Suchergebnisse

In the face of our current political and economic environment, particularly in the context of education, community, and arts, dark clouds on our horizon have fast become storms, storms raining down on us in the South Pacific with a force and subsequent devastation that is soul destroying. Some days I feel we might be in the eye of the storm and other days a glimmer of light sparkles off the rain from the aspirational agendas of UNESCO. But most days, it is dark clouds and storms. Thundering requests for more evidence, gales of economic cuts poorly disguised as enhancement projects, and rain that no arts educator can withstand alone. Where is the sheltering umbrella for an arts academic in the university? This article is a critical autoethnography of hope embodied, a practice of withdrawing to the shelter in my own skin to survive this storm. Or at least, this article is an attempt to find hope.1

In this article, I demonstrate an approach to fusing autoethnographic writing and solo dance performance, advocating for a place for the female performer to stand as creative practitioner and researcher. While contemporary ethnographers and autoethnographers have actively engaged with issues of methodology and representational forms, and have gained some recognition within qualitative research communities, artists engaged in contemporary performance research still struggle for acknowledgement of the methodological rigor and representational innovation in their work. As in other art forms, dance artists have distinct bodies of knowledge, unique methods specific to dance, and diverse embodied and representational options for sharing knowledge. Referring to creative processes utilized in developing a particular solo dance performance, I weave together descriptions of movement activities undertaken to enhance awareness, literature on human developmental movement and on performance ethnography and excerpts of creative writing. To represent my dancing in this article, I include images from the solo performance. In this weaving I offer a partial representation of embodied ways of knowing and make a call to qualitative researchers to reconnect with their own beginnings – to return home.

In this paper, we offer a co-constructed narrative of experiential learning in the context of a community dance trip undertaken by tertiary students. We describe the unfolding experiences of a weekend field trip and reflect on community dance practices and values with a view towards articulating a shared vision for community dance. A framework for community dance (Kuppers, 2006; Peppiatt, 1996) provides a context for the students' learning and for situating our understandings of the interrelationships between art, education, politics, society and environment. Literature on community dance practice and from sociology, experiential learning, and environmental and cultural education provides direction as we interpret our experiences. While this paper is presented as a co- constructed narrative based on our observations during the field trip, we also include comments made by students, along with reflective interludes as we discuss the field trip in relation to dance education.

In this article, we draw upon the work of leading new materialist Karen Barad to explore the possibilities for knowing women's yoga bodies differently. Engaging insights gathered from an embodied ethnography on contemporary Yoga in dialogue with Barad's concept of entanglement, we contemplate the complexity of a lived experience in a Yoga body. Engaging the voices and movement experiences of 19 committed women yoga practitioners, we explain 'Yogic union' as states of absorption facilitating an awareness of an existence that is complex, interconnected and involving both human and non-human materiality. Specifically, we work within and between the embodied experiences of the researcher and her participants, feminist new materialist theory, and creative writing to present Yoga bodies as phenomena that are always entangled.

Immigrants, migrants, displaced and diasporic persons: all have been constrained or enabled by borders of some sort.This bookexplores international cases of how and why such boundaries come to be, how they affect individuals and nation-states, and what can be done to the solve the inequities they cause.

ABSTRACT: Reflecting from the perspectives of a plant scientist, an Indigenous Māori scholar, a Māori tōhunga (spiritual leader), and an arts researcher, we engage with the concept of the "plantationocene" (Mitman 5). Our focus is to reclaim and communicate our different cultural narratives of people and trees, particularly focusing on Pinus radiata D. Don , introduced for commercial forestry in Aotearoa New Zealand. Like many large trees in the era of the plantationocene, pine plays a role in local and global carbon and water cycles, as well as in multiple and diverse cultural narratives. Drawing on Karen Barad's concept of entanglement, we seek to reveal our people-pine entanglements. In this paper, we utilize the methodologies of interviewing, observation, and the tools of narrative inquiry, as well as quantitative scientific techniques, to write back and forwards between personal experiences and the understandings of our wider social-cultural context in Aotearoa New Zealand. This writing back and forth mirrors the movement back and forth between our local experience at home in the Global South and the global theorizing of the plantationocene. We identify the complexity of people-tree entanglements, problematizing a simplistic application of the plantationocene in the context of Aotearoa New Zealand.