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Post 1; Introduction
After intensively analyzing and reading the introduction, preface and foreword of this work, I was far from having a clue of the several terminological words used. For instance, in the introduction, Spry, in “Body, Paper and Stage”, explicates the core and vital aspects of performance. She goes further in giving the details which engulf performance, “per formative- I as a critical heterogeneous auto ethnographic research disposition constructed through the body’s continual negotiation of self/other/culture/language” (Spry 28). In his first explanation, the author talks about faith and beauty as essential aspects of performance. The author enhances his explanation on how he was phobic writing about beauty. However, as the writer goes on with the chapter she explains how she gained confidence in talking about beauty “I am finding moments of beauty and have begun to be less afraid of fear.”(25).It is an indication of direct proportional representation of physical and mental growth to confidential growth.
Post 2; Chapter 1
Chapter one, ‘Skins: A Daughters Re construction of Cancer,’ was an engaging and a far much touching chapter to go up-to to the end. This chapter entailed an extremely emotional and touching performance. In my inner view, Spry was trying to create connection as one of the most crucial facet of per formative auto ethnography. In the start of the chapter, Gomez-Pena and bell hooks articulate two of the most defining features of perfomative auto-ethnography and its connection to larger social issues. Besides, this chapter pumped into me the idealize terminology of performing autobiographies. I had to split the wording since such term9inology was new and unique to me. After reading deeper, I underpinned the meaning of the terminology, it came to my realization that is main aim is to understand who we are in relation to others in culture (51).
Post 3: chapter 2 section 1
Class discussions helped me understand Spry’s chapter two better. It was not until I read more that I begun to have a deeper understanding of auto-ethno biography. The chapter “Tattoo Stories: A Postscript to ‘Skins’, Spry sends indications that she peeled off skins time after time. It became clear to me that the skins represented a certain period in time. As the meaning of the story gets deep so is the meaning of performative autoethnography. The section which explained the tattoo story of dancing and kicking was a little to fathom, but as I put myself the emotions depicted I got a glimpse of what Spry was meaning. She says that in her family they were required to dance, which in their meaning it was a requirement of discipline. Spry in “Tattoo stories: A Postscript to “Skins” she extends her ideas in explains ethno biography, she says that ‘for me, plaiting ethnography with autobiography emphasizes the cultural situatedness of the autobiographic subject’ (Spry 92). Spry keeps talking about loss in her work. She explains the coats she has to remove in order to move on, which is a representation of losing her mother. Everyone experiences loss in their life; therefore, performing auto-ethnobiography is a way to get over loss situations.
Post 4: chapter 2 part 2: the Haunting
The second section of chapter two explains in details what the body might depict. It intensively creates a connection of the body and different words which might be used in performing autobiographies. A conjunction of the body aspect and feedback which is created by language can show situations in our lives. This section emphasizes the effect of loss to our daily life. The great performance moved me to belief that loss and especially is inevitable. Therefore performing is a way of relieving this emotions endured due to loss which we incur. I did not understand what Spry meant by Corporeal body (p110)
Post 5; Chapter 3 up to 136
The first section of chapter three goes deeper in identifying what really perfoamtive auto-ethnography is. Spry underpins the reality of this concept; she presents the concept as beyond our self need and a presentation of how we create a connection between us and the audience. “Spry articulate writing as an evocative, subject nervous, citational and consequential” (p 103). According to Spry writing auto-ethno biography entails our everyday activities. It is these activities which guide our beginning to writing performative ethnobigraphy. I have been pushed to talk about mixed emotional reactions in my previous performance, although I veered away to avoid being judged. After reading Spry’s perfoamtive work, I realized that I cannot stay away from this as it is what the audience can relate and learn from me.
Post 6: Chapter 3 part 1
In this section of chapter three, Spry goes deeper to establish the connection which exists between writing an auto-ethnography and critical reflection. Spry further indicates the importance of personal reflections in performative writing. She says that, “researcher may engage in shocking self disclosure by purposefully foregrounding the traumatic details and events of a difficult experience without connecting this trauma to rigorous critical reflection (p136).This chapter taught me that reflecting on our own actions is essential in writing auto-ethno biography. She made me realize that we sometimes without worrying whether the work will be performed, perhaps why scripts may create a great reflection of our personal experiences. What confused me in this chapter is the …. Ethical pitfalls may occur (p135).
Post 7: Chapter second phase
In this section of chapter three, Spry explains the various genres which perfoamtive auto-ethnography should take. She goes further to engrave the forms to all ethical aspects of the perfoamtive ethnography concept. Form should not matter, but all perfoamtive writing should be written to be understood by the audience, Spry quotes that, “the best way to start writing is to start writing’ (151). All perfoamtive writings have to consider culture. Gender and social life. As a result, performing auto-biographies needs to be approached from an ethical perception. Spry goes up to ask, what are the ethical implications of representing others in an auto-ethnobiography? (p134). The last part of the chapter confused me since it was too wordy, although I hope to connect with the paper as I get to the next chapter.
Post 8: chapter 4 part 1
In chapter four, Spry talks about stage in auto-ethnography performance. She explains the concept of performing auto ethno biographies which performers might ask themselves. She strongly incorporates embodiment as an important aspect in performative arts. According to her, a person might ask,’If I am performing my own writing, why worry about embodiment or rehearsal? (171).inher work, Spry presents the very physical act of typifying an abstraction. Spry explains how she was to perform an abstraction of violation which was not her story. Her explanation on how the physician reacted to her abortion case sends an image of embodiment within the chapter section. Through performance, a critical reflection of culture and personal experiences can reach to individuals and the audience at large. I can relate to this chapter because of my mixed emotional reactions in my previous topics.
Post 9: chapter 4 part 1
In the second part of chapter four, Spry goes deeper to explain how vulnerability can be dangerous in performative ethnography. I understood this chapter better since vulnerability can be a challenge. She says that the ability to perceive things critically beyond the stage becomes practice of vulnerability. Through her explanation it becomes clear that performing can achieve diversity, and help create a connection with others. Other people from different cultures are able to connect to ourselves to more than what we know as individuals. I learned that I can perform my personal attributes more than I can share with others. This creates an opportunity and a connection for people to know me more than they would in real life situation.
Post 10: Chapter 5 part 1
According to me, Spry set this section of her work as the most important, it outline and explains every single part of her work. This is the section through which the written paper is exposed to the stage. As she talks about stage and performance, she goes deeper to explore the idea of audience’s perception on performance. According to her, to capture the audience’s perception, I should create a physical entity of typifying an abstraction with the stage. This taught me that in all my performances, I should try to create an embodiment with my audience In order to influence my perceptions.
Works cited
- Spry, Tami. Body, paper, stage: Writing and performing autoethnography. Routledge, 2016.
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