Reflexivity in Arts-Based Research Through Performative Autoethnography

Session Type: Symposium

Abstract

Autoethnography evolved in the early 1990s through the works of a handful of innovative individuals—Denzin, Eisner, Ellis, Leggo, Pelias, Richardson, Sparkes and others in sociology, communications, and education—with a realization that researchers could not function as arms-length, ‘objective’ researchers and write about life experiences through measurement and abstract ‘empirical data.’ Writing evocative stories emerged as the focus of autoethnographic method. Rosanna Hertz (1995) proposed that the act of writing and re-writing stories was the foundation of reflexivity. In the present symposium, we clearly differentiate reflexivity from reflection and reflective practice in music studies, teaching, and learning. Performative, evocative autoethnography provides a platform to empower minority and marginalized teachers and students innovative ways of reflexively writing about Arts practices.

Sub Unit

• SIG-Arts and Inquiry in the Visual and Performing Arts in Education

Chair

• Peter J. Gouzouasis, University of British Columbia

Papers

• Jammin’ “Under One Groove”: An Autoethnographic Steelband Love Story - Charissa Granger, University of the West Indies - St. Augustine

• A Piano Mismatch: Passion, Dreams, and a Good Boy - David K. Lines, University of Auckland

• A Cautionary Tale of the Health and Well-Being of College Music Students - Matthew Yanko, University of British Columbia

Discussant

• Christopher Wiley, University of Surrey