This performative essay is an instance of embodied writing, an assemblage by seven individuals responding to a shared moment from different perspectives on the politics of hair. In the process we engage the sociological imagination as we turn private troubles into public issues, or better yet, we collectively show how public issues are our private troubles.
AbebeB. (1998). History of Ethiopia, Axum to revolution.Paris, France: French Centre for Ethiopian Studies.
2.
AlexanderB. K. (2003). Fading, twisting, and weaving: An interpretive ethnography of the black barbershop as cultural space. Qualitative Inquiry, 9, 105–128. doi:10.1177/1077800402239343
3.
AlexanderB. K. (2006). Telling twisted tales: Owning place, owning culture in ethnographic research. In HameraJ. (Ed.), Opening acts: Performance in/as communication and cultural studies (pp. 49–74). Thousand Oaks, CA: Sage.
4.
AlexanderB. K. (2008). Gendered labor: The entanglements of culture, community and commerce. International Review of Qualitative Research, 1, 145–172.
5.
AlexanderB. K. (2014). Phantoms, amputations, and mournings of black dreadlocks: Or reentering the barbershop. Text and Performance Quarterly, 34, 409–415. doi:10.1080/10462937.2014.944566
6.
AlexanderB. K., MoreiraC., & KumarH. S. (2015). Memory, mourning, and miracles: A triple-autoethnographic performance script. International Review of Qualitative Inquiry, 8, 229–255. doi:10.1525/irqr.2015.8.2.229
DillardC. (2011). Learning to remember the things we've learned to forget: Endarkened feminisms and the sacred nature of research. In DenzinN. K. & GiardinaM. D. (Eds.), Qualitative inquiry and global crisis (pp. 226–243). Walnut Creek, CA: Left Coast Press.
11.
DiversiM., & MoreiraC. (2018). Betweener autoethnographies: A path towards social justice.New York, NY: Routledge.
GaleK., & PineauE. L. (2011). Flows, tides and transatlantic drifts: An emergent methodology of collaborative performative writing. International Review of Qualitative Research, 4, 317–334.
15.
GaleK., & WyattJ. (2012). Back to the futures: Diffractions and becomings of collaborative writing. International Review of Qualitative Research, 5, 467–477.
16.
Gingrich-PhilbrookC. (2001). Bite your tongue: Four songs of body and language. In MillerL. C. & PeliasR. J. (Eds.), The green window: Proceedings of the Giant City conference on performative writing (pp. 1–7). Carbondale: Southern Illinois University Press.
17.
HammersM., & AlexanderB. K. (2018). Diversity thugs: Intersections of the academic, personal, and political. Departures in Critical Qualitative Research, 7(2), 8–28. doi:10.1525/dcqr.2018.7.2.8
18.
JohnsonE. P. (2001). “Quare” studies, or (almost) everything I know about queer studies I learned from my grandmother. Text and Performance Quarterly, 21, 1–25. doi:10.1080/10462930128119
MarleyR., & FordV. (1976). Crazy baldhead [Recorded by Bob Marley & the Wailers], On Rastaman vibration [Record album], London, England: Island Records.
23.
MillsC. W. (1959). The sociological imagination.New York, NY: Oxford University Press.
24.
MoragaC., & AnzaldúaG. (1981). Entering the lives of others: Theory in the flesh. In MoragaC. & AnzaldúaG. (Eds.), This bridge called my back: Writings by radical women of color (p. 23). San Francisco, CA: Aunt Lute Press.
25.
PrendergastM. (2015). Poetic inquiry, 2007–2012: A surrender and catch found poem. Qualitative Inquiry, 21, 678–685. doi:10.1177/1077800414563806
26.
Saint LouisC. (2009, August 26). Black hair, still tangled in politics. The New York Times, p. E1.
