#research

A Flying Axe Covered in Glitter and Bubblegum

 

Tayla Bosley

5050583

DIGC330

Digital Artefact:

Autoethnographic Essay:

Autoethnography, as stated by Ellis (2011) is “an autobiographical genre of writing that displays multiple layers of consciousness, connecting the personal to the cultural.”

I think this is the absolute best way to summarise autoethnography, and I think I have achieved this in my project. By relaying through self-reflexivity, the multiple accounts of my personal experience with kawaii metal, then critically analysing those experiences and subsequent epiphanies. I hope to have brought a critical understanding of the genre to those that have read my posts, and listened to my podcasts.

As I stated in my blog post ‘Narrative Truth’, my goal has been to walk that knife’s edge “…between rigorous, theoretical, analytical science, and therapeutic, personal, and social experience-writing.” Therefore connecting my personal experience to the culture of kawaii metal, and enabling those who engage with my work to gain a deeper understanding of kawaii metal.

However, I also agree with Foley (2002) in his criticism of the practise of autoethnography. Foley advocated for a more reflexive epistemological and narrative approach to the research methodology. He believes that by doing this, creating more of a story than a research paper, it would make autoethnographies more engaging and a more common genre of research. Which could contribute to bridging the gap between researchers and ordinary people.

I must agree with Foley, I think that the more engaging, and story-like an autoethnographic account is, the more people will understand and relate to it. This alternative method has a higher chance of achieving the goal of autoethnography; relating the personal to the cultural.

Which is why my autoethnographic podcast is filled with anecdotal stories, creative opinion pieces, and the unending stream of kawaii metal songs under my words. I wanted to give the listener every possible narrative understanding of kawaii metal.

Of course this story-like format that I champion comes with its own limitations. For one, as Mendez states, autoethnography in all its forms require honesty, and a willingness to self-disclose from the researcher.

This is especially important for researchers like me, who desire a more story-like experience, as it can be all too easy to slip from story-like into fairy-tale.

As Anderson (2006) fears, “Autoethnography loses its sociological promise when it devolves into self-absorption.” What I’ve learnt is that this is what makes autoethnography so interesting, and yet so difficult. It is again walking that knife’s edge, between relaying your experience of the culture, and relaying yourself to the reader. While each autoethnographic account is through the researcher’s eyes, the focus should never stray from the culture itself.

There are also ethical considerations that must be addressed when using the autoethnographic research method. Many research topics centre around sensitive issues or beliefs in regards to the researcher themselves or the people around them. Due to this, explicit and early consent, and special consideration must be taken into account by the researcher, so as to not offend or impinge upon the privacy of their research volunteers (Wall, 2008, Mendez 2013).

It is also important to note Ellis’ own point about autoethnography, ‘No researcher is an island.’ We all come with our own experiences, our own cultural view point, our biases, and our own understanding. Thus autoethnographic researchers must disclose each aspects of themselves, least their research becomes tainted, and the reader unaware.

Overall though, the autoethnographic method is like any other research tool; it depends on how you use it, and what you want to achieve with it.

Whether it is a clinical recount of events, or your experience of a culture in its entirety. “What matters is the way in which the story enables the reader to enter the subjective world of the teller -to see the world from her or his point of view, even if this world does not ‘match reality’. Another advantage of writing autoethnographically is that it allows the researcher to write first person accounts which enable his or her voice to be heard, and thus provide him or her with a transition from being an outsider to an insider in the research.” (Hitchcock and Hughes, 1995).

Again, it is this need to bring the outsider inside, which drives the autoethnographic research process. It is making the stranger a friend, and making the alien, home, for both researcher, and reader.

As Ellis said, “On the whole, autoethnographers don’t want you to sit back as spectators; they want readers to feel and care and desire”. And I think this is mostly true of those researchers that use this methodology; their main focus is empathy. When using the autoethnographic method the researcher wants you to feel empathy, as they do while in the research process itself. As it is empathy that incites action (Barkhuizen and Wette 2008)

The entire point, limitations and all, of autoethnography, is to make the reader feel like they are already a part of the culture they are reading about. To make them understand all aspects of the culture through meticulous research, and make them feel like they’ve lived with the culture, through poignant storytelling.

It is this ‘lived in’ feeling that makes autoethnography so powerful for both readers and researchers, and I hope that, in my own reflexive narrative, I have created a story that is filled with the knowledge of kawaii metal, as well as the experience of being a cute girl headbanging to thrash metal music.

References

Songs In Podcast

Aldious: Dominator

BABYMETAL: Doki Doki Morning

BABYMETAL: Gimme chocolate!!

BABYMETAL: Iine!

BABYMETAL: Ijime, Dame, Zettai

BABYMETAL: Karate

BABYMETAL: Megitsune

BABYMETAL: Only the fox god knows audio

Band-Maid: Choose Me

Band-Maid: Real Existence

Band-Maid: Thrill

Bridear: Light in the Dark

Doll$boxx: Loud Twin Stars

Doll$boxx: Take My Chance

Ladybaby: Age Age Money

Ladybaby: Nippon Manju

Websites

Chaisson, J. (2017). This Is A Thing: Kawaii Metal. [online] Geeklyinc.com. Available at: https://geeklyinc.com/this-is-a-thing-kawaii-metal/ [Accessed 26 Oct. 2017].

Crook, L. and Ransom, D. (2014). Babymetal’s fusion of Japanese teen pop and death metal is the greatest thing you’ll see today. [online] The Daily Dot. Available at: https://www.dailydot.com/unclick/babymetal-metal-japanese-pop/ [Accessed 26 Oct. 2017].

Grace, K. (2016). BABYMETAL. [online] Digital Asia. Available at: https://digc330.wordpress.com/2014/08/12/babymetal/ [Accessed 26 Oct. 2017].

Grace, K. (2016). Baby who?. [online] Digital Asia. Available at: https://digc330.wordpress.com/2016/09/14/baby-who/ [Accessed 26 Oct. 2017].

Grace, K. (2014). BABYMETAL- the return. [online] Digital Asia. Available at: https://digc330.wordpress.com/2016/09/22/babymetal-the-return/ [Accessed 26 Oct. 2017].

Articles

Barbier, E. (2017). A beginner’s guide to Kawaii metal – The Concordian. [online] The Concordian. Available at: http://theconcordian.com/2017/03/a-beginners-guide-to-kawaii-metal/ [Accessed 26 Oct. 2017].

Burns, M. (2015). A New Sub-genre of Music Is Growing in Japan. [online] Anitay.kinja.com. Available at: http://anitay.kinja.com/a-new-sub-genre-of-music-is-growing-in-japan-1678920805 [Accessed 26 Oct. 2017].

Nash, R. (2016). BabyMetal: Japan’s heavy metal girl-band sensation. [online] The Sydney Morning Herald. Available at: http://www.smh.com.au/good-weekend/babymetal-japans-heavy-metal-girl-band-sensation-20160526-gp4pl2.html [Accessed 26 Oct. 2017].

Threads/Youtube

BABYMETAL. (2017). BABYMETAL. [online] Available at: http://www.babymetal.com/biography/ [Accessed 26 Oct. 2017].

Kluseba (2017). Kawaii metal thread. [online] Encyclopaedia Metallum: The Metal Archives. Available at: https://www.metal-archives.com/board/viewtopic.php?f=2&t=119301 [Accessed 26 Oct. 2017].

Hoshiya, Y. (2015). Inside the world of “Kawaii metal”. [online] Kawaii-B. Available at: http://kawaiibuk.blogspot.com.au/2015/12/inside-world-of-kawaii-metal.html [Accessed 26 Oct. 2017].

YouTube. (2017). BABYMETALofficial. [online] Available at: https://www.youtube.com/user/BABYMETALofficial [Accessed 26 Oct. 2017].

YouTube. (2017). LADYBABY. [online] Available at: https://www.youtube.com/channel/UCKlfTlx0oY6BiCH7Qvabrhg [Accessed 26 Oct. 2017].

YouTube. (2017). BANDMAID. [online] Available at: https://www.youtube.com/user/BANDMAID [Accessed 26 Oct. 2017].

Kikuchi, D. (2016). Spotify finally launches in Japan, a nation where other music streaming services have struggled | The Japan Times. [online] The Japan Times. Available at: https://www.japantimes.co.jp/news/2016/09/29/business/tech/spotify-launches-japan-nation-streamers-struggled/#.We07G2iCzIU [Accessed 26 Oct. 2017].

Definitions

Oxford Dictionaries | English. (2017). cute | Definition of cute in English by Oxford Dictionaries. [online] Available at: https://en.oxforddictionaries.com/definition/cute [Accessed 26 Oct. 2017].

En.wikipedia.org. (2017). Cuteness. [online] Available at: https://en.wikipedia.org/wiki/Cuteness [Accessed 26 Oct. 2017].

En.wikipedia.org. (2017). Kawaii. [online] Available at: https://en.wikipedia.org/wiki/Kawaii#History

Journal Articles

Anderson, L. (2006). Analytic autoethnography. Journal of Contemporary Ethnography, 35,373-395.

Barkhuizen, G., & Wette, R. (2008). Narrative frames for investigating the experiences of language teachers. System, 36, 372-387.

Ellis, C., Adams, T.E., and Bochner, A.P. (2011) ‘Autoethnography: An Overview’, Forum: Qualitative Social Research, 12:1. Available at: http://www.qualitative-research.net/index.php/fqs/article/view/1589/3095 [Accessed 26 Oct. 2017].

Foley, D. (2002). Critical ethnography: The reflexive turn. International Journal of Qualitative Studies in Education, 15(4), pp.469-490.

Hitchcock, G., & Hughes, D. (1995). Research and the teacher. (2 ed.) London: Routledge.

Méndez, M. (2014). Autoethnography as a research method: Advantages, limitations and criticisms. Colombian Applied Linguistics Journal, 15(2), p.279.

Wall, S. (2008). Easier said than done: Writing an autoethnography. International Journal of Qualitative Methods, 7, 38-53.

 

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Untangling the Strings of I Ching

this is claire

iching全球 is the Cantonese character for ‘global’

I engaged in a legitimate I Ching spiritual reading two weeks ago, in the confines of my bedroom – via app. It didn’t phase me at all. I’m what Mark Prensky would describe as a “digital native“; I circumnavigate the corners of the globe via technology, as effortlessly as I breathe, without conscious consideration.

It’s when I step back, take a deep breathe and consider the implications of my virtual journey, that the epiphanies ignite. The following is an excerpt from my post- an excerpt from my post I Ching for iPhone, featuring two epiphanies which ignited from my experience;

“One voice in my head whispered oh my God it actually worked, over and over again. A second is mindful that this traditional Chinese art has been translated from Mandarin, which has a completely different dialect and alphabet…

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Spirituality in Anime – Musubi, Twilight and Your Name

krisesandchrosses

In the first iteration of my auto-ethnographic research, I began to make sense of the spirituality in the film “Your Name” through my own spiritual journey. After this experience of comprehending this film through my own cultural past, I would have to systematically analyse this personal experience to understand it (Ellis, 2011).

Further reading lead me to find that the spirituality in the film was indeed Shintoism. This provided me with even more questions about the socio-political, religious and cultural features of anime in conveying spirituality.

your_name_movie_poster_0Source.

I found, in my experience, that a few key moments or epiphanies stood out to me, being transformative to my own understanding of Japanese culture and spirituality. I was able to understand this through identifying and analysing the following phenomena below and evaluating their transformative effects through research. (Moore, 2017).

The Shinto Religion and Your Name

Whilst watching the film, I seemed to…

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Analysing Kawaii Metal

Introduction

In this post I will use the autoethnographic methodology to analyse my experience of Kawaii Metal, as related in the week 5 podcast ‘Discovering Kawaii Metal’.

The main methodology used will be personal narrative, which will be accompanied with further research on the topic of Kawaii Metal. Using this research, I will critically analyse my experience, in terms of my own personal context, and how the experience changed myself, or led me to any epiphanies.

Definition of Kawaii Metal

One definition of kawaii metal (cute metal), is a genre which blends elements of heavy metal and J-Pop. This is done by combining the music of heavy metal, such as heavy electric guitar, and a powerful drum beat with J-Pop melodies, and a Japanese idol aesthetic.

A Japanese idol usually refers to the young stars of J-Pop, that are marketed specifically for their cuteness, good public image, and role model ability.

Nothing that relates to grungy, drinking and smoking, tattoos and violence that is often associated with metal, heavy metal, or death metal music, either in Asia or elsewhere.

The ‘cuteness’ of the main singers often lead their lyrics to be less hostile or depressing as those of other heavy metal genres.

Background Research of Kawaii Metal

Babymetal are credited with the invention of the kawaii metal genre. This is something that I was entirely unaware of until this research. Perhaps if I had known that my first engagement with kawaii metal was with the inventors of it, it would have shaped my perception of the experience differently.

Their first album was only released in Feburary 2014, so this is a genre that is still barely getting started, one that only began in my last year of high school even.

But since then the genre has grown to include bands such as Aldious, BiS, Deadlift Lolita, Doll$Boxx and Ladybaby.

Which is especially interesting as I did not listen to any of these artists’ songs. The YouTube mix that I chose was clearly off a bit, but going off what I do know about the genre, I will continue with the belief that what I did listen to was ‘kawaii metal’, especially Band-Maid.

My Cultural Background

My cultural background is about as Australia as you can get. My family goes back 4 or 5 generations of Australians before I can trace back to being most likely, England and other European countries.

I have been overseas only once, and it was only 2 months ago, and I only went to European countries. So I have never been to Asia, or specifically Japan, although I do wish to go.

Before this experience I had only listened to Babymetal’s Karate on Triple J a handful of times. I have never heard any other J-Pop or other Japanese music, although I am familiar with K-Pop.

My taste in music focuses on alternative rock, with a specific focus on 90s- mid 2000s rock, mainly Australian, American, and British.

This means I went into this experience with almost no understanding of the genre, or knowledge of what I would be hearing.

Obviously a lot of people are also unfamiliar with the genre.

Analysis

It is clear from the podcast that I was not expecting the diversity of the genre of kawaii metal. With such limited experience with it, I was expecting a recreation of the one song I had heard of the genre.

This was obviously a failed assumption.

I was also not prepared, and thus confused, for how much a few of the songs sounded like the early 2000s rock that I enjoy listening to so much already.

This connection to my own personal past and understanding was quite shocking, and has definitely led to my new perception of the genre.

Upon reflection, as I had narrowed down the scope of music possible I was not expecting to enjoy the music that much. I am now aware of how edgy, rocky, punky, and gothy the genre can be, all the while still firmly being kawaii metal.

But since it brought up so many connections to my own favourite genres, my initial assumption was proven wrong, and as you can hear throughout the podcast, I quite thoroughly enjoy listening to the music presented to me.

Epiphanies

The only real epiphany I can attest to in this experience, was an epiphany of my own limited assumptions. I discovered the diversity of kawaii metal, and more importantly, I discovered that it was something that I liked listening to, despite not understanding the words or context.

Thus I am set further to investigate this genre, and discover exactly what it means, and what it can offer.

Conclusion

Overall I would consider my experience a success. The only thing I would change would be researching specific kawaii metal bands first, then listening to their songs, rather than the YouTube mix. Also I hope to find further secondary research on the genre, but as it is so new, I am not particularly hopeful.

 

Autoethnography: great in theory, confusing in reality

By the end of this weeks class I think it is safe to say that most people left more confused than when they arrived.

I for one most certainly was.

In theory, I (think) understand autoethnography.  Autoethnography aims to take note of personal experiences of a culture other than your own. By reflecting on ones own socialisation, an autoethnographer seeks to better understand the culture of another.

When Chris talks through the theory and after reading the Ellis reading I thought to myself “yeah okay, no worries. I can do this”.

For sure I can think about my own socialisation and how that has affected my worldview. Sure after acknowledging my cultural framework I can proceed to experience a culture quite unlike my own with absolute no judgement or other-ing thoughts.

However… when the class began to discuss this notion and what it practically meant, my confidence was shot.

A class member brought up an article about a Japanese man and his sex doll. I had recently read a similar article myself as I have been contemplating studying something around Japanese dolls. As I listened to Chris and this class member discuss the problematic tendency to judge and then to understand where that judgement comes from, I realised the very real challenges of this kind of research.

By nature I can be an extremely judgemental person and often the thoughts come without thinking about why. This lead me to thinking about how judgement or experiencing the unknown can lead to a sense of ‘other-ness’ for the new cultural experience.

I feel that this will be my most significant issue when undertaking my autoethnographic research. As discussed in class, research does not exist in a vaccum and comparisons from what I believe I know or feel will undoubtedly effect the research that I undertake and I am curious to what degree I will be able to identify that.

 

Autoethnography

As a university student, we are often told that in order to obtain quality qualitative or quantitive data, we must remain externally observant and completely uninvolved with the subject. Autoethnography challenges this concept.

“Autoethnography is an approach to research and writing that seeks to describe and systematically analyse (graphy) personal experience (auto) in order to understand cultural experience (ethno),” – Ellis, Adams and Bocher 2010

As a process it is a method that employs both autobiography and ethnography. As an autobiographical practice, the method identifies epiphanies as points of understanding. As an ethnographic practice, the method studies cultural practices. Together, the findings portray a personal and emotive analysis. The product means the work is presented in a story like manner. This narrative structure does focus on communicating the truth. There are characters, scenes, events and plot progressions. The research presented aims to captivate the audience and share personal and interpersonal experiences.

Autoethnography’s use of such immersive methods has lead to academic debates. Potential criticism argue that it is not possible to understand a situation when one is a part of the setting, one is personally invested and therefore personal motives will interfere with research. Furthermore, there is a moral debate for relational ethics, specifically in regards to ensuring there is a healthy dynamic between all parties involved and matters of subject confidentiality.

Autoethnography argues that this personal expereince is exactly what enhances the research method. It is only through self reflection, self awareness and emersion into a setting that one can truly empathise, and in turn understand a subject. No two people will view or remember an experience, even a shared experience, in the same manner. The feelings and backgrounds of a subject are fundamental to understanding data. In the same way, the feelings and backgrounds of the researcher are just as influential. Autoethnography acknowledges this, but embraces that the individuals socio-cultural behaviours within a society shape perceptions, and reveal the essence of a subject – the researcher will only know this when close to or a part of the same subject.

Personally I value autoethnography for certain kinds of research, specifically when conducting qualitative cultural research. Sometimes being human means that sharing an experience is the only way to communicate.

Ellis, C., Adams, T.E., and Bochner, A.P. (2011) ‘Autoethnography: An Overview‘, Forum: Qualitative Social Research, 12:1. Available at: http://www.qualitative-research.net/index.php/fqs/article/view/1589/3095

Autoethnography

Autoethnography is undeniably a big word. Which is why initially I was pretty intimidated by it. However, breaking it down with the help of the 2011 text ‘Autoethnography: an overview’ by Carolyn Ellis, Tony Adams & Arthur Bochner and class discussions essentially helped me achieve a good understanding of the term. Simply put, autoethnography is where an individual uses their own personal experiences in order to comprehend cultural understandings.

After establishing this understanding I then applied the term to my own life and realised something pretty extraordinary. Without even knowing it I have been an active autoethnographer for the three years I have download-1.jpgbeen at University. By starting my personal WordPress blog I have been using my own experiences to understand other cultures. However, the biggest struggle I have found with autoethnography is achieving an equal balance between self-perspective and research or in other words the equal balance between artful and scientific. This balance comes from within the word itself. Autoethonography derives from two separate words- autobiography and ethnography. Autobiography can make a text artful by using various authorial points of view. Ethnography brings scientific descriptions into a text and can rely on other people’s research and experiences.
Personally, I have always preferred relying on research to back my argument. But what I have recently come to understand is that you need your own experiences in order to generate epiphanies. From these we can then apply research and methodology to analyse these experiences.

According to Ellis’ text “Autoethnographers must not only use their methodological tools and research literature to analyze experience, but also must consider ways others may experience similar epiphanies; they must use personal experience to illustrate facets of cultural experience, and, in so doing, make characteristics of a culture familiar for insiders and outsiders. To accomplish this might require comparing and contrasting personal experience against existing research.” (Ellis, C., Adams, T.E., and Bochner, A.P. 2011, p.g. 2)

I hope to try and apply this understanding in my future research and attempt to achieve this balance.

Reference:

Ellis, C., Adams, T.E., and Bochner, A.P. (2011) ‘Autoethnography: An Overview‘, Forum: Qualitative Social Research, 12:1. Available at: http://www.qualitative-research.net/index.php/fqs/article/view/1589/3095

Throw everything you know about research to the wind! Autoethnography is here.

We have been blogging our entire degree’s.

Reflective, observant, and critical. These are the tenets of good blogging practice.

Heavily lacing our work with respective anecdotes, embedded personal tweets, and ~poignant~ gifs, blogging has allowed us to imbed ourselves into the topics in which we are discussing. Although celebrated among the blogosphere, with the visible benefits of this authorial point of view shining through, auto-ethnographical approaches to study are heavily regarded as epistemologically damaging to research.

Although not shocking, it is alarming that the benefits of self-reflexivity is ignored among the general population of the research world.

Auto-ethnography, as defined by Ellis, is the process of acknowledging and accommodating for the subjectivity, emotionality, and personal influence of the researcher within research. This in turn provides varying insights into the work that could not have been investigated otherwise.

This title, although a little pompous and verbose, is quite revealing with regard to the function of this form of methodology. The untraditional practice ‘seeks to describe and systematically analyse (graphy) personal experience (auto) in order to understand cultural experience (ethno)’. Although canonical and autoethnographical research methods are highly varied in their manifestation, they are both governed by a large range of conventions which influence their understanding and the way in which they were constructed. There are distinct parallels to be drawn between both modes of research, autoethnography just decides to acknowledge this bias.

But what is the incentive for classical researchers to transition, or even consider this line of methodology?

The intimate nature of the research may pose unique insights into issues regarding culture possibly overlooked, or out of reach to traditional researchers. Issues regarding identity, mental health, society. These are all very personal points of studying within sociology, one in which researchers have varying depths of interaction with. This introspection, helping the researcher make sense of his or her own experiences in relation to the point of study, is as a result of what Ellis defines as epiphanies.

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Image source: https://www.youtube.com/watch?v=WjfHnCjy3Pc

Just like the intense moment Homer Simpson experienced in The Simpsons movie, autoethnographers voluntarily undergo a recurring period of critical self-reflection, with regard to the way in which they have interacted with their subject. Although sounding like what happens to everyone after sending a ‘risky text’, this methodology affords numerous benefits to the research and audience. It is apt in remaining transparent, revealing the binary established between researcher and researched, as well as the self and the other. Classical research studies assumes this dichotomy, but autoethnography aims to bridge this gap. Autoethnography further explores interaction, and insertion of the researcher as a means to reveal narrative nuances present within the subject being studied, acknowledging the present biases affecting the way both things and research operate.

As someone who has had limited, or very superficial interactions with Asian culture, it will be interesting to explore this line of research.

References:

Ellis, Carolyn; Adams, Tony E. & Bochner, Arthur P. (2010). Autoethnography: An Overview [40 paragraphs]. Forum Qualitative Sozialforschung / Forum: Qualitative Social Research12(1), Art. 10, http://nbn-resolving.de/urn:nbn:de:0114-fqs1101108.

Méndez, Mariza. (2013). Autoethnography as a research method: Advantages, limitations and criticisms. Colombian Applied Linguistics Journal15(2), 279-287. Retrieved August 17, 2017, from http://www.scielo.org.co/scielo.php?script=sci_arttext&pid=S0123-46412013000200010&lng=en&tlng=en.

My understanding of autoethnography

Falling into a habit of autoethnography for this subject is probably something I’ll have to get used to. Studying a bachelor of journalism, objectivity has been drilled into me relentlessly. Bias in journalism is frowned upon. The core of journalism is to report on hard facts and deliver the truth to the public. I did one class that focused on narrative journalism, a form of journalism that concentrates on emotive, narrative storytelling of true events. Sometimes the writer will put themselves in the story, reflecting on their own thoughts and experiences to further engage a reader’s understanding. But otherwise, news journalism relies strongly on unedited facts and straight-to-the-point writing structure. I’ve learnt not to write that someone believes something to be true, only to write what they have blatantly stated.

Autoethnography appears to be somewhat more accepting of our own revelations combined with meticulous research to explore a culture.

Autoethnography is an approach to research and writing that seeks to describe and systematically analyze (graphy) personal experience (auto) in order to understand cultural experience (ethno).” – Autoethnography: An Overview (Ellis et al., 2010)

My understanding of autoethnography from Ellis’ account is that its a form of research where the researcher explores their own experiences as a focus of investigation. By sharing the researcher’s personal reflection of a culture they engage the reader. Whilst hardcore journalism may be separate from the autoethnography that Ellis describes I think some of the best journalism uses the process of autoethnography to capture both the factual and emotional aspects of a story, such as documentaries and literary novels. Sometimes the author or narrator places themselves in the storyline, including their thoughts and experiences of what is happening. Often they will have ‘epiphanies’, something which Ellis says are commonplace in autoethnographic research.

An example of this is the documentary series, States of Undress, which follows Hayley Gates as she explores global fashion and beauty standards and their relation to political and social issues such as gender and race. Her personal epiphanies are woven throughout the narrative, creating transformative moments.

Autoethnography allows the researcher to create a link between the reader and the content, further engaging the audience through their own transformative experiences.

Autoethnography can be cleverly used to promote cultural awareness or give voice to an issue or community that previously may not have been heard. However, autoethnohgraphy is often criticised by the social sciences. Ellis writes that, “autoethnography is criticized for either being too artful and not scientific, or too scientific and not sufficiently artful.” As such, many remain skeptical of it. However, as Ellis argues, autoethnography challenges the distinct binary between science and art, believing that research can be both analytical and emotional.

I think autoethnography can be done in keeping with truth, and as such is a powerful form of research that combines emotive storytelling of experiences with analytical examination of a culture. The researcher’s own epiphanies will hopefully cause the audience to reflect on the topic themselves.

References:

Ellis, C., Adams, T. and Bochner, A., 2010. Autoethnography: An overview. Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, [online] 12(1). Available at: <http://www.qualitative-research.net/index.php/fqs/article/view/1589/3095&gt;.

via My understanding of autoethnography —

Comprehending autoethnography through playing dress up

krisesandchrosses

Having meaningful experiences in life relate to your physical, mental, social and political contexts. Your past actions and decisions influence how you will take on changes, challenges and new experiences in the future.

This is what we describe as an auto-ethnographic relationship between one’s self and texts according to Carolyn Ellis, Tony E. Adams and Arthur P. Bochner. This paradigm of research and writing seeks to comprehensively construe and analyse social, political and cultural impacts in relation to an individual’s experience. The main purpose of this form of research/writing is to identify personal biases and prejudices and relate them to the understanding of a new culture. This may be through the route of text, technology, industry, subcultures, digital media platforms or even practice. It is through these avenues of research that epiphanies are born, creating a new direction of critical thinking or research for an individual. This methodology creates…

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