Suchergebnisse

This autopoetic inquiry offers insights into and critiques of public education. The author specifically interrogates the absence of curricula, which focuses on the fullness of Black LGBTQ+ representation. Through the usage of pivotal artists, lyrics, poetry, and reflection, the author centers a Blackqueer analysis to argue for a reparative educational experience for Black LGBTQ+ youth. Mirrored within the essay is the reality that Black and queer individuals must exhume Black and queer histories, ancestors, and community across the curriculum for ourselves. Likewise, educational practitioners and those who profess to love Black and queer youth must create curricula that represent the totality of Black and queer pasts and present.

This essay foregrounds Black and queer youth stories of encountering and surviving violence, as reenacted through Tell It!: A Contemporary Chorale for Black Youth Voices. A performance ethnography, Tell It! draws from narratives on the bullying experienced inside and outside K-12 schooling contexts, and narratives of anti-Black and anti-queer violence. Throughout the essay, I argue for the reframing of anti-Black and anti-queer violence as mutually constitutive, coalescing within and through educative spaces and practices. Reflecting on the staged performance of Tell It!, I demonstrate how and why performances of Black and queer youth narratives enable the valuing of these lives and experiences. Rooted in the lives of Black and queer youth, this essay expands educational theory and practice by exploring how the coupling of queer pedagogy, race, and performance creates possibilities for new and different (queer) futures.

Deeply embedded within the myth of the settlement of the American frontier is a systematically conscious project of era(c)sure. This imperial project necessitates and indeed perpetuates a cultural amnesia, disappearing the lives, stories, and histories of not only native and indigenous people but that of all other racial and ethnically marginalized peoples. Through a series of autoethnographic confessions interspersed with historic/academic texts, nursery rhymes, and minstrel song lyrics But Where Were They offers a personal wrestling with the complex consequences of the era(c)sure of race in nostalgia of Americas western frontier.

This essay uses autopoetic narrative and reflexivity to unpack the possibilities of autoethnographic research and writing rooted in the spirit of collaboration. We reflect on the experience of a workshop centering collaborative autoethnography. Specifically, our reflection attunes to the affective and viscerality generated during and after collective exploration of the stakes within the moment. Overall, the essay explores (re)membering contentious realities of home, navigating the weight to produce under the constraints of systemic oppression , and the challenges of working together and in community.

The organizers of the Autoethnography Special Interest Group for the 12th International Congress of Qualitative Inquiry brought together various autoethnographers to meditate on the theme of "manifesting" autoethnography. Taking up the challenge, the authors use reflexive narrative, poetry, music, and movement to offer one manifestation of autoethnography in the future. We, Hill L. Waters, write into the future, auto\ethnography as a Black, queer, collective, and spiritual praxis and politic. This future into which we are writing is borne of necessity to enhance the life chances and life possibilities of Black queer people.

The Fire This Time (TFTT), a Black writers' collaboration which uses multiple genres of writing as our method is grounded in what Don Cornelius used to call Love, Peace, and Soul. Love, because our love for writing and the complexities and challenges of the Black experience, coupled with a passion for connecting with other Black scholars in ways that have the potential for making a difference in the world, is at the heart of this work. Peace, because through collaborative engagement with our experiences, we are reaching a deeper spiritual understanding of ourselves leading to a greater sense of inner peace, as well as how sharing our critical reflections, poems, and stories will help others make meaning out of the importance of peace in their own lives. Soul, because our souls bear witness to what it means to Black, and alive in a racist, sexist, homophobic society, from lenses informed by our race as well as our different genders, ages, and sexual orientations. This article will share the origin of TFTT, and excerpts we will construct from the larger body of work to give the reader a sense of what happens when Black scholars write to and with each other on a monthly basis.

Performative Intergenerational Dialogues of a Black Quartet promotes the importance of intergenerational Black dialogue as a collaborative spirit-making across race, genders, sexualities, and cultures to bridge time and space. The authors enter this dialogue in a crisis moment: a crisis moment at the confluence of a pandemic, the national political transition of leadership in the United States, the necessary rise of Black, Indigenous, and People of Color activism--in the face of the continued murders of unarmed Black and queer people by police. And as each author mourns the loss of loved ones who have left us through illness, the contiguity of time, or murder, we all hold tight to each other and to memory as an act of keeping them alive in our hearts and actions, remembrance as an act of resistance so that the circle will be unbroken. But they also come together in the spirit of hope, the hope that bleeds the borders between generations of Black teacher-artist-scholars, the hope that we find in each other's joy and laughter, andthe hope that comes when we hear both stories of struggle and strife and stories of celebration and smile that lead to possibilities and potentialities of our collective being and becoming--as a people. So, the authors offer stories of witness, resistance, and gettin' ovah, stories that serve as a road map from Black history and heritage to a Black futurity that is mythic and imagined but that can also be actualized and embodied, now. This book will be of interest to scholars, students, and activists in a wide range of disciplines across the social sciences and performance studies.