Introduction

Boylorn, Robin M.; Orbe, Mark P.

doi:10.4324/9780429330544-101

Cited by 15 publications

(20 citation statements)

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“…It is a contemporary qualitative research method within the discipline of ethnography (Grant et al, 2013). It is difficult to precisely define autoethnography due to its myriad forms, approaches and creative representations (Boylorn & Orbe, 2014). Autoethnographic research is often evocative, creative, complex and non-reductionist.…”

Section: P Per Erson Meets Music Son Meets Music: the Music : The Mus...mentioning

confidence: 99%

An Autoethnographic Journey in Developing Post-Ableist Music Therapy

Shaw

2022

Voices

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This paper describes my journey in developing Post-Ableist Music Therapy and offers vignettes of its use in practice. In the style of an autoethnography, it recounts the way I began actively to address the ableism that was uncovered during the analysis process of my PhD research: ‘Developing Post-Ableist Music Therapy: An autoethnography exploring the counterpoint of a therapist experiencing illness/disability’(Shaw, 2019). I set about developing an ethic for practice that would address ableism by using the Foucauldian tool of creating the self as a work of art. I engaged in a creative process as a way to defamiliarise and reconceptualise practice. Post-Ableist Music Therapy was developed and extended the relational ethic beyond what was present in the practice studied, by drawing on aspects of posthumanism (valuing interdependence; Braidotti, 2013), agonistic pluralism (Chambers, 2001; Cloyes, 2002; Mouffe, 2016), and increasing the incorporation of disability studies. Posthumanism was used as a foundation for PAMT (due to the ableist tendencies of humanism), which differs to current music therapy orientations. Therefore, PAMT is offered as an alternative lens in the critical orientations’ apparatus: a social justice practice that is not based on empowerment and humanism, but instead on agonism and posthumanism.

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Section: P Per Erson Meets Music Son Meets Music: the Music : The Mus...mentioning

confidence: 99%

An Autoethnographic Journey in Developing Post-Ableist Music Therapy

Shaw

2022

Voices

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“…While I use the term "women of color," I write this autoethnography from my particular raced, classed, gendered, sexed positionality, identifying the distinctions between how and why I view the world through my lens and what makes it similar to others, different from others, or both (Boylorn & Orbe, 2014). I draw on critical autoethnography to engage the complex ways in which my identity could be understood through explorations of intersectionality; "the cultural synergy that is created through interactions" of race, ethnicity, gender, motherhood, and more (Boylorn & Orbe, 2014, p. 16).…”

Section: The Autoethnographic Processmentioning

confidence: 99%

Surviving British Academia in the time of COVID‐19: A critical autoethnography of a woman of color

Elhinnawy

2022

New Horiz Adult Ed & HR Dev

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This critical autoethnography is an account of my experiences as a woman of color (WoC) academic at a predominantly White institution in the times of COVID-19 and the consequential turn to online teaching and learning. It reflects on how the pandemic has exacerbated my experiences of discrimination, marginalization, isolation, and the struggles to find a balance between my personal and professional identities. Guided by intersectionality, the article explores the ways in which multiple forms of inequality are perpetuated within academia through my own lived experiences. It also explores the ways in which I, as a WoC and an early career academic (ECA), learned to navigate the intersections of gender, race, ethnicity, and motherhood amid the pandemic. In writing this article, my hope is to adjoin the voices of WoC in British Academia calling for an urgently needed open dialog with those in positions of power. K E Y W O R D Sacademia, COVID-19 pandemic, critical autoethnography, ethnicity, gender, intersectionality, motherhood, race, women of color PROLOGUE I wrote and rewrote this article while sitting at my dining table in my 50 m 2 (538 sq. ft.) flat, where I spent most of the COVID-19 lockdowns. In writing, I felt compelled to reflect on my feelings of apprehension, anger, frustration, and exhaustion. In only a few months of my appointment as a permanent lecturer in a British higher education institution, the "system faced a sudden transition to remote teaching and learning" (Malisch et al., 2020, p. 15738) because of the COVID-19 pandemic. The story I tell here is about my experiences during the pandemic. But for the reader to understand these experiences and their implications, I must first tell the story of my experiences before the pandemic; experiences that mirror many who preceded me, and certainly many who will follow. Despite feeling fortunate to be one of the few PhD graduates who find a career in British Academia, I am stumped by the inequalities I must endure. I was the first woman of color (WoC) appointed, and the least paid among all newly hired-both male and female in 2019. This is in addition to experiencing microaggressions, marginalization, dismissal, and other unpleasant situations. I share these experiences with the intent of encouraging academics from underrepresented populations to persevere.

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“…Put differently, in undertaking critical autoethnography in line with CRT/AsianCrit, notions of knowing, being, and acting are less about generating stable, cogent, finished, and easily identifiable knowledges , but rather, focus on engaging with the world as shifting, partial, unfinished, underpinned by feeling, and imagination (Pollock, 2006). The critical (race theory) autoethnography thus has the potential to “challenge assumptions with ‘truths’ that are situated within assumptions of difference or similarity” (Boylorn & Orbe, 2014, p. 237), or in CRT/AsianCrit terms, enact resistance through exposing hidden experiences of oppression and racism in daily events (Taylor et al, 2009); all the while revealing “meaning without committing the error of defining it” (Arendt, 1983 as cited in Mackinlay, 2019, p. 190) and planning a future, “not quite here, but always in process, always becoming, emerging in difference” (Munoz, 2007, p. 112).…”

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confidence: 99%

AsianCrit and Autoethnography: A Future-Focussed Fugue of Critical Collaborative Inquiry

Teo

2022

Qualitative Inquiry

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Despite the considerable influence of the “Asian Century” on Australian Government policy and the purported centrality of Asia to Australian national identity, the outbreak of the COVID-19 pandemic has simultaneously highlighted and intensified the deleterious impacts of anti-Asian racism. Specifically, Orientalist discourses and a “fear of invasion” that underpin the differential racialized treatment of the Asian diaspora in Australia have manifested in both old and new racisms that have had significant impacts on the mental and physical wellbeing of Asian Australians. In response to this crisis, this autoethnographic paper acknowledges the growing methodological complexity of Critical Race Theory and advances a novel, future-focussed Asian Australian social justice agenda in solidarity with other racialized minorities by interrogating the collaborative potential of Asian Critical Race Theory (AsianCrit) and Autoethnography through an investigation of their respective theoretical and methodological intersections.

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Introduction

Cited by 15 publications

References 0 publications

An Autoethnographic Journey in Developing Post-Ableist Music Therapy

An Autoethnographic Journey in Developing Post-Ableist Music Therapy

Surviving British Academia in the time of COVID‐19: A critical autoethnography of a woman of color

AsianCrit and Autoethnography: A Future-Focussed Fugue of Critical Collaborative Inquiry

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