Challenging the critique of autoethnography as overly focused on the self, Tami Spry calls for a performative autoethnography that both unsettles the "I" and represents the Other with equal commitment. Expanding on her popular book?Body, Paper, Stage, Spry uses a variety of examples, literary forms, and theoretical traditions to reframe this research method as transgressive, liberatory, and decolonizing for both self and Other. Her book
- draws on her own autoethnographic work with jazz musicians, shamans, and other groups;
- outlines a utopian performative methodology to spur hope and transformation;
- provides concrete guidance on how to implement this innovative methodological approach.