This text has become a performance of (affirmative) entrepreneurship. This is done by a set of writing (and methodological) techniques: autoethnography, the triptych of mimesis, poiesis, kinesis and a life journey that forms the base of the chapter. As such, this text challenges some well-known shortcomings of entrepreneurship research such as being enacted by a distant observer/writer, decontextualized accounts of entrepreneurship and disregard of creativity and playfulness. The main contribution of the chapter is methodological, in its broadest sense (Steyaert, 2011): I propose autoethnography as “more than method” for engaging with processes of (affirmative) Entrepreneuring that speak to the increased attention for narrativity and playfulness in entrepreneurship (see for example Hjorth, 2017: Hjorth and Steyaert, 2004: Gartner, 2007; Johannisson, 2011). The autoethnographic story offers an engaging and relevant account of the practice of entrepreneurship and provides rich emic insight into the socio-materiality of lived experience. It also highlights the temporality of entrepreneurship – both in terms of chronos (continuous flow of time) and Kairos (taking advantage of the “right moment”) (Johannisson, 2011). And as I continue performing affirmations, I am curious how you are Entrepreneuring your life – tell me. This is a draft chapter/article. The final version is available in Research Handbook on Entrepreneurial Behavior, Practice and Process edited by William B. Gartner and Bruce T. Teague, published in 2020, Edward Elgar Publishing Ltd https://doi.org/10.4337/9781788114523
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The current transnational climate (British Council, 2014) in Europe is likely to continue to generate institutional and classroom situations which dictate that difference and otherness be the norm rather than the exception. Unfortunately, in the 1960's, Black and minority ethnic (BME) migrants from the former British colonies had less-than-favorable educational experiences in Britain due to prejudice and stereotyping mainly arising from cultural differences. Since then there have been a plethora of studies, policies, and reports regarding the perpetuation of discrimination in educational institutions. Today, British higher educational institutions have finally begun to recognize the need to reduce progression and attainment gaps. However, their focus tends to only consider the student “Black and Minority Ethnic attainment gap” with almost no attention being given to educators', or more specifically there is a distinctive lack of thought given to the female BME educators' progression and attainment in British HEIs. As such, this paper draws theoretically and conceptually on critical cultural autoethnography, to illustrate the value of conducting research into a female's BME educators' personal and professional experiences, and “gives voice to previously silenced and marginalized experiences” (Boylorn and Orbe, 2014, p. 15). In doing so, I highlight how higher educational institutions underutilisation of such competencies and contributions have and continue to perpetuate BME underachievement. I conclude the paper by questioning the accountability of providing support for BME educators progression and attainment, challenge educational leaders to consider the value and utilization of cultural knowledge, and implore all educators to reflect on how their personal experiences influence their professional identity.
MULTIFILE
The moment of casting is a crucial one in any media production. Casting the ‘right’ person shapes the narrative as much as the way in which the final product might be received by critics and audiences. For this article, casting—as the moment in which gender is hypervisible in its complex intersectional entanglement with class, race and sexuality—will be our gateway to exploring the dynamics of discussion of gender conventions and how we, as feminist scholars, might manoeuvre. To do so, we will test and triangulate three different forms of ethnographically inspired inquiry: 1) ‘collaborative autoethnography,’ to discuss male-to-female gender-bending comedies from the 1980s and 1990s, 2) ‘netnography’ of online discussions about the (potential) recasting of gendered legacy roles from Doctor Who to Mary Poppins, and 3) textual media analysis of content focusing on the casting of cisgender actors for transgender roles. Exploring the affordances and challenges of these three methods underlines the duty of care that is essential to feminist audience research. Moving across personal and anonymous, ‘real’ and ‘virtual,’ popular and professional discussion highlights how gender has been used and continues to be instrumentalised in lived audience experience and in audience research.
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