This autoethnographic account explores the complex relationship between language and identity.
This piece on hair describes how ideas of what is and is not fashionable, as depicted in popular media, can indelibly affect one’s self-perception and identity.
Today we're talking with the award-winning author, researcher, and performer, Shanita Mitchell about performance and autoethnography.
I offer the following five poems to you. I hope that when you read/hear them you see a way into your own stories and ideas of poetic voice.
The process of seeking pregnancy alone (by necessity, not choice) showed me how limited reproductive rights in the U.S. truly are—even before the recent loss of Roe vs. Wade, that policy that had so shaped my generation’s belief in our bodily autonomy.
How do creatives find joy in artistic performance as a form of black feminist autoethnography? Podcast & video.
"My poems for this special issue seek to document a history of my choice, not just personally but humanly, to use autoethnography to weave through the personal and the political."
"This autoethnographic poetry is born of my personal experience, witness, as well as currently chronicled and ancestral lore."
"We began this autoethnographic essay thinking about the love the teachers have for their students."
"Award-winning artist, Suzanne Hughes, talks about autoethnography and painting. Suzanne is responsible for the cover art for our special issue based on climate change."
"I wrote Asha’s story to give voice to all the women in rural Bangladesh who cannot speak out against their abusers or society."
"Barriers melt like grilled cheese at the table when you're dancing for your supper like the old vaudevillians."