There are three general research approaches—social science, interpretive, and critical. The following will highlight a few specific approaches within these three general categories that have particular relevance to the study if intercultural communication.

Describe and predict behavior. These are the goals of the social scientist. One particular theory useful for this kind of research is Communication Accommodation Theory (CAT) that was developed by colleagues of Giles. This model focuses on the ways in which individuals adjust their communication with others. When you tell the story of a college party to a friend or to a parent do you tell it the same way? Do you leave out or highlight certain details? The kinds of decisions you make when telling a story reflect the ways in which you accommodate your communication to your specific audience. In general, there are two types of accommodation: convergence and divergence. When we converge our communication we make it more like the person or persons with whom we are speaking. We attempt to show our similarity with them through our speech patterns. When we diverge, we attempt to create distance between our audience and ourselves. Here, we want to stress our difference from others or our uniqueness. Using social scientific approaches as applied to communication accommodation theory, researchers may attempt to define, describe and predict what sorts of verbal and nonverbal acts can produce the desired convergent or divergent effects.

Like the social scientists, interpretive scholars want to describe behavior, but because of the importance of the individual context, they do not assume accurate and generalizable predictions can be made. As they are particularly relevant to intercultural communication research, we will discuss the following two methodologies in this section—ethnography and co-cultural research.

Since interpretivists believe in the subjective experience of each cultural group, it makes sense that they would select to study intercultural communication as used in particular speech communities. A speech community, according to Hymes is a “community sharing rules for the conduct and interpretation of speech, and rules for the interpretation of at least one linguistic variety” (54). This method is also referred to ethnography. A prolific ethnographer, Gerry Philipsen has identified four assumptions of this method:

1. Members of speech communities create meanings.
2. Each distinct culture possesses a unique speech code.
3. The rules for interpreting actions and meanings are limited to a given culture and cannot be universally applied.
4. Within each speech community there are specific procedures and sources for assigning meaning.

Using ethnography guided by these four assumptions, researchers are able to understand culture, its participants, and its communication on its own terms.

Originating in the legal arena, Critical Race Theory explores the role of race in questions of justice, equal access, and opportunity. Borrowing from the work of Matsuda et.al, Orbe and Harris summarize six key assumptions helpful for understanding critical race theory (125-6).

1. Critical race theory recognizes that racism is an integral part of the United States.
2. Critical race theory rejects dominant legal and social claims of neutrality, objectivity, and color blindness.
3. Critical race theory rejects a purely historical approach for studying race for a contextual/historical one to study interracial communication.
4. Critical race theory recognizes the importance of perspectives that arise from co-cultural standpoints.
5. Critical race theory is interdisciplinary and borrows from Marxism, feminism, critical/cultural studies, and postmodernism.
6. Critical race theory is actively focused on the elimination of the interlocking nature of oppression based on race, gender, class, and sexual orientation.

As this methodology is inherently complex and multifaceted it lends itself to producing a rich understanding of interracial and intercultural communication.

A method focused solely on the interests of Africans is referred to as Afrocentricity. The foremost scholar in this field is Molefi Kete Asante and this functions as an interdisciplinary approach to questions of race relations. Instead of assuming a Eurocentric frame as normative for understanding the world and its people, this perspective embraces “African ways of knowing and interpreting the world” (Orbe and Harris 156). Similarly, there are also Asiacentric frameworks for understanding intercultural communication.

If you decide to take a class on intercultural communication you will learn a great deal about the similarities and differences across cultural groups. Since this chapter is meant to give you an overview or taste of this exciting field of study we will discuss four important concepts for understanding communication practices among cultures.

Think about someone you are very close to—a best friend, romantic partner, or sibling. Have there been times when you began a sentence and the other person knew exactly what you were going to say before you said it? For example, in a situation between two sisters, one sister might exclaim, “Get off!” (which is short for “get off my wavelength”). This phenomenon of being on someone’s wavelength is similar to what Hall describes as high context. In high context communication the meaning is in the people, or more specifically, the relationship between the people as opposed to just the words. When we have to rely on the translation of the words to decipher a person’s meaning then this is said to be low context communication. The American legal system, for example, relies on low context communication.

While some cultures are low or high context, in general terms, there can also be individual or contextual differences within cultures. In the example above between the two sisters, they are using high context communication, however, America is considered a low context culture. Countries such as Germany and Sweden are also low context while Japan and China are high context.

Other variations in communication can be described using Gudykunst and Ting-Toomey’s four communication styles. We find it is helpful to think about these descriptors as a continuum rather than polar opposites because it allows us to imagine more communicative options for speakers. They are not fixed into one style or another but instead, people can make choices about where to be on the continuum according to the context in which they find themselves.

This first continuum has to do with the explicitness of one’s talk, or how much of their thoughts are communicated directly through words and how much is hinted at. Direct speech is very explicit while indirect speech is more obscure. If I say, “Close the window” my meaning is quite clear. However, if I were to ask, “Is anyone else cold in here?” or, “Geez, this room is cold,” I might also be signaling indirectly that I want someone to close the window. As the United States is typically a direct culture, these latter statements might generate comments like, “Why didn’t you just ask someone to shut the window?” or “Shut it yourself.” Why might someone make a choice to use a direct or indirect form of communication? What are some of the advantages or disadvantages of each style? Think about the context for a moment. If you as a student were in a meeting with the President of your university and you were to tell them to “Shut the window,” what do you think would happen? Can you even imagine saying that? An indirect approach in this context may appear more polite, appropriate, and effective.

Remember the fairy tale of Goldilocks and the Three Bears? As Goldilocks tasted their porridge, she exclaimed, “this is too hot, this one is too cold, but this one is just right.” This next continuum of communication styles can be thought of this way as well. The elaborate style uses more words, phrases, or metaphors to express an idea than the other two styles. It may be described as descriptive, poetic or too wordy depending on your view. Commenting on a flower garden an American (Exact/Succinct) speaker may say, “Wow, look at all the color variations. That’s beautiful.” An Egyptian (Elaborate) speaker may go into much more detail about the specific varieties and colors of the blossoms, “This garden invokes so many memories for me. The deep purple irises remind me of my maternal grandmother as those are her favorite flowers. Those pink roses are similar to the ones I sent to my first love.” The succinct style in contrast values simplicity and silence. As many mothers usually tell their children, “If you can’t say anything nice, then don’t say anything at all.” Cultures such as Buddhism and the Amish value this form. The exact style is the one for Goldilocks as it falls between the other two and would be in their words, “just right.” It is not overly descriptive or too vague to be of use.

Remember when we were talking about the French and Spanish languages and the fact that they have a formal and informal “you” depending on the relationship between the speaker and the audience? This example also helps explain the third communication style: the personal and contextual. The contextual style is one where there are structural linguistic devices used to mark the relationship between the speaker and the listener. If this sounds a bit unfamiliar, that is because the English language has no such linguistic distinctions; it is an example of the personal style that enhances the sense of “I.” While the English language does allow us to show respect for our audience such as the choice to eliminate slang or the use of titles such as Sir, Madame, President, Congressperson, or Professor, they do not inherently change the structure of the language.

The final continuum, instrumental/affective, refers to who holds the responsibility for effectively conveying a message: the speaker or the audience? The instrumental style is goal- or sender-orientated, meaning it is the burden of the speaker to make themselves understood. The affective style is more receiver-orientated thus, places more responsibility on the listener. Here, the listener should pay attention to verbal, nonverbal, and relationship clues in an attempt to understand the message. Asian cultures such as China and Japan and many Native American tribes are affective cultures. The United States is more instrumental. Think about sitting in your college classroom listening to your professor lecture. If you do not understand the material where does the responsibility reside? Usually it is given to the professor as in statements such as “My Math Professor isn’t very well organized.” Or “By the end of the Econ. lecture all that was on the board were lines, circles, and a bunch of numbers. I didn’t know what was important and what wasn’t.” These statements suggest that it is up to the professor to communicate the material to the students. As the authors were raised in the American educational system they too were used to this perspective and often look at their teaching methods when students fail to understand the material. A professor was teaching in China and when her students encountered particular difficulty with a certain concept she would often ask the students, “What do you need—more examples? Shall we review again? Are the terms confusing?” Her students, raised in a more affective environment responded, “No, it’s not you. It is our job as your students to try harder. We did not study enough and will read the chapter again so we will understand.” The students accepted the responsibility as listeners to work to understand the speaker.

In addition to the four speaking styles that characterize cultures so do value systems. One of particular importance to intercultural communication is whether the culture has a collectivistic or individualistic orientation. When a person or culture has a collective orientation they place the needs and interests of the group above individual desires or motivations. In contrast, the self or one’s own personal goals motivate those cultures with individualistic orientations. Thus, each person is viewed as responsible for their own success or failure in life. From years of research, Geert Hofstede organized 52 countries in terms of their orientation to individualism. Look Here to see the results.

When looking at Hofstede’s research and that of others on individualism and collectivism, it is important to remember is that no culture is purely one or the other. Again, think of these qualities as points along a continuum rather than fixed positions. Individuals and co-cultures may exhibit differences in individualism/collectivism from the dominant culture and certain contexts may highlight one or the other. Also remember that it can be very difficult to change one’s orientation and interaction with those with different value orientations can prove challenging. In some of your classes, for example, does the Professor require a group project as part of the final grade? How do students respond to such an assignment? In our experience we find that some students enjoy and benefit from the collective and collaborative process and seem to learn better in such an environment. These students have more of a collective orientation. Other students, usually the majority, are resistant to such assignments citing reasons such as “it’s difficult to coordinate schedules with four other people” or “I don’t want my grade resting on someone else’s performance.” These statements reflect an individual orientation.

Thus far, we have shared with you a bit about what intercultural communication is, some important concepts, and how scholars study this phenomenon. Now we want to spend the final part of the chapter looking at a major context for intercultural communication—-the media. There are other contexts as well, such as interpersonal relationships and organizations, but we will leave these to your own investigation or in a class devoted to intercultural communication.

Looking at texts or media artifacts (these are specific television shows, films, books, magazines, musical artists, etc.) is both a fun and important area of study for intercultural communication. Since most people spend much of their free time taking in some form of media, such as going to the movies with friends or turning on the T.V. at the end of a stressful day, it is an arena that has a great deal of influence and impact over its audience. As you also remember, the media is also the location and source for much of the critical cultural research.

Specifically, what critical theorists tend to look at are the artifacts of popular, or pop culture? At the time this book first came out, bands such as Creed and Wilco; the television programs Friends, West Wing, and Sex and the City; and the films Bowling for Columbine and The Two Towers were all pop culture artifacts. Now, popular bands, television shows, and movies are very different. Popular culture is defined as “those systems or artifacts that most people share and that most people know about” (Brummett 21). So, while you may not listen to or watch the examples listed, chances are that you are at least aware of them and have a basic idea of the plot or content. Popular culture is distinct from high culture, which includes events such as the ballet or opera, visiting the Metropolitan Museum of Art or the L’ouvre, or listening to classical music at the symphony. These activities, unlike the artifacts mentioned earlier all require something to have access. Namely money. Attending the ballet or opera takes considerably more money than purchasing songs on iTunes.

The fact that most of us participate to some degree in consuming popular culture is one reason to study it. Another is that it is an area of struggle for representation—-specifically about cultural identity issues. By looking at the numbers and characterizations of ethnic minorities in television and film we can see the dominant culture’s attitudes about them. This is because the dominant culture is the group in control of media outlets and represents groups in particular ways. Representation refers to the portrayal, depiction, or characterization of particular cultural groups. A related term is that of symbolic annihilation which refers to the fact that “women and minorities are underrepresented in media content and that when they are represented they are marginalized, trivialized, or victimized” (Valdiva 243).

The female character, Mary Jane, is walking home from work one dark and rainy night. She has neither an umbrella nor proper rain gear so her white shirt and clothes are drenched and cling to her. (Prior to this scene she has been portrayed as the “girl next door” with little or no sexuality.) Her path home takes her through an alleyway where she is quickly surrounded by a group of men of color. One of the men pulls a knife and there is the threat of rape or other violent attack. She does not attempt to fight back but is frozen with fear. But as is the case with superheroes, Spiderman arrives just in the nick of time to save the damsel in distress. After he saves her, she and Spiderman, who, while hanging upside down from a building, share their first kiss.

So, what is going on in this scene? Can you identify examples of representation or symbolic annihilation? There are issues concerning both gender and race in this scene. First, she is portrayed as weak, unable to take care of herself, and in need of a man to save her. This is characteristic of images of women in film. Second, in terms of race, the “good guys” or “innocent victims” are White and the potential attackers are nonwhite. This too represents a stereotyped portrayal of young men of color as criminals or gang members. Finally, and perhaps the most dangerous message in this scene, is the equation of female sexuality, violence, and romance. As her white shirt clings to her, her breasts are revealed in a sexual manner, next she is almost attacked, and then she is sweetly and romantically kissing Spiderman. If you were nearly raped by a group of strangers would you be feeling romantic? Thus, this short scene illustrates how images (we did not even discuss the dialogue) work to unfairly and inaccurately portray groups of people.

By looking to the media scholars can discover what images of various cultural groups are prevalent in a society and the stories that are told about various cultures. As active citizens we can make choices about what media images we decide to consume, accept, or reject. As knowledgeable communicators we can critique the images we see rather than accept constructed and artificial media images as normative or “just the way things are.” For as you learned in the first section of the book, language, symbols, and images are not neutral, but are subjective interpretations of a person’s or group of people’s interpretation of reality.