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This chapter takes the form of an open feminist letter, a complaint and a manifesto presented to the Critical Management Studies (CMS) Academy. It is posted with urgency at a time when Patriarchy is resurging across the globe. My complaint is against the misogyny and the moral injury done to all of us and to our participants through our detached, disembodied, non-relation, pseudo-objective, masculine ways of becoming and being CMS scholars. Drawing on the thinking of Hélène Cixous, I offer five gifts as strategies to break with the masculine reckoning and open up our scholarship to féminine multiplicity and generativity: loving not knowing, return to our material bodies, rightsizing theory, knowledge made flesh-to-flesh and women’s writing. I visit, and suggest our scholarship will benefit from visiting, Cixous’s School of the Dead and her School of Dreams. I advocate for social theatre/performative auto/ethnography as a way to effect change in organisations. Finally, I present a manifesto for women’s writing that can help take our scholarship ‘home’ and contribute to the creation of flourishing organisations. This letter is a Call to Arms.

The purpose of this paper is to present a collaborative (auto)ethnography that has emerged from the meeting of four academic researchers working with and from the heart in various Latin American contexts.

Our “I’s” have mingled with our very varied participations in different themes, latitudes, and disciplines – health, education and psychosocial approaches. We have worked, variously, in both English and Spanish. At the core of this piece are our own biographies, motivations, senses, academic dreams, international contexts, and the injustices and suffering felt in our bodies.

We seek to reflect from our experience of traveling as young researchers and as women with Latin souls. Through our stories, we show how crossing cultures as part of our research and work gives us both a privileged position but also the constant stress and questioning that goes beyond the intellectual and appears in our embodied experiences of interculturality.

The limitation of this piece of research is that it is based on personal experiences, that although there may be people who feel identified with these experiences, these are not generalizable or transferable.

Performative autoethnography is an instance to understand the world like a crisol with different faces; self, social, cultural and methodology, which allows us to understand the world from a holistic perspective.

With this paper, we hope to contribute for other women in academia to see themselves reflected in the experience of moving through a globalized world.

Through both living in and reflecting on this process, we show how our experiences provide us with new, intercultural “worlds under construction.”

This chapter explored how authenticity and objectivity in autoethnography research are viewed from a new materialist perspective. The study is framed within Barad’s (2007) concept of agential realism, which reconceptualizes how objects are examined, and knowledge created in scientific activities. The findings showed that in terms of authenticity, new materialism suggests a non-representationalist voice, which argues against the need to exactly mirror pre-existing phenomena in some metaphysical world through language in traditional research paradigms. This means the researchers must give up the authority of their narrative voice as a privileged source of knowledge with a valued property of authenticity. The study suggests performative voice as an alternative. The performative narrator is concerned not with identifying who researchers are, and how they are similar or different from the Other, but how their experiences constrain what they know and how they represent participants or themselves in their worlds. Writing autoethnographies now is less a way of telling than a way of knowing in being. An agential-realist account of objectivity posits that “distance is not a prerequisite for objectivity, and even the notion of proximity takes separation too literally” (Barad, 2007, p. 359). So objectivity does not mean to be removed or distanced from what we, as individual subjects of cognition, are observing. Objectivity, instead, is embodied through specific material practices enacted between the subject and the object. This entails that “objectivity is about accountability and responsibility to what is real” (Barad, 2007, p. 91). This understanding of objectivity engenders a reconfiguring of data as diffractive phenomena and reliability as axiological intra-actions in what I now call an auto-ethico-ethnography.

A central issue in contemporary dance ethnography is that of writing the somatic – the attempt to articulate kinesthetic, bodily sensations that emerge in a particular culture or context, within a research format (Ness, 2008; Sklar, 2000). Emerging methods including performance making and poetic, narrative, experimental, or performative writing create space for recognition of choreographic and sensory knowledges within ethnographic research.This chapter presents a case study that illustrates what I term “movement-initiated writing”: writing that emerges through dance making, wherein the dance ethnographer is a participant observer in studio practice. This emic approach attempts to translate the felt affects of a specific world of movement into performances sited in the terrains of pages. This mode of writing draws on Roland Barthes’ (1977) notion of the “grain of the voice,” Gilles Deleuze's concept of the “minor literature” (Deleuze & Guattari, 1987), Hélène Cixous’s examples of écriture feminine (Cixous, 1991), and the field of performance writing.

This purpose of this paper is to use the concepts of performance and emotional labour to shed new light on the skills workers use on two workflows in one call centre. In addition, the paper demonstrates how different workflows impact on workers everyday emotional experiences and wellbeing.

Using an auto-ethnographic approach to data collection the paper provides insights by focusing on both the self and others as objects of research. The underpinning theoretical inspiration is drawn from Labour Process Theory but considering the interactive nature of front-line call centre work, it adopts Goffman's (1959) dramaturgical concepts and draws on micro-sociological analyses of the labour process, particularly Hochschild (1983).

The case study illustrates how workers use social skills, through the performance of emotional labour, to different extents on contrasting workflows. The concept of performance is also used to demonstrate how management rely on worker's social skills to deliver fast and quality customer service. Contrary to other research, this study finds that the greater time front-line workers spend on calls and the wider scope they have for exercising discretion does not necessarily mean they experience greater levels of satisfaction and emotional wellbeing. Rather, the workflow with the tightest scripting and shortest call cycles – which inhibit the need to perform emotional labour – offered the greatest protection from the emotional demands of the job.

This paper is the first to apply Goffman's theatrical metaphors and concepts of performativity to unpack the nature of front-line call centre workers’ skills.

This chapter considers a narrative attuned to the tensions of bicultural performativity (blackness and whiteness) and how that performance relates to the politics of dislocation within the context of pursuing an advanced degree at a prestigious university. It does so by providing moments from my own narrative of self that focuses on an interrupted and hybridized racial project. In this chapter, I attempt to engage the reader by communicating the subjectivity of such moments in a provocative, fragmented, and emotionally charged self-reflexive manner. My own narrative, its performative element, and its racialized nature, are then considered in relation to larger sociological contexts and forces that present bicultural racial formations and their boundary transgression as a regulatory mechanism. Out of these narrative examples, I emphasize the growing centrality of performance studies as a frame of analysis.

The purpose of this paper is to review and organise the autoethnography literature: to explore the obstacles of and opportunities for autoethnography in organisation research; to support PhD students and supervisors who have chosen this methodological route to more clearly define their autoethnographic positions and choices; and to propose new research directions for organisational autoethnography.

The authors critically summarise autoethnography as a contemporary approach to organisational ethnography by looking back, looking at the present, and looking to the future. The authors briefly consider the historical and disciplinary development – and vehement critique – of autoethnography, trace its shifting epistemological positions and introduce three emergent “possibilities” of organisation autoethnography.

The authors highlight how autoethnography can tell stories otherwise silenced; exploring the mundane, ignored and distorted in current academic life, past and other work experiences, working with others through collaborative or co‐produced autoethnography in exciting new organisational contexts.

This paper is one of the first attempts to review autoethnography as a contemporary approach to organisation autoethnography.

The purpose of this paper is to explore a number of tensions arising in the presentation of autoethnographical research.

The paper provides a reflexive autoethnographical account of undertaking and publically presenting autoethnographical research.

The paper problematises the extent and form of disclosure; the voice and representation of the researcher; the difficulties in dealing with sensitive subjects; conflicts between public and private domains; questions of validity; the extent and form of theorisation of autoethnographical narratives; and emotion and performativity in presenting autoethnographical research.

The paper provides an analysis of the potential of autoethnography, while exploring the presentational and performative context of academia.

The purpose of this paper is to consider how the drama space is a way of inquiry in its own right and as a complex “way of knowing” has a capacity to be a profitable location from which to artfully thread and critically interrogate the performances of lives-as-lived.

The autoethnographic discussion has an overlay of histography as it brings the “real-life” word to the drama space and builds on naturalistic and experimental research moving the reader through transformational inquiry to what they name as drama as a post-foundational research method.

In using drama as artful practices, intra-reflexivity – interior focused – felt as artistic “process” leads “psyche” to an empathic space for acceptance of the fugitive selves and demonstrates “queerness” through the narratives as monologues.

The vignettes presented as monologue attest to the authors’ life histories and their “fugitive” ways of being as gay men.

The authors consider how drama as methodological practice can re work the notion of text-to-life or life-to-text, as an expression of a will to knowledge, of the authors working dramatically with their participants and students to find a way to articulate experience and place at the centre of research an agentic voice in relation to psychological, socio-cultural and historical interpretations.

Drama, as a methodological approach, has, the authors suggest, the potential to move beyond disembodied and abstract mental processes and to draw out of the closets the interpersonal relationships that have historically been seen as dangerous or disturbing.

This paper aims to investigate learning, relatedness and ethics in research as question of personal responsibility. Positivist and postformalist approaches to research are considered in light of the perspectives and experiences of the researchers themselves.

These questions are considered through an autoethnography of postformalism based on the doctoral research of the author.

The conclusion of this work is that research inclusive of affect, reflexivity and the context in which the research takes place, allows for insights into organizational ethics that would otherwise not be possible. However, these approaches come at a personal and professional risk for the researcher. Truly authentic postformalist research demands a degree of hazard for the researcher, becoming both a way of living and an ethical choice.

This paper addresses the ongoing debate concerning the use of first-person research, in general, which has not received a warm welcome as a “serious” form of research, especially in the more conventional methodological circles. The conclusions open up new considerations for first-person methods, such as autoethnography.