Tami Spry
Dados Biográficos
| ID | 177121 |
|---|---|
| NOME | Tami Spry |
| PRENOMES | Tami |
| SOBRENOME | Spry |
| ASSINATURA | SPRY T |
| AFILIAÇÕES | St. Cloud State University |
| ORCID | 0000-0002-2795-6024 |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 31 |
| TOTAL DE CITAÇÕES | 429 |
| TOTAL COMO AUTOR | 31 |
| TOTAL COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 1997 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2026 |
| ÍNDICE H | 7 |
Manus in Mano
Through the “affective presencing” ( Gale, 2023 ) of collaborative practices that “spirit” new experiencing, this paper forces into emergence the sympoiesis of eco materialities that challenge the constraining intentions of ego centric formations of neurotypicality and neoliberal institutionalisation. Using Spry’s creative and collaborative elision of the “natureculture body” the paper generates movements aligned with radical, botanical kin makin…
Hard Rain
Patti Smith' performance of Bob Dylan's "A Hard Day Rain's a-Gonna Fall" at the 2016 Nobel Prize ceremony illustrates the complex relationship between bodies, selves, emotion, biographies, voices, performances, and written texts.1
Masking Cuts
This essay speaks to the vagaries of performing over zoom in the time of COVID arguing that the various materialities in performance intra-act to form a diffractive performative entanglement. Engaging a diffractive methodology, the cutting of my fascia-mask in performance provides an epistemological opening in ongoing sense making of COVID lived experience, an ontological and ironical reckoning of the three dimensional body flatten into pics, and…
A Collaboration
This essay explores our collaborative work as connective, constitutive, and comforting. Calling upon the poetic and performative, we describe our relational dynamic as a loving presence that comes together for the gifts of our collaborations. The essay ends with a reflection on our presentation at the 14th International Congress of Qualitative Inquiry after Tami Spry stood in for Lesa Lockford when Lesa was unable to attend
Canvasing the Body
Focusing on our interactions with visual art as posthuman performance, this piece explores how Jane Bennett’s “vibrant materiality” moves us into a radical relationality with art and processes of grief. Performance studies’ enduring plumb into the deep ecology of body-page-body-stage makes us particularly equipped to see what else we might know of being in semantic-somatic multimatter knowing
Picturing the Body
The essays in this Critical Intervention forum continue work on posthumanism in performance studies where the elemental performance tools of body, word, and thing activate studies in materialism, vital materialities, and engagement with non/human others. Through methods of performative writing, these works assist in deepening our potential to understand the intersections of art, materiality, and political intervention
Skin and Bone
That so many hegemonic constructs have been devised to exoticize and belittle beauty should be evidence enough that something about beauty is devastating to power, something just below the skin. And in revealing patriarchy's sleight of hand, we may begin to see that beauty is skin, deep as skin, moving into muscle, bone, marrow. This essay seeks to explore beauty as a critical praxis; not a gender-only matrix, beauty's critical strength is in the…
Who are “We” in Performative Autoethnography
I am searching for a labor of reflexivity in performative autoethnography that represents the Other with the same kind of commitment as is afforded the self. This essay seeks to explore the sociocultural complexities of engaging the Other in autoethnography
Autoethnography and the Other
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 …
Ordinary Flow
“Something,” writes Kathleen Stewart, “throws itself together in a moment as an event and a sensation; something both animated and inhabitable.” Ordinary Affects is socioculturally vibrational, imagining the personally political even further. The following essay offers a collection of affectively heuristic “moments.”
Beauties, Barmaids, and Ballbusters
This essay critically reflects upon a performative autoethnography presented at the International Congress of Qualitative Inquiry in 2014; it also constitutes a continuation of a previous performative autoethnography presented at ICQI 2012, “Unseating the Myth of a Girl and Her Horse, Now That's True Grit.” In writing and performing this essay through the method of the textualizing body, as well as critically reflecting upon it here and now post …
An Unsettled I
Robin M. Boylorn's Sweetwater caused me to examine stereotypes that claw at my own background—deeply racist aunts and uncles refused to think beyond an ignorance of the other, allowing them to find some class-based solace in relation to their own feelings of sociocultural worthlessness. In the tradition of good scholarship, Robin's work invites me to unnerve my own whitegirlness, to unsettle this racially reifying practice and, with all of the pe…
By the Roots
In 2000, when my dreadlocks were three years old, I began performing “Goldilocks to Dreadlocks: Hair-raising Tales of Racialized Bodies” (Spry “From Goldilocks”), a performative autoethnography tha
Intensity
In this collaborative autoethnography, the five of us explore the experience and ethics of writing—and living—from/in intensity. We have been writing together since meeting at the Third International Congress of Qualitative Inquiry (QI), when we made a commitment to write over the following year to, for, and with each other. It became an experiment in the craft of autoethnography, exploring questions of intimacy and connection manifested through …
Critical Beginnings
These three scholars met during the First International Congress of Qualitative Inquiry (QI) in 2005 when they were put on a panel together for autoethnography. They understand QI as a space of compassionate scholarship. In their text, they allude to Norman Denzin's performance of compassion and his intellectual dream that, accurately, has generated not only the beginning but, more importantly, the continuation and development of such a space. Th…
Performing Academic Bodies
Additional informationNotes on contributorsTami SpryTami Spry is Professor in the Department of Communication Studies at St. Cloud State University
Possibilities and Positionalities
This is a gnarly question—our favorite kind. We would like to question the question, or at least one of its premises. Rather than addressing the limits posed (reflexively) by “Dame Rhetoric” and he
Darkness and Silence
Having written as a group for four years, we continue with an emblematic methodology of writing into the dark, writing into a space that has become an intensive, maturing, messy, ethically caring, collaborative venture of changing composition. Our collective self writes into a tentative anticipating trust in our presence though we are shaded in uncertainty. We have written with desire and labor, intimacy and work, stuttering and stumbling our way…
Unseating the Myth of a Girl and Her Horse, Now That's True Grit
Like many other experiences that have the potentiality of empowerment for girls, the physical, intellectual, and emotional strength required in working with horses gets reduced to a facile anthropomorphized Disneyesque romance. In reality, it is a nuanced negotiation of muscle and sway. As a girl, Westerns offered me an empowering image of women and horses. This article seeks to track the complexity of some of those connections
Collaborative Writing in Real Time
In this article we record, recount, and reflect on a 48-hour period in which we hang out in a rented house beside a lake with the intention of writing collaboratively. The writing emerges out of conversations. Our exchanges move back and forth and sideways between talking, writing, reading, and responding to each other's writing. These exchanges are held together and created through cooking, eating, going to the pub, walking, making cocktails, si…
How Writing Touches
Five scholars, with varying histories together, met as writers at a workshop at the 2007 International Congress of Qualitative Inquiry and made a commitment to write over the following year to, for and with each other in an experiment in the craft of autoethnography, an experiment that led us to explore questions of intimacy and connection manifested through collaborative writing. Each year since then we have returned to Congress to read a small …
The Accusing Body
This essay addresses and critiques attempts by politicians to legislate the language used to describe and therefore define women's experience of sexual assault. What is written from the body changes the body and vice versa; what is performed turns back on itself changing word and body. Rep. Bobby Franklin (R-Marietta) wants to label me 'accuser,' thereby erasing my assaulted body unless and until 'there's a conviction in the matter.' There was ne…
Entanglement and Rapture
Call it Swing
This performative autoethnography utilizes jazz swing as a method to further activate the critical processes in qualitative research. In reflecting on my father's 25 years as a jazz musician, I find his everyday lived methodology of swing provides an opportunity to explore the ways in which family inheritance collides with sociocultural practices of racial inequity and cultural appropriation. Autoethnographically re/inhabiting this space and soun…
Bodies of/as Evidence in Autoethnography
Qualitative researchers are aptly positioned to address issues implicated in the politics of evidence in scholarship. Autoethnography in particular 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 t…
Performing Autoethnography
This article argues the personal/professional/political emancipatory potential of autoethnographic performance as a method of inquiry. Autoethnographic performance is the convergence of the "autobiographic impulse" and the "ethnographic moment" represented through movement and critical self-reflexive discourse in performance, articulating the intersections of peoples and culture through the innersanctions of the always migratory identity. The art…
A “Performative-I” Copresence
The “crisis of representation” in the social sciences and humanities was not so much a crisis for performance studies artist/scholars as it was a recognition of a familiar. Our disciplinary roots a
Bodies of/as Evidence in Autoethnography
Qualitative researchers are aptly positioned to address issues implicated in the politics of evidence in scholarship. Autoethnography in particular 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 t…
Skins
Tattoo stories
This essay and accompanying script describe the author's search for a mode of scholarship suitable for the expression of passion and spirit within the communal narrative of academe
Call it Swing
This performative autoethnography utilizes jazz swing as a method to further activate the critical processes in qualitative research. In reflecting on my father's 25 years as a jazz musician, I find his everyday lived methodology of swing provides an opportunity to explore the ways in which family inheritance collides with sociocultural practices of racial inequity and cultural appropriation. Autoethnographically re/inhabiting this space and soun…
The Accusing Body
This essay addresses and critiques attempts by politicians to legislate the language used to describe and therefore define women's experience of sexual assault. What is written from the body changes the body and vice versa; what is performed turns back on itself changing word and body. Rep. Bobby Franklin (R-Marietta) wants to label me 'accuser,' thereby erasing my assaulted body unless and until 'there's a conviction in the matter.' There was ne…
Collaborative Writing in Real Time
In this article we record, recount, and reflect on a 48-hour period in which we hang out in a rented house beside a lake with the intention of writing collaboratively. The writing emerges out of conversations. Our exchanges move back and forth and sideways between talking, writing, reading, and responding to each other's writing. These exchanges are held together and created through cooking, eating, going to the pub, walking, making cocktails, si…
Skin and Bone
That so many hegemonic constructs have been devised to exoticize and belittle beauty should be evidence enough that something about beauty is devastating to power, something just below the skin. And in revealing patriarchy's sleight of hand, we may begin to see that beauty is skin, deep as skin, moving into muscle, bone, marrow. This essay seeks to explore beauty as a critical praxis; not a gender-only matrix, beauty's critical strength is in the…
By the Roots
In 2000, when my dreadlocks were three years old, I began performing “Goldilocks to Dreadlocks: Hair-raising Tales of Racialized Bodies” (Spry “From Goldilocks”), a performative autoethnography tha
Unseating the Myth of a Girl and Her Horse, Now That's True Grit
Like many other experiences that have the potentiality of empowerment for girls, the physical, intellectual, and emotional strength required in working with horses gets reduced to a facile anthropomorphized Disneyesque romance. In reality, it is a nuanced negotiation of muscle and sway. As a girl, Westerns offered me an empowering image of women and horses. This article seeks to track the complexity of some of those connections
Entanglement and Rapture
Possibilities and Positionalities
This is a gnarly question—our favorite kind. We would like to question the question, or at least one of its premises. Rather than addressing the limits posed (reflexively) by “Dame Rhetoric” and he
Skins
Tattoo stories
This essay and accompanying script describe the author's search for a mode of scholarship suitable for the expression of passion and spirit within the communal narrative of academe
Performing Autoethnography
This article argues the personal/professional/political emancipatory potential of autoethnographic performance as a method of inquiry. Autoethnographic performance is the convergence of the "autobiographic impulse" and the "ethnographic moment" represented through movement and critical self-reflexive discourse in performance, articulating the intersections of peoples and culture through the innersanctions of the always migratory identity. The art…
Performance, Autobiography, and Subjectivity in Mirror Image
We are made of words. (Joy Harjo) “I wonder if we become the body we are given?” Heidi Rose's question echoes in my mind within the vast and garish ballroom at the Chicago Hilton where she has been
A “Performative-I” Copresence
The “crisis of representation” in the social sciences and humanities was not so much a crisis for performance studies artist/scholars as it was a recognition of a familiar. Our disciplinary roots a
Systems of Silence
This essay offers a continuation of the dialogue of desire proposed by Anna Deavere Smith and Cornell West to find a language that speaks the complexity of race while simultaneously creating supportive productive diverse communities. As a white performative autoethnographer, a methodological skepticism of language's ability to represent race seems a critically productive space to speak into this desire. In our racialized copresence with one anoth…
Bodies of/as Evidence in Autoethnography
Qualitative researchers are aptly positioned to address issues implicated in the politics of evidence in scholarship. Autoethnography in particular 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 t…
Entanglement and Rapture
Call it Swing
This performative autoethnography utilizes jazz swing as a method to further activate the critical processes in qualitative research. In reflecting on my father's 25 years as a jazz musician, I find his everyday lived methodology of swing provides an opportunity to explore the ways in which family inheritance collides with sociocultural practices of racial inequity and cultural appropriation. Autoethnographically re/inhabiting this space and soun…
How Writing Touches
Five scholars, with varying histories together, met as writers at a workshop at the 2007 International Congress of Qualitative Inquiry and made a commitment to write over the following year to, for and with each other in an experiment in the craft of autoethnography, an experiment that led us to explore questions of intimacy and connection manifested through collaborative writing. Each year since then we have returned to Congress to read a small …
The Accusing Body
This essay addresses and critiques attempts by politicians to legislate the language used to describe and therefore define women's experience of sexual assault. What is written from the body changes the body and vice versa; what is performed turns back on itself changing word and body. Rep. Bobby Franklin (R-Marietta) wants to label me 'accuser,' thereby erasing my assaulted body unless and until 'there's a conviction in the matter.' There was ne…
Darkness and Silence
Having written as a group for four years, we continue with an emblematic methodology of writing into the dark, writing into a space that has become an intensive, maturing, messy, ethically caring, collaborative venture of changing composition. Our collective self writes into a tentative anticipating trust in our presence though we are shaded in uncertainty. We have written with desire and labor, intimacy and work, stuttering and stumbling our way…
Unseating the Myth of a Girl and Her Horse, Now That's True Grit
Like many other experiences that have the potentiality of empowerment for girls, the physical, intellectual, and emotional strength required in working with horses gets reduced to a facile anthropomorphized Disneyesque romance. In reality, it is a nuanced negotiation of muscle and sway. As a girl, Westerns offered me an empowering image of women and horses. This article seeks to track the complexity of some of those connections
Collaborative Writing in Real Time
In this article we record, recount, and reflect on a 48-hour period in which we hang out in a rented house beside a lake with the intention of writing collaboratively. The writing emerges out of conversations. Our exchanges move back and forth and sideways between talking, writing, reading, and responding to each other's writing. These exchanges are held together and created through cooking, eating, going to the pub, walking, making cocktails, si…
Intensity
In this collaborative autoethnography, the five of us explore the experience and ethics of writing—and living—from/in intensity. We have been writing together since meeting at the Third International Congress of Qualitative Inquiry (QI), when we made a commitment to write over the following year to, for, and with each other. It became an experiment in the craft of autoethnography, exploring questions of intimacy and connection manifested through …
Critical Beginnings
These three scholars met during the First International Congress of Qualitative Inquiry (QI) in 2005 when they were put on a panel together for autoethnography. They understand QI as a space of compassionate scholarship. In their text, they allude to Norman Denzin's performance of compassion and his intellectual dream that, accurately, has generated not only the beginning but, more importantly, the continuation and development of such a space. Th…
Performing Academic Bodies
Additional informationNotes on contributorsTami SpryTami Spry is Professor in the Department of Communication Studies at St. Cloud State University
Possibilities and Positionalities
This is a gnarly question—our favorite kind. We would like to question the question, or at least one of its premises. Rather than addressing the limits posed (reflexively) by “Dame Rhetoric” and he
By the Roots
In 2000, when my dreadlocks were three years old, I began performing “Goldilocks to Dreadlocks: Hair-raising Tales of Racialized Bodies” (Spry “From Goldilocks”), a performative autoethnography tha
Beauties, Barmaids, and Ballbusters
This essay critically reflects upon a performative autoethnography presented at the International Congress of Qualitative Inquiry in 2014; it also constitutes a continuation of a previous performative autoethnography presented at ICQI 2012, “Unseating the Myth of a Girl and Her Horse, Now That's True Grit.” In writing and performing this essay through the method of the textualizing body, as well as critically reflecting upon it here and now post …
An Unsettled I
Robin M. Boylorn's Sweetwater caused me to examine stereotypes that claw at my own background—deeply racist aunts and uncles refused to think beyond an ignorance of the other, allowing them to find some class-based solace in relation to their own feelings of sociocultural worthlessness. In the tradition of good scholarship, Robin's work invites me to unnerve my own whitegirlness, to unsettle this racially reifying practice and, with all of the pe…
Autoethnography and the Other
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 …
Ordinary Flow
“Something,” writes Kathleen Stewart, “throws itself together in a moment as an event and a sensation; something both animated and inhabitable.” Ordinary Affects is socioculturally vibrational, imagining the personally political even further. The following essay offers a collection of affectively heuristic “moments.”
Who are “We” in Performative Autoethnography
I am searching for a labor of reflexivity in performative autoethnography that represents the Other with the same kind of commitment as is afforded the self. This essay seeks to explore the sociocultural complexities of engaging the Other in autoethnography
Skin and Bone
That so many hegemonic constructs have been devised to exoticize and belittle beauty should be evidence enough that something about beauty is devastating to power, something just below the skin. And in revealing patriarchy's sleight of hand, we may begin to see that beauty is skin, deep as skin, moving into muscle, bone, marrow. This essay seeks to explore beauty as a critical praxis; not a gender-only matrix, beauty's critical strength is in the…
Art (25 obras) · Aesthetics (24 obras) · Sociology (24 obras) · Epistemology (15 obras) · Philosophy (14 obras) · Performative utterance (13 obras) · Political science (13 obras) · Posthumanist Ethics and Activism (13 obras) · Theatre and Performance Studies (13 obras) · Autoethnography (12 obras)