This collaborative autoethnography invites the reader to experience and audience four performative reflections on the prompt “tripping the light fantastic” as a foray into experiences with/through dance as performative cultural practice, along with an invitation to reflect on experiences of their own relations to culture, dance, being, and becoming.
AlexanderB. K.WhalenM.SolomonB.BravoM.LodhiaS. (2023). Resounding/resonating sounds of home, heritage, and heart: A collaborative autoethnography of re/membering the self through storying family. Cultural Studies ↔ Critical Methodologies, 23(6), 547–565. https://doi.org/10.1177/15327086231188035
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DolanJ. (2005). Utopia in performance: Finding hope at the theater. The University of Michigan Press.
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EllisC.AdamsT. E.BochnerA. P. (2010). Autoethnography: An overview [40 paragraphs]. Forum Qualitative Sozialforschung / Forum: Qualitative Social Research, 12(1), Article 10. https://doi.org/10.17169/fqs-12.1.1589
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HameraJ. (2000). The romance of monsters: Theorizing the virtuoso body. Theatre Topics, 10(2), 144–153.
5.
HameraJ. (2007). Dancing communities: Performance, difference and connection in the global city. Palgrave Macmillan.
6.
hooksb. (1990). Homeplace (a site of resistance). In hooksb. (Ed.), Yearning: Race, gender, and cultural politics (pp. 41–49). South End Press.
