"In the newest video from The Twerking Academic, I explore how the summer of 2020 slammed me back into an awareness of my own double consciousness as a Black American."
"I danced each morning with Pina Bausch. I became her pupil lifting my leg up in the air like a flamingo except feeling more awake than I’ve ever been."
This is a song for the Passover prophet as a critique on his inability during the Covid-19 pandemic to appear and provide solace and safety.
The poem driving this experimental film about television considers the insomniacs who wake at the same time each night in rhythm.
“A Seat at the Table” is the autoethnographic manifestation of my vulnerability, anger, and anguish, of my black feminist grit."
"It is my hope that these words will serve as the beginning of an ongoing dialogue about what it means to live autoethnography."
"While living in Ecuador, I wrote “Home” which essentially is an homage to the “third-culture kid” phenomenon, when your parents are from another country than the one you grew up in."
"It is in finding these solutions, the tape and the glue that holds us all together, that we find the beauty of who we are as people."
”I share this artistic piece as an invitation to problematise and think further about not only the Autoethnographic “I/We” in what I/we can know about ourselves and our bodies but also to make space for the incoherence that becomes a part of “being” and “knowing” in explorations of fragmentation and loss.”
In today's new podcast & video Marlen Harrison talks with current marketing interns about the role of culture in using Google Ads.
How do creatives find joy in artistic performance as a form of black feminist autoethnography? Podcast & video.
Shanita Mitchell and Marlen Harrison·
All ContentAutoethnographic Art & MultimediaMorePodcastsReflections on MethodVolume 3, Issue 2 (2023)
··18 min readToday we're talking with the award-winning author, researcher, and performer, Shanita Mitchell about performance and autoethnography.
