Autoethnographic self-reflection is a strategy for teachers to examine their pedagogies and academic workspaces at large. In the process of moving from teaching composition at an institution in the Midwest to one in Southeast Queens, this author describes significant shifts in how she perceived herself as a Brown queer pedagogue. In order to analyze these shifts in ways that advance her pedagogical praxis, the author evaluates the research tools available to her and offers a hybrid method for reflection, which she calls "vulnerable automythnography." Applying this reflective practice to a specific classroom occurrence, the author considers some ways in which vulnerable automythnography offers underrepresented teachers and students an opportunity to examine the aggressions Black, Brown, and queer bodies face in academic settings. She posits this method of reflection as a tool for savvy resistance and intervention.
The authors of this article, two educators and immigrants situated in the United States, consider the exigencies of listening to Hamilton: An American Musical. Shaped as dialogue, this article follows a previous piece where the authors processed their experience seeing Hamilton performed live. The current conversation shifts to the act of listening; it examines the ways in which the soundtrack embeds the audience into Lin-Manuel Miranda’s narrative, reinscribing the racialized immigrant body onto both Alexander Hamilton’s story, and Hamilton, the musical. Additionally, this article asks how the fictional Hamilton’s message to rise up and take a shot grants audience members a sense of agency and compels them to become present/future protagonists of a political story that seeks to write them off.
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