We are three scholars from different points of the compass: global north, global south and polar ... more We are three scholars from different points of the compass: global north, global south and polar barely there. As a finale to the Massive-Micro Experiment (Markham and Harris in Qualitative Inquiry, 1–13, 2020), collaborating through cabination (Murray in Neologism of the day: Cabination, 2020a) we made a Braided Work in response to Prompt 21. AAA Ra(n)ting is an amputated concordance to that piece. “Compositionality itself is strange—a stranger,” writes Kathleen (Stewart in Handbook of autoethnography, 2013, p. 659). In this assemblage (Murray in Neologism of the day: Essamblage, 2020b) through the disconcordance of a one-letter alphabet and using affordances of typography and prepositional-thinking (Rendle-Short, in New Writing, pp. 1–13, 2020) we write ourselves across and around limits of culture(s). We do this in reply to Holman Jones and Harris’ call to “explod[e] preconceptions about what it means to write-the-self-in-culture while at the same time holding on to the necessity and indeed political power of acknowledging subjectivity and the limits of culture in contemporary research” (2019, p. 7).
... 31 Michelle Callanan and Sarah Thomas, Volunteer Tourism: Deconstructing Volunteer Activitie... more ... 31 Michelle Callanan and Sarah Thomas, Volunteer Tourism: Deconstructing Volunteer Activities within a Dynamic Environment, in Niche Tourism: Contemporary Issues, Trends, and Cases, ed. Marina Novelli (Amsterdam: Elsevier, 2005), 188; Tomazos, Kostas and Richard ...
ABSTRACT While pain pulls us to retreat into our personal experiences, the theory and practice of... more ABSTRACT While pain pulls us to retreat into our personal experiences, the theory and practice of autoethnography invites us to offer the hyper-personal up as radical social engagement. Applying and adapting physical therapy techniques as movement vocabulary, this autoethnographic performance explores the empathic relationships that converge as individuals encounter the U.S. medical system, documents and describes living with pain, looks at practices of coping through crafting, and tackles difficult conversations around health and happiness. The performer and director build their performative relationship by challenging the interiority of conceptualizing pain and demonstrating the relations between empathy and performance.
While pain pulls us to retreat into our personal experiences, the
theory and practice of autoethn... more While pain pulls us to retreat into our personal experiences, the theory and practice of autoethnography invites us to offer the hyper-personal up as radical social engagement. Applying and adapting physical therapy techniques as movement vocabulary, this autoethnographic performance explores the empathic relationships that converge as individuals encounter the U.S. medical system, documents and describes living with pain, looks at practices of coping through crafting, and tackles difficult conversations around health and happiness. The performer and director build their performative relationship by challenging the interiority of conceptualizing pain and demonstrating the relations between empathy and performance.
Liminalities: A Journal of Performance Studies, 2021
This autoethnographic account traces and troubles the ideas of crafting, care, and craftivism in ... more This autoethnographic account traces and troubles the ideas of crafting, care, and craftivism in the time of COVID-19. I investigate mask making using the backdrop of its materials. Beginning with scenes from Mardi Gras 2020, I parade the reader through the transformation from Mardi Gras mask maker to COVID mask maker and reflecting in/on/through a tumultuous year of racial strife. In this transformation, I evaluate crafting as a way to work through care, connection, and change. With elastic as a commodity, a model for care and community-building, and an essential material of mask making, I focus on the overlaps between relationships and crafting. COVID-19 and its lockdown has stretched how we think about community through the ideas of connection, care, and craftivism.
This essay frames the autoethnographic show, I Got Your Back: A One(ish) Person Show Exploring Pa... more This essay frames the autoethnographic show, I Got Your Back: A One(ish) Person Show Exploring Pain, Empathy, and Performance within scholarly conversations around pain, performance, medicine, and crafting. We operationalize empathy as an action through which the relations between performance and medicine/ care, subjectivity and witnessing, and pain and embodiment are made manifest under the inadequate U.S. healthcare model. Through a descriptive analysis of our work as co-writers, coperformers, friends, and director and performer, we propose what we call crafting empathy as a methodological and aesthetic performance practice with aspirations toward the tradition of coperformative witnessing.
Although tourism is considered leisure, tours can serve other means for the tour-participant. Tou... more Although tourism is considered leisure, tours can serve other means for the tour-participant. Tours can prompt memories of the past, and offer a framework for understanding our pasts. This essay uses touring as a metaphor and a mechanism of exploring our pasts to better understand our presence/present. Through autoethnographic methods, this essay examines tourism as ritual and explores rituals as a resource for making sense of painful pasts. Painful memories can pervade individuals’ minds, altering their perspective and understanding of events, interactions, and relationships. This essay demonstrates how tourism can help people overcoming the memories of sexual assault to find healing.
This original study examines a new phenomenon in New Orleans tourism. Since Hurricane Katrina hit... more This original study examines a new phenomenon in New Orleans tourism. Since Hurricane Katrina hit in late August 2005, droves of individuals and groups have come to New Orleans to help rebuild the city. Through conducting fifty interviews with these individuals from 2008-2009, the author traces the steps of volunteer tourists in post- Hurricane Katrina New Orleans. This study investigates the experiences of volunteer tourists. Additionally, the author immersed herself with volunteer tourism groups to experience volunteering and the groups herself. Through careful inspection of original interviews with volunteer tourists, the author discovers how the volunteer tourists contribute to the city of New Orleans. Particularly, the author looks how stories explicate the experiences of volunteer tourists in New Orleans and how stories serve as souvenirs for the tourists. Additionally, the author shows how volunteer tourists are motivated through their altruism and how religion facilitates volunteer tourists’ altruistic motives. The next chapter discusses volunteer tourists decisions to work on vacation and how they understand their work in New Orleans as contributions to the city. In “Layers of Place: Understanding New Orleans through the Perspectives of Volunteers,” the author uncovers how volunteer tourists form a relationship with the city and its residents. Finally, the author looks at future possibilities for research.
We are three scholars from different points of the compass: global north, global south and polar ... more We are three scholars from different points of the compass: global north, global south and polar barely there. As a finale to the Massive-Micro Experiment (Markham and Harris in Qualitative Inquiry, 1–13, 2020), collaborating through cabination (Murray in Neologism of the day: Cabination, 2020a) we made a Braided Work in response to Prompt 21. AAA Ra(n)ting is an amputated concordance to that piece. “Compositionality itself is strange—a stranger,” writes Kathleen (Stewart in Handbook of autoethnography, 2013, p. 659). In this assemblage (Murray in Neologism of the day: Essamblage, 2020b) through the disconcordance of a one-letter alphabet and using affordances of typography and prepositional-thinking (Rendle-Short, in New Writing, pp. 1–13, 2020) we write ourselves across and around limits of culture(s). We do this in reply to Holman Jones and Harris’ call to “explod[e] preconceptions about what it means to write-the-self-in-culture while at the same time holding on to the necessity and indeed political power of acknowledging subjectivity and the limits of culture in contemporary research” (2019, p. 7).
... 31 Michelle Callanan and Sarah Thomas, Volunteer Tourism: Deconstructing Volunteer Activitie... more ... 31 Michelle Callanan and Sarah Thomas, Volunteer Tourism: Deconstructing Volunteer Activities within a Dynamic Environment, in Niche Tourism: Contemporary Issues, Trends, and Cases, ed. Marina Novelli (Amsterdam: Elsevier, 2005), 188; Tomazos, Kostas and Richard ...
ABSTRACT While pain pulls us to retreat into our personal experiences, the theory and practice of... more ABSTRACT While pain pulls us to retreat into our personal experiences, the theory and practice of autoethnography invites us to offer the hyper-personal up as radical social engagement. Applying and adapting physical therapy techniques as movement vocabulary, this autoethnographic performance explores the empathic relationships that converge as individuals encounter the U.S. medical system, documents and describes living with pain, looks at practices of coping through crafting, and tackles difficult conversations around health and happiness. The performer and director build their performative relationship by challenging the interiority of conceptualizing pain and demonstrating the relations between empathy and performance.
While pain pulls us to retreat into our personal experiences, the
theory and practice of autoethn... more While pain pulls us to retreat into our personal experiences, the theory and practice of autoethnography invites us to offer the hyper-personal up as radical social engagement. Applying and adapting physical therapy techniques as movement vocabulary, this autoethnographic performance explores the empathic relationships that converge as individuals encounter the U.S. medical system, documents and describes living with pain, looks at practices of coping through crafting, and tackles difficult conversations around health and happiness. The performer and director build their performative relationship by challenging the interiority of conceptualizing pain and demonstrating the relations between empathy and performance.
Liminalities: A Journal of Performance Studies, 2021
This autoethnographic account traces and troubles the ideas of crafting, care, and craftivism in ... more This autoethnographic account traces and troubles the ideas of crafting, care, and craftivism in the time of COVID-19. I investigate mask making using the backdrop of its materials. Beginning with scenes from Mardi Gras 2020, I parade the reader through the transformation from Mardi Gras mask maker to COVID mask maker and reflecting in/on/through a tumultuous year of racial strife. In this transformation, I evaluate crafting as a way to work through care, connection, and change. With elastic as a commodity, a model for care and community-building, and an essential material of mask making, I focus on the overlaps between relationships and crafting. COVID-19 and its lockdown has stretched how we think about community through the ideas of connection, care, and craftivism.
This essay frames the autoethnographic show, I Got Your Back: A One(ish) Person Show Exploring Pa... more This essay frames the autoethnographic show, I Got Your Back: A One(ish) Person Show Exploring Pain, Empathy, and Performance within scholarly conversations around pain, performance, medicine, and crafting. We operationalize empathy as an action through which the relations between performance and medicine/ care, subjectivity and witnessing, and pain and embodiment are made manifest under the inadequate U.S. healthcare model. Through a descriptive analysis of our work as co-writers, coperformers, friends, and director and performer, we propose what we call crafting empathy as a methodological and aesthetic performance practice with aspirations toward the tradition of coperformative witnessing.
Although tourism is considered leisure, tours can serve other means for the tour-participant. Tou... more Although tourism is considered leisure, tours can serve other means for the tour-participant. Tours can prompt memories of the past, and offer a framework for understanding our pasts. This essay uses touring as a metaphor and a mechanism of exploring our pasts to better understand our presence/present. Through autoethnographic methods, this essay examines tourism as ritual and explores rituals as a resource for making sense of painful pasts. Painful memories can pervade individuals’ minds, altering their perspective and understanding of events, interactions, and relationships. This essay demonstrates how tourism can help people overcoming the memories of sexual assault to find healing.
This original study examines a new phenomenon in New Orleans tourism. Since Hurricane Katrina hit... more This original study examines a new phenomenon in New Orleans tourism. Since Hurricane Katrina hit in late August 2005, droves of individuals and groups have come to New Orleans to help rebuild the city. Through conducting fifty interviews with these individuals from 2008-2009, the author traces the steps of volunteer tourists in post- Hurricane Katrina New Orleans. This study investigates the experiences of volunteer tourists. Additionally, the author immersed herself with volunteer tourism groups to experience volunteering and the groups herself. Through careful inspection of original interviews with volunteer tourists, the author discovers how the volunteer tourists contribute to the city of New Orleans. Particularly, the author looks how stories explicate the experiences of volunteer tourists in New Orleans and how stories serve as souvenirs for the tourists. Additionally, the author shows how volunteer tourists are motivated through their altruism and how religion facilitates volunteer tourists’ altruistic motives. The next chapter discusses volunteer tourists decisions to work on vacation and how they understand their work in New Orleans as contributions to the city. In “Layers of Place: Understanding New Orleans through the Perspectives of Volunteers,” the author uncovers how volunteer tourists form a relationship with the city and its residents. Finally, the author looks at future possibilities for research.
Uploads
Papers by Jennifer L Erdely
theory and practice of autoethnography invites us to offer the
hyper-personal up as radical social engagement. Applying and
adapting physical therapy techniques as movement vocabulary,
this autoethnographic performance explores the empathic
relationships that converge as individuals encounter the U.S.
medical system, documents and describes living with pain, looks
at practices of coping through crafting, and tackles difficult
conversations around health and happiness. The performer and
director build their performative relationship by challenging the
interiority of conceptualizing pain and demonstrating the
relations between empathy and performance.
Particularly, the author looks how stories explicate the experiences of volunteer tourists in New Orleans and how stories serve as souvenirs for the tourists. Additionally, the author shows how volunteer tourists are motivated through their altruism and how religion facilitates volunteer tourists’ altruistic motives. The next chapter discusses volunteer tourists decisions to work on vacation and how they understand their work in New Orleans as contributions to the city. In “Layers of Place: Understanding New Orleans through the Perspectives of Volunteers,” the author uncovers how volunteer tourists form a relationship with the city and its residents. Finally, the author looks at future possibilities for research.
theory and practice of autoethnography invites us to offer the
hyper-personal up as radical social engagement. Applying and
adapting physical therapy techniques as movement vocabulary,
this autoethnographic performance explores the empathic
relationships that converge as individuals encounter the U.S.
medical system, documents and describes living with pain, looks
at practices of coping through crafting, and tackles difficult
conversations around health and happiness. The performer and
director build their performative relationship by challenging the
interiority of conceptualizing pain and demonstrating the
relations between empathy and performance.
Particularly, the author looks how stories explicate the experiences of volunteer tourists in New Orleans and how stories serve as souvenirs for the tourists. Additionally, the author shows how volunteer tourists are motivated through their altruism and how religion facilitates volunteer tourists’ altruistic motives. The next chapter discusses volunteer tourists decisions to work on vacation and how they understand their work in New Orleans as contributions to the city. In “Layers of Place: Understanding New Orleans through the Perspectives of Volunteers,” the author uncovers how volunteer tourists form a relationship with the city and its residents. Finally, the author looks at future possibilities for research.