The current account recounts the authors’ artistic virtual interactions during the COVID‐19 period of quarantine to discuss how connections between art, writing, humans’ embodied struggles and technologies can enable forms of feminist writing, as a cyborg practice, which have the political potential to meaningfully voice embodied experiences of inter‐sectionality and vulnerability that remain increasingly under‐expressed, in a neoliberal world of pandemic. Presented in a creative prose, whereby theory interweaves with artistic performances, poetry and extracts of the authors’ virtual exchanges, this account reflects how hybrid, non‐conventional, cyborg writing explorations can connect different bodies in an academic text even when these bodies are physically kept apart. By invoking hybridity that counters the masculine conventions of academic writing, this text aspires to produce academic knowledge that writes and speaks of embodied experiences of othering that urgently seek expression under the COVID‐19 pandemic. The current account builds on the burgeoning stream of organizational literature on writing differently and especially feminist forms of writing integrating genre‐blurring prose, poetry and art‐based research.

In the current text, we present archives of our embodied memories from childhood to make sense of how, despite our different backgrounds and life paths, these shape our collective sense‐making processes of who we are and become as well as how we connect and interact with others in the social world. By bringing these together through artistic forms of expression, we discuss the emancipating potential of memory work through art practice to enable a relational sensuous academic language that allows reclaiming an active embodied presence in our feminist journey for social justice. Our account seeks to reinvigorate feminist discussions on memory work also contributing to the burgeoning stream of organizational literature on writing differently.

This paper offers a reflexive ethnographic account to problematize conventional approaches to academic teaching that focus purely on rational, disembodied, and linear production and consumption of knowledge, in neoliberal, metric-driven academic environments. Interweaving diary notes and reflexive dialogical exchanges with images of arts-based teaching, we discuss how we might engage both students and teachers in embodied and relational forms of learning and knowing grounded in experiences of unknowing and unlearning. We discuss the potentials of exposing in the classroom the messy, 'dirty', dreamy, sensuous, embodied, affective and artistic work that informs teaching differently to disrupt conventional Business School pedagogies. Engaging with such creative possibilities might, we suggest, meaningfully transform management education and enable educators to cultivate an epistemic humility that transcends the ego. Therefore, this meshwork of teaching against the grain might also help resist and hopefully reframe contextual constraints and hierarchical dynamics impeding meaningful and relational Business School pedagogies.