Abstract
This article is a tale of two researchers, teachers, and artists grappling and playing with duoethnography. By expanding the methodology, we aim to bridge duoethnography into pedagogy. Grappling with the methodological to pedagogical bridge, we found that intertwined performative aspects of doing a duoethnography could challenge our knowledge production and roles as researchers and the current and more dominant practices that we operate within. We engage with a performative paradigm (Bolt, 2016) and lean on relevant theories from new materialist feminist thinkers such as Karen Barad (2003, 2007), Lenz Taguchi (2009, 2012) and Tami Spry (2011, 2016), while dialoguing with Joe Norris and Richard D. Sawyer’s (2012) tenets of duoethnography. Our embodiment of these tenets, intertwined with our theoretical positioning, allows our investigation to expand into a performative duoethnography. As an end, we propose duoethnography as a critical performative pedagogy (Pineau, 2002) and offer this article as a playful impulse connecting methodological considerations with pedagogy.
Highlights
A tale of grapplingThis article became a tale
This article explores how a performative duoethnography can be understood as an expanded way of methodological thinking - not just a framework or a tool, but how it can expand into pedagogy and can be lifted into pedagogical practice
We purposefully add challenges and critiques to our performative duoethnography as a precursor to the conclusion we offer to this article
Summary
This article explores how a performative duoethnography can be understood as an expanded way of methodological thinking - not just a framework or a tool, but how it can expand into pedagogy and can be lifted into pedagogical practice. In writing this article, challenging ourselves by stepping into the space of duoethnography - a collaborative methodology where two or more researchers engage, share, and draw from their life experiences to provide understandings of a social phenomenon (Norris & Sawyer, 2012). 15), where the voice of both researchers should stay strong and not rest on one of the researcher’s story, Runa experienced a stop moment, and wrote in the article draft to Rose: I am almost answering the tenets, just to fulfil them. Maybe it was our being as “performance sensitive ethnographers” (Conquergood, 1991, p. 187), embodied through our artistic lives, that led us to dive into the notion of performativity? But, we dived into performativity, headfirst, so to speak
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