For the 2018 Autoethnography Special Interest Group at the International Congress of Qualitative Inquiry (ICQI), Norman Denzin and Tami Spry did an integrative co-performance of each other’s autoethnography linked with a western motif. Each of the originating pieces of their performance texts were pre-published in Special Issues edited by this author. The author of this piece was invited to engage a performative response to the performance, and ostensibly entered the textual and embodied performance as a third companion on a western journey discovering new insights of both presenters in the performance of each as the other.1
AlexanderB. K. (2000). Skin flint (or, the garbage man’s kid): A generative autobiographical performance based on Tami Spry’s tattoo stories. Text and Performance Quarterly, 20(1), 97–114.doi:10.1080/10462930009366286
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AlexanderB. K. (2020). ‘I thought I knew you’: A performative reflection on knowing the other in autoethnography. Journal of Autoethnography, 1(2), 190–197.
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DenzinN. K. (2008). Searching for yellowstone: Race, gender, family, and memory in the postmodern west (p.31). Left Coast.
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GaleK.PineauE. L. (2011). Flows, tides and transatlantic drifts: An emergent methodology of collaborative performative writing. International Review of Qualitative Research, 4(4), 330.
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LangellierK. M. (1999). Personal narrative, performance, performativity: Two or three things I know for sure. Text and Performance Quarterly, 19(2), 125–144.doi:10.1080/10462939909366255
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PollockD. (1990). Telling the told: Performing like a family. Oral History Review, 18(2), 1–36.doi:10.1093/ohr/18.2.1
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SpryT. (2000). Tattoo stories: A postscript to skins. Text and Performance Quarterly, 20(1), 84.
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SpryT. (2016). Autoethnography and the other: Unsettling power through utopian performatives. Routledge.
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Wright MillsC. (1959). The sociological imagination. Oxford University Press.
