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The purpose of this article is to collectively work towards understanding and resolving the COVID-19 pandemic issues based on Messersmith's (2018) song, We All Do Better When We All Do Better. Furthermore, Our Identity should not Remain Marked to understand and overcome the workings of a virus whose Identity [DOES NOT] Remain Marked!

Practice-based creation coalesced with analytical writing.

We All Do Better When We All Do Better! The COVID-19 pandemic corresponds to crucial fundamental assumptions which have appeared from adversity anthropology over the past epochs. First, that environmental catastrophes infrequently surface, because calamities are communal and reliant on trans-species relationships. Furthermore, they appear from a blend of threat and susceptibility, with susceptibility as the causal issue. Second, the disaster occurs at manifold ranks concurrently, with responses to a threat; it endangers all the weak issues along with the original threat (Kelman, 2020).

Throughout COVID-19 much of the media left cavernous time gaps, masks turned into tools of rebellion, and power and violence were exercised indirectly on the vulnerable. The virtual campuses of WhatsApp, Facebook and conventional broadcasting are disseminating specialist knowledge in pandemic science; now everyone is certified. They voice a nouveau-vindictive biopolitical language, so we rise towards COVID-19 denialism. And, we turn into unthinking puppets who speed up the transfer of misinformation that moves like an “asymptomatic” cough through an overcrowded bar or beach as all inhale-consume it.

Part of pandemic planning and dealing with the consequential calamity is to integrate instantly the disastrous aspects caused by lockdowns. In this surge of terror and apprehension, we cannot afford to isolate people, even more through shame and prejudice. Each one of us is accountable to support each other and advocate for an all-inclusive healthy community.

Unescapably, as an immigrant, I had never dreaded this “home away from home” and stay anyhow, and I always had something to write home about. But recently I have had “Nothing to Write Home About,” (Madan-Soni, 2019). Migrant employees in most countries including international students were not much more than uninvited guests positioned in a conventional neighbourhood. It is as if your every expatriate-neighbour was plague-ridden and waiting to infect you. But the virus required no genomic or national identity or visa rank, it could cut all lines to get to you. The virus's Identity Is [Not] Marked.

Our Identity Remains Marked (2020) is my probing visual description of how Our Identity Remains Marked, layered, and stratified in stone under authoritarian structures of patriarchy. I read and researched about how Our Identity Remains Marked when humans are othered through the colours of race, gender, national and immigrant status, including all Earth others. Crafting things, creating something engages with a developing field of ecofeminist research on visual and embodied approaches and creativity (VEM Network, n.d; Reynolds, 2021). Painting offered me a therapeutic way of thinking and of using my senses.

The purpose of this study/paper Manipulating Golden Wombs’ (2017) is to show the author’s non-site intervention of authoritarian – undemocratic maneuvering of both women’s and earth’s “golden” wombs. The burning fossil fuels in myriads of flame colors, signal the power and distress of Earth’s wounded womb, memories of war, environmental destruction and human fatality, and descend to decline as extinguished Oil Drops (2017), creating a void. Global warming poses a problem for fossil fuel systems and those who profit from them.

The title of this paper has been inspired by Cara New Dagget’s book, The Birth of Energy (2019), posited in the nascent realm of energy “mortalities.” Now, confronting a world warmed by sweltering fossil fuels, the book provides us with a direction to thinking energy beyond the “Calvinist view” of everlasting work. Spellbound by Manipulating Golden Wombs’ (2017), the audience canter around the outer surface of the centrally positioned, circulating luminous “acrylic” oil drops highlighted by hundreds of mono-frequency lamps impregnated with desert biodiversity. A closer look takes spectators through a fiery desert, across the fossil fuel fields into the depths of its scorching oil wells, its womb, as they sense the “real-time” catastrophe that had occurred beyond the gallery wall.

These artists’ objective with their interventions is to “root it to the contour of the […] land, so that it’s permanently there and subject to the weathering,” so the audience is “sort of curious to see what will happen to this” (Schmidt, 1996, 225) through the course of time. The works resists the resistance of nature and social culture, as well as of body and intellect by emphasizing the intransience, however complex, of human beings with the ecosphere in which they survive (Novak 2002, 23). The surfacing of the under-surface of the land and ocean life triggers the idea of the private space, which involves role-play, gender norms and the control over women's lives in the capitalist and Gulf societies. Authoritarianism, fossil fuel capital, high-energy use and militarism make the climate politics critical to planetary security. This combustible convergence gave birth to Manipulating Golden Wombs’ (2017).

Ganz reminds us that devouring less energy appears to be almost unharmonious with the current politics of being “Modern.” Sacrificing energy resonances with abstinence at best, and widespread death and injustice at worst. But, consuming an overload of energy is incompatible with a multispecies existence on Earth. Scientists caution “a cascade of feedbacks could push the Earth System irreversibly onto a ‘Hothouse Earth’ pathway,” the consequence of which could be an uninhabitable, unsafe globe for beings (Steffen et al., 2018). Even though it sounds vivid, it is hard to overstate the crisis in the midst of what environmentalists and biologists term as a sixth extinction event (Kolbert, 2014), in line with a “biological annihilation” that paints “a dismal picture of the future of life, including human life” (Ceballos et al., 2017).

It is not only the land’s womb that we have hurt; we have miffed the hearts of the water network, and “Othered” and the wombs of many women and most surfaces of the Earth have been penetrated, unconsented! To sustain a biodiverse sphere, to pause the deaths of the planet’s flora and fauna and to thrive on Earth, we need to work on renewable sources of energy based on “new collectively shared values, principles, and frameworks” (Steffen et al., 2018). We need to stop Manipulating Golden Wombs’ (2017). Are we ready to accept the challenge? (Lau and Traulsen, 2016)

Petro-masculinity has multiple global dimensions and manifests in multiple and locally specific ways (Dagget, 2018). This encourages the geographically diverse artists discussed in this paper to embrace alternative visions, to make bold and explicit statements on gender and global diversity, equity and rights. Through history, women, in specific, embodied the entirety of the Ecocene and its life cycle and explored it in the context of their own relationships, health, sexuality, fertility, reproduction, childbirth, illness and inescapably death. The artists’ interventions’ visual physiognomies and intentions point toward a comprehensive agenda of action that leads to remedial courses toward reinstating the biome to a healthy condition.

Manipulating Golden Wombs’ (2017) enacts the historic all-consuming fires, penetrating the “shared environment,” burning the fossilized fuels exuding from Earth’s penetrated womb. The higher cone-shaped oil drops irradiate the intense dazzling images of oil wells in flames and the desert flora and fauna nestled within the scorching inner arena. This aligns with the private space provided to women. The wombs are smothered in the fuming fires of the Gulf war. The darker, narrower lower oil drops, iconic of the remnants of fossil fuel, are the residual sludge within which the land and water species are enmeshed and ensnared to death. The potency of the enactment of the drops “enables the viewer to see [him/]herself seeing, to become aware of how she perceives the world around [him/]her and in doing so participates in shaping it” (Eliasson, 2009, p. 25) as a form of engagement, which involves an “attention to time, movement and changeability” (pp. 18–21).

This article aims to explore the potential of feminist phenomenology as a conceptual framework for advancing women’s entrepreneurship research and the suitability of interpretative phenomenological analysis (IPA) to the proposed framework.

The article critically examines the current state of women’s entrepreneurship research regarding the institutional context and highlights the benefits of a shift towards feminist phenomenology.

The prevailing disembodied and gender-neutral portrayal of entrepreneurship has resulted in an equivocal understanding of women’s entrepreneurship and perpetuated a male-biased discourse within research and practice. By adopting a feminist phenomenological approach, this article argues for the importance of considering the ontological dimensions of lived experiences of situatedness, intersubjectivity, intentionality and temporality in analysing women entrepreneurs’ agency within gendered institutional contexts. It also demonstrates that feminist phenomenology could broaden the current scope of IPA regarding the embodied dimension of language.

The adoption of feminist phenomenology and IPA presents new avenues for research that go beyond the traditional cognitive approach in entrepreneurship, contributing to theory and practice. The proposed conceptual framework also has some limitations that provide opportunities for future research, such as a phenomenological intersectional approach and arts-based methods.

The article contributes to a new research agenda in women’s entrepreneurship research by offering a feminist phenomenological framework that focuses on the embodied dimension of entrepreneurship through the integration of IPA and conceptual metaphor theory (CMT).

In this paper, women entrepreneurs are seen as leaders and women leaders as entrepreneurial, making both groups an easy target of postfeminist expectations, governed by calls to embody the entrepreneurial self. Acknowledging that the entrepreneurial self has its roots in the universal, rational and autonomous subject, which was shaped in a male form during the Enlightenment, the purpose of this study is to conceptualise feminist resistance as a process through which the autonomous subject can be de-stabilised.

Empirically, this study draws on an extensive research project on women’s rural entrepreneurship that includes 32 in-depth interviews with women entrepreneurs in rural Sweden. This study interpreted expressions of resistance from the women by using an analytical framework the authors developed based on Jonna Bornemark’s philosophical treatise.

Feminist resistance unfolds as an interactive and iterative learning process where the subject recognises their voice, strengthens their voice and beliefs in a relational process and finally sees themselves as a fully fledged actor who finds ways to overcome obstacles that get in their way. Conceptualising resistance as a learning process stands in sharp contrast to the idea of resistance as enacted by the autonomous self.

This study helps researchers to understand that what they may have seen as a sign of weakness among women, is instead a sign of strength: it is a first step in learning resistance that may help women create a life different from that prescribed by the postfeminist discourse. In this way, researchers can avoid reproducing women as “weak and inadequate”.

Through the re-writing of feminist resistance, the masculine entrepreneurship discourse including the notion of the autonomous self is challenged, and a counternarrative to the postfeminist entrepreneurial woman is developed. Theorising resistance as a learning practice enables a more transforming research agenda, making it possible to see women as resisting postfeminist expectations of endless competition with themselves and others.

Ficto-feminism is offered here as a creative method for feminist historical inquiry in management and organizational studies (MOSs).

This paper introduces a new method called ficto-feminism. Using feminist polemics as a starting point, ficto-feminism fuses aspects of collective biography with the emic potential of autoethnography and rhizomatic capacity of fictocriticism to advance not only a new account of history in subject but also in style of writing.

The aim of ficto-feminism is to create a plausible, powerful and persuasive account of an overlooked female figure which not only challenges convention but also surfaces her lost lessons and accomplishments to benefit today's development of theory and practice.

The paper reviews the methodological components of ficto-feminism and speaks to the merit of writing differently and incorporating fictional techniques.

To illustrate the method in action, the paper features a non-fiction, fictitious conversation with Hallie Flanagan (1890–1969) and investigates her role as national director of the Federal Theatre Project (FTP) (1935–1939). The FTP was part of the most elaborate relief programs ever conceived as part of the New Deal (a series of public works projects and financial reforms enacted in the 1930s in the USA).