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• Participatory research of social issues: practical experience from a research project on homelessness

  40-61

  Katalin Gyongyosi

  Gyula Balog

  Marta Erdoshegyi

  Views:

  224

  This article is an account of our practical research and cooperation experience from a
  participatory research project on homelessness and psychosocial disability carried out in a
  Hungarian university context, by a student and two experts by experience in a researcher role.
  We argue for the involvement of disadvantaged people using social services in research related
  to disadvantaged people and social services, highlighting the advantages and challenges of this
  kind of research based on our experience. Finally, we formulate practical recommendations that
  migh be useful for beginners – like we used to be – in participatory research in this field.

• Understanding Aspects to the Ethnospecific Researches on the Gypsy Jazz

  23-39

  Andras A. Gergely

  Views:

  249

  The early “research of Gypsies”, romology, then the visible and the hidden processes of
  “tziganology” in anthropology included a shift in the state of understanding between the
  hillside of critical interpretation studies and that of local group psychology. They also involved
  the research of folk tales, dancing, poverty, examining segregation and participatory action
  methodology as well as innovation and rebirth of the musicological research of Gypsy music.
  The terminological aspect of “us” and “others”, expressing alterity and identity, points towards
  the more complex study of (ethnic) “minorities”, moreover knowledge and field studies, and
  results of examining narratives (such as tales, dances, visual worksof art, publicity, religion and
  community), bring us closer (by way of political and scientific pragmatism) to signalling a new
  era of empathic understanding. The aim of the paper is to highlight the ways leading to that
  goal, putting the musical aspects of the shift in focus, consisting of stylistic inventions, a worldmusic-based openness towards instruments and performance cultures, which nevertheless still
  carries the signs of a new era of projection and knowledge contents, first-person-narrative and
  narrative identities. Finding answers to the question “where did it come from” might be aided
  by contemplating “where does it go”. This would be both the aim and partially the structure of
  my thematic essay.