Maggie defines her approach, which involves working in collaboration with O’Neill artists, performance artists, writers, poets, photographers and participants in the space between ethnography and art, as involves a ‘ethno-mimesis.’ ‘Ethno-mimesis’ methodological practice, a process that enables the inter-textuality of biography/narrative (ethnography) and art (mimesis) to become a for transformative ‘potential space’ possibilities 2008, 3). (O’Neill (2009) claims that participatory performative approaches are especially useful O’Neill when dealing with transnational and diasporic experiences because they encompass praxis as purposeful knowledge, which tells us, in a relational and phenomenological sense, something about what it is to and have sense of feel ‘at home’ ‘a belonging’. Furthermore, biographical and art-based research may involve inquiry that reveals the embeddedness of small-scale phenomena in the broader social totality and allows belonging to be understood as socially constructed, negotiated and contested in interpersonal, intrapersonal and cultural frameworks (Brah 2001; Oikarinen-Jabai 2015b; 2011; Pink 2007; Liebenberg 2009). O’Neill Avtar Brah (1996) argues that social relations, experience, subjectivity and identity are categories situated in multiaxial fields of power relations. The similarities ‘differential’ and differences across axes of differentiations with regard to class, race, gender and – equality, for example are articulated (or disarticulated) in the diasporic space within a – complex web of power. Bill Ashcroft (2001) maintains that the notion of horizon challenges the concept of boundary and may facilitate the emergence of different dimensions of hybrid postcolonial subjectivity. In both discussed projects it is obvious that in addition to their other purposes the – – audio-visual and literal narrations created with participants are means to create hybrid stories that challenge hegemonic notions of belonging and enable it to be understood as an embodied, multi-layered and fragmentary horizontal process (Ashcroft 2001; Conquergood 2009; Minh-ha 1991, 6; Oikarinen-Jabai 2015a). Glocal belonging and homes in many places In the both projects it has been obvious that both in the research process and in their productions, the participants approach belonging from multiple perspectives, creating –
Maggie O’Neill defines her approach, which involves working in collaboration with artists, performance artists, writers, poets, photographers and participants in the space between ethnography and art, as ‘ethno-mimesis.’ ‘Ethno-mimesis’ involves a methodological practice, a process that enables the inter-textuality of biography/narrative (ethnography) and art (mimesis) to become a ‘potential space’ for transformative possibilities (O’Neill 2008, 3). O’Neill (2009) claims that participatory performative approaches are especially useful when dealing with transnational and diasporic experiences because they encompass praxis as purposeful knowledge, which tells us, in a relational and phenomenological sense, something about what it is to feel ‘at home’ and have ‘a sense of belonging’. Furthermore, biographical and art-based research may involve inquiry that reveals the embeddedness of small-scale phenomena in the broader social totality and allows belonging to be understood as socially constructed, negotiated and contested in interpersonal, intrapersonal and cultural frameworks (Brah 2001; Oikarinen-Jabai 2015b; O’Neill 2011; Pink 2007; Liebenberg 2009). Avtar Brah (1996) argues that social relations, experience, subjectivity and identity are ‘differential’ categories situated in multiaxial fields of power relations. The similarities and differences across axes of differentiations – with regard to class, race, gender and equality, for example – are articulated (or disarticulated) in the diasporic space within a complex web of power. Bill Ashcroft (2001) maintains that the notion of horizon challenges the concept of boundary and may facilitate the emergence of different dimensions of hybrid postcolonial subjectivity. In both discussed projects it is obvious that – in addition to their other purposes – the audio-visual and literal narrations created with participants are means to create hybrid stories that challenge hegemonic notions of belonging and enable it to be understood as an embodied, multi-layered and fragmentary horizontal process (Ashcroft 2001; Conquergood 2009; Minh-ha 1991, 6; Oikarinen-Jabai 2015a). Glocal belonging and homes in many places In the both projects it has been obvious that both in the research process and in their productions, the participants approach belonging from multiple perspectives, creating –