Autoethnography and the Other

Spry, Tami

doi:10.4324/9781315545356

Cited by 75 publications

(15 citation statements)

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“…What one encounters here visually is a push-and-pull representation of a person stopped in her tracks, or a person perpetually about to activate. She is both paused and progressing, at once muted and moving, a paperdoll of possibilities, a textualized body where word, body, and all other entangled matter intra-act to open another epistemological dimension (Spry, 2016). Dan Harris and Stacy Holman Jones' essay "Massive and Microscopic: Autoethnographic Affects in the Time of Covid" helps me reflect on these entanglements as they unpack personal/political reckonings:…”

Section: Scissored Prologuementioning

confidence: 99%

Masking Cuts: A Performative Entanglement

Spry

2022

International Review of Qualitative Research

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This essay speaks to the vagaries of performing over zoom in the time of COVID arguing that the various materialities in performance intra-act to form a diffractive performative entanglement. Engaging a diffractive methodology, the cutting of my fascia-mask in performance provides an epistemological opening in ongoing sense making of COVID lived experience, an ontological and ironical reckoning of the three dimensional body flatten into pics, and the coauthorship that perhaps breaths life back into the body on papered stage.

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Section: Scissored Prologuementioning

confidence: 99%

Masking Cuts: A Performative Entanglement

Spry

2022

International Review of Qualitative Research

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“…Bad-Alys is one of the multiplicities of the Alys-we, following Spry’s (2016) autoethnographic-we. This is a moving away from traditional “autoethnographic-I,” which focusses on the self (see Ellis, 2004) by embodying the many different “plotlines” (Cisneros, 2002) or voices of Alys and the spaces in-between.…”

Section: Bad-alysmentioning

confidence: 99%

“…However, for Weiser et al (2018), tenacity is essential, “Educators without the protection of tenure, such as all three authors, must navigate these spaces carefully, choosing when to be silent, and when to risk our jobs” (p. 335). I respond to this by arguing that not everyone has the freedom to say no to the academy, nor do they want to; however by exploring this situation as a “utopian performative of hope” (Spry, 2016), a potentiality to materialize the “what if” of hopeful futurities arises. As Spry argues:…”

Section: Edge-dwellingmentioning

confidence: 99%

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Bad-Alys and the Bad-Folx: Edge-Dwelling, Hope and How to Get Your Voice Heard

Mendus¹

2021

International Review of Qualitative Research

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I attended a symposium on “Bad Girls” at the International Congress of Qualitative Inquiry (ICQI) 2018, looking for inspiration on how to make sense of myself and academia. When I asked, “How can I be a Bad Girl now?” I was told to go and get a job and get published. This autoethnographic piece shares stories of Bad-Alys, an Early Career Researcher trying to get published and finding her place as an academic. This paper was written to inspire the potentiality of change by exploring the concept of multiple selves from Etherington and Speedy, moving away from a binary to position Bad-Folx alongside Barad’s concept of entanglement; as activists and edge-dwellers within qualitative research. This is a paper of hope, offering ways to move-with the current-accepted paradigm of the academy by taking control of your doings as Ahmed would argue, through vignettes of collaborative inquiry, re-envisioning the use of conference spaces and self-publishing.

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“…I noticed that my personal experience as a classical soprano could be seen as knowledge that I carried, that perhaps allowed me to have a particular awareness when encountering my research, a performance sensitive way of knowing (Conquergood, 1998). However, experience means little until it is interpreted, until we interpret the body as evidence (Spry, 2016). Autoethnography can enable such a critical examination, but Facing the soprano is not exclusively facing the self.…”

Section: Diving Into Feminist Performative Autoethnographymentioning

confidence: 99%

Can We Buy Virtue? Implications from State University Funding On Musical Instrument Performance Teacher Mandate

Rolfhamre¹

2021

Higher Education as Context for Music Pedagogy Research

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Recent world developments have put a strain on the humanities in general, and higher education music performance study degree-programmes in particular. In an educational system currently promoting consumer-product relationships where the music performance teacher is very much accountable for the students’ development into professional musicians and, recently, also sustainable world citizens, we must give more attention to what, whom and why we educate? This chapter is an armchair analytical philosophical continuation of a paper published elsewhere (Rolfhamre, 2020). Taking the lead from Julia Annas’ (2011) virtue-as-skill, I will, here, elaborate on what implications the Norwegian state higher education funding system may have on the higher education music performance teacher’s perceived mandate from the perspectives of music pedagogy, rhetoric and virtue ethics. First, I pursue three different usages of the verb “to buy” to exemplify why I find the chapter’s title to be relevant and valid. This sets the premises for the following turn to rhetoric to highlight the starting point’s persuasive functions and incentives. Subsequently, I briefly relate the argument to Butlerian performativity to emphasise its relation to normativity, inclusion-exclusion and the theoretical possibility of “breaking free”. From this position, I draw on Aristotelian phronesis, mainly through the position held by Hansen (2007) to sketch up an ecology in which I ask how this all affects the teacher’s mandate?

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Autoethnography and the Other

Cited by 75 publications

References 0 publications

Masking Cuts: A Performative Entanglement

Masking Cuts: A Performative Entanglement

Bad-Alys and the Bad-Folx: Edge-Dwelling, Hope and How to Get Your Voice Heard

Can We Buy Virtue? Implications from State University Funding On Musical Instrument Performance Teacher Mandate

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