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Bodies of/as evidence in autoethnography

... I utilize autoethnographic writing on loss and hope to operationalize the epis-temic/aesthetic praxis as an ethical imperative for performative autoethnog-raphy. The process of performative autoethnography is a bit like a CSI episode. ...
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    583 International Review of Qualitative Research,  Volume 1, Number 4, February 2009, pp. 583–590. © 2009 International Institute for Qualitative Inquiry, University of Illinois, Urbana-Champaign All rights reserved. Bodies of/as Evidence in Autoethnography Tami Spry Abstract  Qualitative researchers are aptly positioned to address issues im-plicated in the politics of evidence in scholarship. Autoethnography in partic-ular carries important methodological implications for how the body is sited in what constitutes knowledge, evidence, and the evidence of knowledge. I argue that if autoethnography is epistemic, then the evidence of how we know what we know must reside in the aesthetic crafting of critical reflexion upon the body-as-evidence. As we develop “post” methodologies we may be in dan-ger of expecting the personal or emotional to stand in for literary acumen. Performative autoethnography resides in the intersections of knowledge con-struction and art, in the aesthetic articulation of the performative body, in a personally political reflection whose evidence is an epistemic/aesthetic praxis. I utilize autoethnographic writing on loss and hope to operationalize the epis-temic/aesthetic praxis as an ethical imperative for performative autoethnog-raphy.e process of performative autoethnography is a bit like a CSI episode. It starts with a body, in a place, and in a time. e investigators analyze the body for evidence, the body as evidence, the body of evidence. But evidence, like experience, is not itself knowledge; like evidence, experience means nothing until it is interpreted, until we in-terpret the body as evidence. For a performative autoethnographer, the critical stance of the performing body constitutes a praxis of evidence and analysis. We offer our performing body as raw data of a critical cultural story. So, when I perform “Ode to the Absent Phallus,” (1998) a performative autoethnography of sexual assault, the au-dience not only sees my body as evidence of an assaulted body, they also see my body performing a reflexive critique upon dominant cultural notions of victim and survivor contextualized in that place and in that time. If autoethnography is epistemic, then the evidence of how we know what we know must reside in the aesthetic crafting of critical reflexion upon the body as evidence.In postmodern research, we sometimes like to think of the body as inherently “knowing” things without remembering that the body knows what language constructs.  584   tami spry Performative autoethnography is forged with the ontological tension between its epis-temological potential and its aesthetic imperative, the epistemic/aesthetic double-bind that Craig Gingrich-Philbrook (2005) deftly articulates.Because of its epistemological potential as a qualitative method, various theories, assumptions, and methodological definitions of autoethnography are being explored across disciplines. Before moving further, let me offer a very brief definition of perfor-mative autoethnography that guides my work. I must also tell you that this definition shapeshifts a bit each time I engage this embodied research. Performative autoethnog-raphy is performative due to its attempt to critically interrupt dominant narratives by offering a performance that breaks normative patternized behaviors and remakes a transgressive coperformance with others in sociocultural contexts and histories. e story comes from a critically reflexive location where the autoethnographer seeks to construct a plural sense of self, a dialectic of copresence with others in the field of study concerning how bodies are read in various contexts of culture and power. In her essay, “Performing Writing” Della Pollock describes a performative self that “is not merely multiple”, it moves itself “forward . . . and between selves/structures” (87). A performative-I location, as I have argued elsewhere, is less concerned with identity construction and more about constructing a representation of the conflictual effects of the coperformance, of the copresence between selves and others in contexts. Performance, which at its heart, is the embodiment of language, has also taught me a skepticism of language’s ability to represent me or others outside of the dominant master narratives that it is meant to serve. is skepticism of language’s ability to rep-resent the body as evidence motivates the critical reflection upon the systems of power held in place through language. Further, performative autoethnography is critically ethnographic due to its embodied analyses of power in cultural structures and sys-tems. In her book, Critical Ethnography: Methods, Ethics, and Performance , D. Soyini Madison writes, “e critical ethnographer also takes us beneath surface appearances, disrupts the  status quo , and unsettles both neutrality and taken-for-granted assump-tions by bringing to light underlying and obscure operations of power and control” (5). Performative autoethnography reveals the understory  of hegemonic systems.All of this rests upon reading and writing the body as a cultural text, as a personally political reflection whose evidence is an epistemic/aesthetic praxis based in performa-tive writing. So, I offer here a few segments of embodied theorizing that seek to nego-tiate the tensiveness, the push and pull between the aesthetic and the epistemic that creates the evidence of performative autoethnography. Rather than a coherent whole, the following are glimpses, fragments, understories.For some time now, my work has focused upon an ethnography of loss. e body   585  bodies of/as evidence in autoethnography 585 is tantamount in this work as it is the presence and absence of bodies that constitutes the experiencial evidence of loss. A passage from a work (2004) on the loss of our child, “Paper and Skin: Bodies of Loss and Life”:e words are unmeshed in the blood and bones of the mother and child. Arms ache and disarm themselves with the visceral absence of the other. Writing doesn’t help me put my arms back on, but it does help me to remember that I had arms, and then, to show me that the arms are still usable in a way I can’t yet understand.In trying to make meaning within a culture of absence, I have lost and found and lost again, many religions. But the practice I keep coming back to, the meaning-maker that never seems to fail is writing. For me, prayer has become the aesthetic practice of crafting meaning. Being in performance studieshas taught me about faith. At the beginning of rehearsal, one is always afraid,  vulnerable, and hoping to believe.Even, and especially when,we don’t think we will ever make presentwhat seems so absent.One of my lost religions is Catholicism. When a Catholic walks up to the priest to take Holy Communion, the mouth opens, the priest holds the wafer to the outstretched tongue and says, “e body and blood of Christ.” e tongue says, “Amen”, and then he, because he is always  a he, places the wafer onto the tongue, wherein you are to swallow the body and blood-in-a-wafer of the savior. e wafer, however, usually sticks to the roof of the mouth, flesh against flesh, resisting the patriarchal directive to swallow.Now, I replace wafers with words. Writing is communion. No longer waiting for them to be placed in my mouth by man, words are the body and blood . . . of life, and of loss. Making the absent present, words reconstruct the body of a lost mother, or father, or son, or holy ghost. Writing of his absence helped me find my son, helped me know his presence, and then his stillness, as a gift, as a prayer, as a Hallelujah. Writing of loss through an aesthetic/epistemic praxis of performative autoethnog-raphy has provided me evidence of hope and beauty. I have tomes of writing revealing personal experience and describing emotion, but this writing did not help me find  586   tami spry my son, or to know his presence, or move me from loss to hope. Performance studies has been based in the analysis and embodiment of emotion for centuries. We know that knowledge is evocative, and that evocation of emotion is not itself aesthetic or epistemic; artful knowledge is constructed, as Elyse Pineau might say, through the “ar-ticulate body”. As we develop “post” methodologies we may be in danger of expecting the personal or emotional to stand in for literary acumen. Performative autoethnog-raphy resides in the intersections of knowledge construction and art, in the aesthetic articulation of the performative body, in a recuperation of a life after death. A passage from “Paper and Skin: Bodies of Loss and Life”:I am wreckage. I am free floating, P-Funk, feet-don’t-fail-me-now, Electric Boga-loo wreckage. More or less. Ambiguous in all my artificial mediated fracturesque construction, writing is the only ritual I can enact right now. Words the only thing my body can feel. I am the hermit coming in and out of her cave, looking for a sign that she has been in the darkness long enough to heal the wounds that would crack from too much sunlight. I am the warrior goddess siren virgin lead-ing us into battles of passion and righteousness and standing dumbfounded still and scared and weak. More or less. I am Shirley Temple, Sheila E., John Travolta, John the Baptist, and I wish I were Janice. I wish I could just sing and not care or care too much and feel the drugs and hear the sound of my voice tied to the whipping post as you scream and cheer the raspy edges of my soul coming out my mouth. I am alive and kickin’. I am dead and rotting. I am whoop-ti-do wreck-age trying to forget that my body makes language like hair 1 .I have been thanking all that is good that I am a performance practitioner. I am thankful to know that we live experience directly, but study it performatively (Con-quergood 2005, Denzin, Pelias). I am thankful for the disciplinary wisdom to view lived experience through theories of embodiment and enfleshed methodologies (Madison), because my body is painfully present, and utterly absent as I try to make sense of loss.It is, as Dwight Conquergood says, a “performance-sensitive way of knowing,” (1998:26) that has walked me through the shadowlands, and sat with me in the bot-tomless pits. Della Pollock writes saying that performativity “becomes the everyday practice of doing   what’s done ” (43). Realizing that I was doing grief, gave me agency to keep breathing, like Emily Dickenson, “Because I could not stop for Death—/He kindly stopped for me—/the Carriage held but just Ourselves—/And Immortality” (712). And then the Carriage keeps going. Performatively, Dickinson knew that Death is an everyday practice of breaking and remaking meaning, of colliding and realigning with history.   587  bodies of/as evidence in autoethnography 587 Writing as prayer, as communion, and writing as redemption. e following is an excerpt from a writing group that I am in 2 : Caverns My office is in a beautiful, old, rather dusty and frumpy WPA constructed build-ing. I have a wall of huge old drafty 10 foot windows that look out on the trees in the summer, then reveal the Mississippi River in the winter.Today is gray and rainy and cold. So am I. Keller, our lost son, would have been five years old this week. And today my in-sides feel as if it could never sustain life again, and surely, at 47, that will soon be a reality. A graying womb. Cavernous as my office, as the low clouds, as the Mis-sissippi.But then one of you writes of Rufus Wainwright’s version of “Hallelujah,” and I am becoming redeemed through the chorus of “Hallelujah” that it this group.ere is, for me, redemption happening in the text of bodies as constructed through our writing. Here, in the midst of performativity, the words are doing redemption. It’s not as if I feel like I’m going to be “OK” after the redemption is “over.” e loss will always be there, the ghost of his body moving in and out of me; but it is because, as Kenneth Burke would say, we are “wordlings,” “being bodies that learn language,” that the loss is not stagnant, rigid. Putting language to his body just . . . brings him (to) life. “Performativity”, writes Soyini Madison and Judith Hamera, “becomes all at once a cultural convention, value, and signi-fier that is inscribed on the body—performed through the body—to mark identi-ties” (xviii). I can make words with him, but making them in collaboration with all of you helps me identify his body differently, helps me make the loss differ-ently, helps me know him differently, and here, find redemption in the making.Hallelujah. Beauty  Some years ago, I attended a workshop with Maxine Hong Kingston.She asked us to make a list of things we were afraid to write about.at year had brought 9/11, a lost child, a lost father,
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