Performing as a moral act:¹Ethical dimensions of the ethnography of performance

Contesting Neoliberalism Through Critical Pedagogy, Intersectional Reflexivity, and Personal Narrative: Queer Tales of Academia

“…Further, we engage in self-reflexivity, as a tool through which those of us marked as Other can begin to intervene in our own complicity of the perpetuation of the status quo by unpacking the politics inherent in our lived experience-in our narratives. Our self-reflexivity also opens up a space for dialogue with one another as we engage in a form of Conquergood's (1985) dialogic performance that calls us to not only hear the Other's perspective, but also be accountable to it. Martinez (2003) challenges scholars to exercise self-reflexivity because our daily lives affect how we approach our research, teaching, and service whether we are conscious of it or not.…”

“…Inspired by Conquergood (1985), who calls scholars to engage in intimate conversation rather than distanced observation, we offer our embodied experiences as a way to use the personal to reflect upon the cultural, social and political. Our narratives often recount being out of place, moments of incongruence, or our marked Otherness.…”

Journey Into Social Activism : Qualitative Approaches

“…For the purposes of this book, socialization largely entails passing cultural capital to new members, so that they may attain a level of prestige or respect among other members of the organization (e.g., Atkinson 2007;Winsor 2003). Developed by the French sociologist Pierre Bourdieu (1984;1991), cultural capital is a reference to knowledge or competency necessary for a person to properly interact and engage with other people in a particular social space; this knowledge is also needed to fully understand what is going on within that space. Th is competency proves to be integral to the establishment of an individual's placement within an organization or social group, as cultural capital can be converted into social capital or prestige.…”

Theatre as safe space? Performing intergenerational narratives with men of Irish descent

“…Around this time Denzin (2003, p. 4) argued for a turn to performance, feeling that the ethnographer could move 'from a view of performance as imitation, or dramaturgical staging (Goffman, 1959), to an emphasis on performance as liminality and construction (Turner, 1986), then to a view of performance as struggle, as intervention, as breaking and remaking, as kinesis, as a sociopolitical act (Conquergood, 1998, p. 32) '. In citing Conquergood (1985) further he states 'these dialogic works create spaces for give-and-take, doing more than turning the other into the object of a voyeuristic, fetishistic, custodial, or paternalistic gaze' (Denzin, 2003, p. x). It is from this conceptualisation that my project bridges the biographical and the creative.…”