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Writing about Crisis:
- 1. Writing about Crisis: Creating Turning Points as an Educator of Native American Students Shepard Symposium on Social Justice 2011 Mary D. Wehunt
- 2. This study demonstrates how auto-ethnography facilitates perceptual shifts that open creative pathways to fully understanding Native American learning styles. This presentation is an auto-ethnographic performance of one such turning point that took place while conducting research of Native American college students on the Wind River Reservation. Witness* Embodied Listening* Sensual Tune-up*Relive Events* Internal Dialog* Critical Pedagogy*Mental Clarity by Willingness to be Confused andChallenged to Resolve Feelings of Incongruity*
- 3. What do we mean by Crisis? Defined as Juncture = a particular or critical moment in the development of events; crisisWebster’s New World Dictionary
- 4. Narratives are shaped by history and institutional forces Hegemonic structures become naturalized and unresponsive Makes the invisible visible Selfhood feels under attack Being in the present Becoming Mismatches in Ideology
- 5. Ethnography is writing about people andrefers to methods of observation and data collection that maps the contexts of culture.
- 6. If ethnography is fundamentally a theory of contexts then what is auto-ethnography? And does it have a legitimate role in social action? Auto ethnography maps personal contexts through storytelling that is partial and perspectival.
- 7. Follow IRB Rules Be Reflexive “Autoethnography is . . . research, writing and method that connect the autobiographical and personal to the cultural and social. This form usually features concrete action, emotion, embodiment, self-consciousness, and introspection.”(Ellis 2004, xix)
- 8. “Autoethnography is . . . a self narrative that critiques the situated-nessof self and others in social context.” (Spry 2001, p. 710)
- 9. “Auto-ethnographic texts . . .democratize the representational sphereof culture by locating the particular experiences of individuals in tension with dominant expressions of discursive power.” (Neumann 1996, 189) < A Critical Pedagogy > “Auto-ethnography is bothdial and instrument.”(Denzin & Giardino, 240)
- 10. By exploring our inner selves through words and stories, we come to understand the "real" us that lives inside the body. Thick description goes beyond what is visible to understand the things that people do: notice gestures, tone of voice, inconsistencies in arguments.
- 11. A Balancing ActMake Connections, Gain Clarityand Change
- 12. “Indigenous Peoples: A Decade for Action and Dignity” Poster of the Second International Decade of The World's Indigenous People 2010-2015
- 15. References (1) Denzin, N.K. (2007). The politics and ethics of performance pedagogy. In N.K. Denzin & M.D. Giardina (Eds.), Contesting empire, globalizing dissent: Cultural studies after 9/11. Boulder, CO: Paradigm Publishers. Denzin, N.K. (2006). Analytic autoethnography, or déjà vu all over again. Journal of Contemporary Ethnography. 35(4) 419-428. 10.1177/0891241606286985 Ellis, C. (2004). The ethnographic i: A methodological novel about teaching and doing autoethnography. Walnut Creek, CA: AltaMira. Gilliland, H. (1999). Growth through Native American learning styles. Teaching the Native American (4th ed.). IO: Kendall/Hunt Publishing Co.
- 16. References (2) Goodall, Jr., H.L. (2008). Writing qualitative inquiry:Self, stories, and academic life. Walnut Creek, CA: Left Coast Press Inc. Google.com/images Jones, S. H. (2005). Autoethnography: Making the personal political. The Sage Handbook of Qualitative Research (3rded). Thousand Oaks, CA: Sage Publications. Neumann, M. (1996). Collecting ourselves at the end of the century. In C. Ellis & A. Bochner(Eds). Composing ethnography: Alternative forms of qualitative writing, 172-98. Walnut Creek, CA: AltaMiraPress. Spry, T. (2001). Performing autoethnography: An embodied methodological praxis. Qualitative Inquiry 7,706-32.
Notes de l'éditeur
- A crisis is a turning point in a moment when conflict must be dealt with even if we cannot resolve it. It is a tension that opens the space of in determination, threatens to destabilize social structures, and enables a creative uncertainty (Reinelt, 1998, page 284). Page 766.
- 4 Auto-ethnography is a tool for social actionA crisis is a turning point in a moment when conflict must be dealt with even if we cannot resolve it. It is a tension that opens the space of in determining see, threatens to destabilize social structures, and enables a creative uncertainty (Reinelt, 1998, page 284). Page 766. Page 767. How emotions are important to understanding at theorizing the relationship among self, power, and culture. Auto ethnographic texts focus on creating a palpable emotional experience as it connects to, and separate from, other ways of knowing, being, and acting in/on the world. Page 770. Answering these questions and others, I thought about how performance ethnography is an inventory of both self and other, an act of interpretation and performance of that assessment, and a journey through imitation in creation movement. Page 770. Jones (2002) wrote that performance ethnography is "most simply, how culture is done in the body" (page 7).
- Ethnography is writing about people and refers to methods of observation and data collection that maps the contexts of culture and answers questions such as what, why and how rather than when and how many. (Denzin) Ethnography is not an innocent practice. Our research practices are performative, pedagogical, and political. Through our writing and art talk, we enacted the world's we study. These performances are messy and pedagogical. We are instructing our readers about this world and how we see it. Teaching Pedagogy is still political; by enacting a way of seeing and being it challenges, contests, or endorses the official, hegemonic ways of seeing and representing the other.
- We tell stories to understand ourselves a bit betterStorytelling is powerful way to create one's identity and through storytelling identity emergesStories are always "partial and perspectival" but they convey a great deal about the person doing the narratingStorytelling is powerful way to create one's identity and through storytelling identity emerges(Denzin) Auto ethnography re-creates for readers thoughts feelings methods and ideas being forged, search for, and found, as a researcher him/herself tries to answer a particular question, or to analyze a specific set of relations, or to merely make sense of random observations." In telling the story about Native Americans, we are simultaneously telling a story about ourselves in which we examine individuals, classes, or groups in relation to their experience of over arching structures, auto ethnography, when the match was self reflexivity, systematically problem the terrorizes the position of the researcher in relation to his or her subject. Reflexivity (third order signed) relocates accountability in terms of the subjects experiences and perspectives
- How a person chooses to tell a story -- what is selected or omitted, the inflection on verbs, the tone of one's voice, the repetition of certain words -- creates an emerging self-portrait an entertaining, gripping, depressing, or harrowing presentation of self and the world one inhabits.Goodall, Page 148 Perry's publication of his views invited a response from Lisa Tillman. She writes: "as the graphic dialogue must proceed from a reflexive stance of mutuality, empathy, and understanding (which perhaps I did not sufficiently communicate in this polemic). At times the dialogue will include the expression of hurt, betrayal, and anger about the cross are dominant and marginalized identities. Our responsibility as auto ethnographers and performers includes making space for the range of responses our expression evokes – and to respond with a heightened and better informed commitment to equality and justice."We cannot narrate our lives without coloring the events of our life choices with moral overtones (see Charles Taylor)Page 148 Perry's publication of his views invited a response from Lisa Tillman. She writes: "as the graphic dialogue must proceed from a reflexive stance of mutuality, empathy, and understanding (which perhaps I did not sufficiently communicate in this polemic). At times the dialogue will include the expression of hurt, betrayal, and anger about the cross are dominant and marginalized identities. Our responsibility as auto ethnographers and performers includes making space for the range of responses our expression evokes – and to respond with a heightened and better informed commitment to equality and justice."
- Read Piece 1Critical pedagogy, folded into and through performance (auto) ethnography attempts to disrupt and deconstruct these cultural and methodological practices performatively in the name of a "more just, democratic, and ego libertarian society" (Kincheloe and McLaren 2000, 285). I want a new qualitative research tradition focused on the themes that come from this commitment. It is time to close the door on the Chicago school and all its variations. (Denson, page 42)The radical performance (auto) ethnographer functions as a cultural critic, a version of the modern antihero (reflecting an extreme external situation through his (her) own extremity. His (her)… (Auto ethnography) becomes diagnosis, not just of him self, but of a phase of history" (Spender 1984, ix). As a reflexive landlord/flaneuse or bricoleur or the critical auto ethnographic or is conduct is justified because it is no longer just one individual's case history or life story. Within the context of history the auto ethnography becomes the "dial of the instrument that records the effects of a particular stage of civilization upon a civilized individual" (Spender 1984, Ix). The auto ethnography is both dial an instrument. The auto ethnographer functions as a universal singular, single instance of more universal social experiences. This subject is "summed up in for this reason universalized by his (her) a book, he (she) resumes it by reproducing him or herself in it as a singularity" (Sartre 1981, ix) the auto ethnographer inscribes experiences of a historical moment, universalizing these experiences in their singular effects on a particular life. Using a critical imagination, the auto ethnographer is theoretically informed impose structural and postmodern ways. There is a commitment to connect critical ethnography to issues surrounding cultural policy, cultural politics, and procedural policy work (Willis and Trenton and 2000, 10 – 11) (Denzin, page 240 – 241)
- Piece 2"teachers who have huge cultural differences as strengths have been able to create the type of atmosphere which motivates learning." – – Karen Swisher (page 59) Every student has his or her own unique learning style, the way in which he or she learns most easily. Some are auditory learners, others visual, some fine kinesthetic experience most effective. It is our responsibility to learn as much as possible about the learning styles of each student in our classrooms and to adapt our instruction to those learning styles. Most researchers agree that a greater number of Indians then non-Indians have strengths in the visual modality and prefer the global, creative, reflective, and concrete styles of learning. What is most important is that teachers be alert to the individual learning styles of the student and use very means of instruction so that students with all learning styles can be successful.Jones, Page 764. Auto ethnography is . . . A balancing act. Auto ethnography and writing about auto ethnography, that is. Auto ethnography works to hold self and culture together, albeit not in equilibrium or stasis. Auto ethnography writes a world in a state of flux and movement – between story in context, writer and reader, crisis and denouement. It creates charged moments of clarity, connection, and change. Jones, Page 765 auto ethnography is . . . "Research, writing, and method that connect the autobiographical and personal to the cultural and social. This form usually features concrete action, emotion, embodiment, self consciousness, and introspection . . . [And] claims the conventions of literary writing." (Ellis, 2004, page X I X) "Texts [that] democratize the representational sphere of culture by locating the particular experiences of individuals in a tension with dominant expressions of discursive power." (Neuman, 1996, page 189)
- Piece 3
- Most researchers agree that a greater number of Indians then non-Indians have strengths in the visual modality and prefer the global, creative, reflective, and concrete styles of learning. What is most important is that teachers be alert to the individual learning styles of the student and use very means of instruction so that students with all learning styles can be successful.Verbal, linguistic: related to words and language; dominates most of our classrooms. Logical, mathematical: related to recognizing patterns, working with abstract symbols and patterns, seeing relationships, "scientific thinking." Visual, spatial: careful observation, visual memory, create mental images of object or activity. Developed by creative art, daydreaming, visualizing historic events, designing three-dimensional constructions, conveying information through posters. Body, kinesthetic: understanding and expressing ideas, through bodily movement. Typing without looking at the keyboard, swimming, folk dancing, and learning new words or letters by tracing them all involve kinesthetic learning. Musical, rhythmic: sensitivity to tonal patterns, beats, rhythms of ways in wins, expressing joy through song and dance, using music to ease tensions. Interpersonal: person-to-person relationships, communication, and understanding. Practice through cooperative learning, creating situations in which reliance on other people is required for success, focused listening, guessing what someone else is thinking, using nonverbal communication. Intrapersonal, self reflection: intense awareness of thoughts, feelings, physical movements, interstate of being, spiritual realities, recognizing thinking strategies and patterns, problem solving. (Gilleland, Page 61 – 62)