dialogue about sundown towns, race, and racism with various audiences and create possibilities for disrupting this history.

By working with an anti-human trafficking organization in Sarasota, Florida, and sex-worker activists based in St. Petersburg, Florida, this research focuses on the process by which trafficking victims and sex workers are identified and dealt with by the criminal justice system and NGO rehabilitation programs. The study focused on understanding how stakeholders decide between identifying someone as a criminal or a victim of sex trafficking and how women identify themselves and subjectively experience their interaction with the criminal justice system and a faith-based rehabilitation program. By exploring the victims’ process of going through the criminal justice system, this study problematizes the ideas of victim certification, diversion programming, and the idea that sex work is inherently exploitative and never agentive. Due to anti-prostitution laws in the United States (US), the lack of trauma-informed care within the criminal justice system, and the stigma surrounding sex work that stems from dominant American culture, sex workers and trafficking victims are often further harmed when they become involved with the criminal justice system. My findings reveal narratives produced around the “innocent victim” perpetuate an image of human trafficking that focuses on White women and children in forced prostitution. This image contributes to constructions of ‘deservingness’ for different populations involved in exchanging sex and alters whether or not individuals are identified as victims of sex trafficking depending on their adherence to this narrative. Common narratives surrounding trafficking can also harm sex workers who want to be recognized as agentive adults in the sex industry. I present the multiple realities that exist in the criminal/legal systems surrounding sex trafficking and consensual sex work in Florida and how participants perceive their treatment by various organizations such as law enforcement, the court system, diversion programs, and NGOs by conducting interview analysis, participant observation, and performance ethnography through the production of a fictionalized scene written with research participants and stakeholders.

This study examines experiences of racial microaggressions as related to an audience through the art of Storytelling. Integrating Performance Ethnography and Critical Race Theory, it examines how storytelling may serve to illuminate the concept of racial microaggressions. After examining the current body of work on Racism, Storytelling and Microaggression, the author moves through the stories of experiences with racial microaggression from four individuals, gathered and performed as a storytelling event, before a live audience. The communicative management methods individuals use when talking about race and racial microaggressions are explored in presentation of the audience discussion which followed the performance. The author concludes storytelling has merit as a tool for the illumination of racial microaggressions, yet the potency with which racism is ingrained in the psyche of white people in U.S. indicates significant structure must be applied to public discussions of race to support the utilization of storytelling in this manner.

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