mgcollective biography final assignment 090207
TRANSCRIPT
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An experience of inscribed collectivity
1
An experience of inscribed collectivity:the trace of a gendered journey (mid-point
17:10:2006 Bristol UK)
Abstract
This paper is an attempt, through text and other
visual techniques, to convey my own experience of
taking part in a short collective biography workshop.
Through the experience of the workshop,
subsequent reflection and diaries, and through the
use of writing as a methodology I have created a
paper that reflects my belief that inscribed within
my body is my own local knowledge of gender and,
more importantly, intimate connection to other
humans I continue to consider how open these
inscriptions are to adaptation, development,
conflation or abandonment.
This is a Rites of Passage story. After setting the
context, I give a short history of this Collective
Biography, before exploring aspects of my personal
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An experience of inscribed collectivity
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experience. I conclude by briefly considering the
pain of inscription.
Stuff and Non/sense
I am troubled and confused. Where to begin?
Hesitate. Deep breath. My God, this paper has
been a challenge. My body feels tense right now
why was it that yesterday, when I knew that I must
finally put all my notes together and create a text fit
for my peers (and the academy), I inexplicably
pulled a muscle in my shoulder that makes it more
painful to type? Why do I know that the typing
would in any case be painful? Why is my breathing
shallow breathing in this moment of introspection, of
dialogue with my selves?
Many questions; many answers:
1. A text fit my peers, I say in passing, and perhaps
that is one crucial aspect of this present writing: how
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to do justice to the shared experience of others? Of
course, this is no different to the prospect of
communicating any form of research that involves
human beings beyond myself. And yet that
experience of Group C1 in conversation and
collaboration demands more maybe because it
became so essentially meaningful to me that I
continue to hold it in aspic, to watch it like the
desired dessert whose sweetness can only be
savoured after the tedious main course. Im bloated
by the vastness of the main course of my life. I want
no space to consume my just desserts. And then
there is a desperate fear that, while I look on, the
experience may already be ossified, fit only for the
mausoleum of many group experiences.
2. I need to recognise that the subject matter of our
collective conversation (early experiences of gender)
resonates with my continuing personal experience of
my daughters bullying at the hands of older boys.
There is a mouldering tanginess of disgust in the
passages of my head, and a pent up energy within
these old bones. A paradox of mildewed compost-bin
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An experience of inscribed collectivity
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history and lime pickle all in one stumbling,
continuous moment of life. I am part of this live
political experience. I am the Action Researcher in
my own world. I wish to make a difference.
3. I am afraid that I may not be able to make a
difference. I am afraid that this work today may not
make a difference. I am afraid.
As Mikhail Bakhtin suggests, I become myself
only by revealing myself to another, through
another and with anothers help. I cannot do
without the other: I cannot become myself without
the other: I must find myself in the other, finding the
other in me (in mutual reflection and perception)
(Todorov, 1984, p.96). And so it was, that in a
significant manner I discovered more of myself, and
others, in the clinical spaces of bleached academic
Gender-related stories I recognise from my own growing up experience - 1
it kind of irks me to see boys sit down unnecessarily.Stand tall and be proud. With a little practice they can help
extinguish a campfire because believe me, until you haveexperienced that little gem you haven't really lived.
Jacks Shack, 2006
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An experience of inscribed collectivity
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meeting rooms. The unbearable lightness of being
in spaces that add little sense of a history at least,
of a history that reaches as far into the past as the
stories that we shared. This in itself impacted on
the gelling of a collective who, though knowing each
other, knew nothing much of each other. Sue,
Sophie, Malcolm, Mike and Christine I salute us all!
A short history of this Collective Biography
A collective biography could simply be an
expression describing the normal method of
constructing meaning within societies: we tell each
other stories of our personal experiences, and
construct from this a shared understanding of the
world we inhabit. However, how we tell these
Gender-related stories I recognise from my own growing up experience 2
there was shame attached to being a girl in a boysworld, or a boy in a girls world. We have not yet had
time within the collective to tease out more about what itmeant to be a boy or a girl or multi-gendered.
Sue Dale (Collective Member), 2006
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An experience of inscribed collectivity
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stories is significant: they may be communicated
through spoken and non-verbal language in a direct
person-to-person experience, or they may be
recorded (and subsequently decoded by
reader/observer) through written text or other
recorded visual forms (e.g. cave painting,
photography etc.). What has now become known
amongst qualitative researchers as Collective
Biography uses both these forms of discourse in an
attempt to uncover lived experience and throw light
on unseen normative influences at work within
societies2.
The very simplicity of the idea, in the sense that it
directly replicates a constructionist view of meaning
making, is perhaps its strength. However, the
concept has no definition as such, having developed
from the Memory-Work of socialist-feminist
researchers in Eastern Europe led by Frigga Haug
(Haug et al., 1987; Haug, 1992; Onyx & Small,
2001), who carried the concept to Australia and into
the hands of Bronwyn Davies and others (e.g.
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An experience of inscribed collectivity
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Davies & Gannon, 2006). It was here that post-
structuralism nurtured and re-shaped this process of
collective auto-ethnographic research whilst
retaining the centrality of gender as its primary
subject matter.
The term, collective biography is useful because it
both describes the method of working with personal
stories and the oxymoronic implication of the phraseforegrounds the tension between the individual and
the collective that is both the crux of the method and
the source of its dilemmas.
Gannon, quoted in Onyx & Small, 2001
So it was that Jane Speedy (2006), in her work as a
narrative therapist and researcher, encountered the
Collective Biography of Australian academia and
brought home the concept to colleagues and
students in the Graduate School of Education in
Bristol. In this UK version of Collective Biography,
Gender-related stories I recognise from my own growing up experience - 3
You forgot to mention being able to write your name in thesnow ;-)
Jacks Shack, 2006
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An experience of inscribed collectivity
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members of the research group (or collective) share
personal stories of their own experiences around a
theme (in this case Explorations of Gender and
Power). These, or other, stories are then individually
written before being constructively critiqued by
other members of the collective in a protocol based
around the techniques of Definitional Ceremony and
Reflecting Teamwork (White, 1995). At least that
was the theory3.
In Australia the intensity of the Collective Biography
process had been heightened by the practice of
holding residential workshops in the holiday
destination of Magnetic Island. These groups were
always single gender, continuing the feminist
tradition of Frigga Haug and her colleagues. The
academically validated Collective Biography unit,
from which this paper results, appears to be the first
attempt at work with a mixed-gender collective. It
also differed from previous Collective Biography
workshops in the length of time that the collective
(in my own case, Group C) was physically together.
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An experience of inscribed collectivity
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It was generally recognised by all participants that
ten hours or less was unlikely to be sufficient time to
produce research results: it was hoped that the
experience would engender some understanding of
the process, and offer the chance of follow-up work
should the collective choose.
Collective Biography is not only story telling.
Writing as a methodology for research has long
been recognised (e.g. Richardson, 1997, 2000;
Richardson & St. Pierre, 2005) and is central to the
Collective Biography process. However, although a
protocol for the development of individually and
collectively written work has crystallised out from
past experiences of collectives, for many
participants it seems that the simple presence of
our bodies together in a particular place and timeis
crucial to the process (Davies & Gannon, 2006,
p.118; see also Park, 2005). Susanne Gannon goes
on; our collective writing in cyberspace has
been sustained by the deeply embodied experience
of these bodies together in that place(ibid., p.118).
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An experience of inscribed collectivity
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This has been my personal experience of Collective
Biography so far I find myself pondering as to how
long such a trauma (for that is a reasonable
description of my felt experience, despite its more
normal negative connotations) remains embodied.
Shared experience in Collective Biography4
Journal Day 3Ive worked in many groups,therapeutic, training, definitionalceremony, supervisory, but thisgroup was different. Theexperience so profound is difficultto put into words. The difference
between feeling a connectedindividual within a group of otherconnected individuals with varyinggroup dynamics, to what wentbeyond this description towardscollective experience. Thissomething held between uscreated a feeling deep within mybody as if these other storiesbecame embodied within myexperience. Hearing the storiesagain, becoming that giggling boy
in the cupboard, the girl left behindcrying dont go with(out) me theboaters on elastic and the chest highelbows reminding me that I dont belonghere anymore that small boy who wastoo big and who should have been agirl that invisible child ashamed.
There was for me a sense of becomingmulti-gendered.
The brutal betrayal of ripping him/herapart, the bewilderment, the flatness.The movement towards individual (ness)within a group which hurts so much.
Sharing these stories amongst a wideraudience needed for me to move backinto that same place of collective, butthis time shift the stories into an older
Gender-related stories I recognise from my own growing up experience - 4
When I was a child, I spake like a child,
I understood as a child, I thought as a child:
but when I became a man, I put away childish
things.
The Bible `1 Corinthians 11
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An experience of inscribed collectivity
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less vulnerable place. I hadbecome feeling invisible not
belongingstill unfair in the cupboard alonein the rain.
Oh, what a surge of excitementas I read this that my ownbody is not mistaken in itsfeelings (though how can abody be mistaken in what itfeels?). Ive worked in manygroups, early encounter groupsin the 1970s through tofacilitating therapeutic singlegender groups and personaldevelopment groups forprofessional training incounselling and psychotherapy.I too found the experience ofGroup C something beyondwords so Ive freed myselffrom words and let myselfcreate a picture to express this
something that we speakabout deep in our bodies5. Fornow, as I write I can surely feelthat experience, and can touchsome part of you, Sue. Andnow Im feeling Malcolm andthe sun; now Christine, alwaysupright, always held in tension,so perfectly book-learntChinese - and little girl so, so
valued; I feel water (where is thatintervening image seeping from
right now as I become aware of thistingling sensation of real livingshooting through the physical bodyof mine?) and a duck pool6 in thecourtyard square; and Josiesbudding breasts and confusion; andmy own little self, peeing up theshed wall as high as I can, and then,yes, how could I ever be what wasdemanded of me?7 To be a girl inthe body of a boy to become multi-gendered.
As I sit for a moment, contemplatingthe brutal betrayal I become awarethat my left hand is pulling my shirtand fleece clear away from mythroat. A constricted sense of beingsuffocated by this demand to
belong? And this was anexperience of belonging and ofkeeping each other safe. Of walking
away together to a place of lessconfusion, a place of growingautonomy, where the hauntingmemories of earlier childhood wereonce more invisible. And yet, we (inso many ways an experienced groupof adult educators) did not have theimmediate knowledge or experienceof which way to turn.
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An experience of inscribed collectivity
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How I feel when I experience Group C
Figure 1. How do I feel when I experience Group C?
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An experience of inscribed collectivity
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A taste of ginger in Collective Biography8
Ginger helps on the boat -
A thin slice of fresh root held
between teeth and cheek
takes away a little of the rough passage
Twelve hours of tossing and turningin my narrow cabin bunk -
bereaved
lost
such a precious time
together -
a delicious time
discovering each other and ourselves
like lovers
late adolescence tales
of drug-induced gladness in Australia, York
and ourselves
taking away the pain of earlier-year stories
told but yesterday
Green Claw over tea and toast
(1)Rebellion
(2)Revolution and then (3)Revisionism and the banner swirls red-blood high
for just a few more moments
before the wind dies
Sick with the swell
and the rising and the yawling
I crawl to my notepad
the rhizome calling
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An experience ofCollective Biography
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After I read it out to you, you gave your first impressions - and I jotteddown some of the words and phrases that resonated with my ownexperience and added to it.
This is what I wrote:
Disappointment - feeling heavyfeeling sadchild in an adult world - not getting it
'Rain not as gentle' phrase v.poignant & sad You were Too big - she was damaged - heavy/sad- cars punctuate events
embodiment senseraining running down awindow like tears streaming
Sense of responsibility down - lonelyfor nothing I had controlover - like the rain trapped like a feral
animal
Too big - too small - animal skin of leather smell
This material should perhaps be the starting point
for my contribution to the Group C collective should
we decide to pursue the issue of gender and power
through the method of Collective Biography.
Gender-related stories I recognise from my own growing up experience - 5
It grew less to be like fucking,and more like making love
Al Stewart, Love Chronicles, 19699
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I recall the joy of really writing something that hit
home in the pit of my stomach; the pain of re-writing
and the sense of validation as the collective, each
voice alone, agreed: my work was better for the
immediacy, the simplicity, the sheer uncluttered
emotive phenomena of the first version (see
Appendix 2).
CB: THEY
DID IT THEIR
WAY!To quote Davies, et al:
(2000 :19) this process is
not the warm fuzzy pursuit
of empathy and The
questioning and challenging
of each others stories cantake on a ruthless
quality11
This was the way that
tutors broke the news to
the participants on the
Collective Biography
workshop at Toffsville Uni
last October no, there
would be no tree frogs in
Bristol because here in
the UK we can take the
strain and lap up the pain!
Well, that wasnt to be the
message the mad bolshies in
one caucus would take heed
of. They thought they knewbetter! Three women and two
men (whoever heard of
mixing gender in Collective
Biography? therell
always be questions there
wont there?) played away
and claim to have done the
whole thing painlessly.
One member of the tear-away
gang, Mike Gallant, said
its all about involvement
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and intimacy, caring and
contentment, its about the
paradoxes of
poststructuralist humanism
and a constructionistworldview.
Bollocks!, we say - if
its going to be proper
Collective Biography its
gotta hurt know what we
mean?
Have your say log on at
www.cb.getitright.co.uk totell the softy lefties that
socialism just aint like
that! Ask Frigga Haug!
Themes in our Collective Biography
Gender and Power
Mortal, invisible
Invincible [I think of this
as Sues repeating theme]
In life inaccessible
hid from our eyes
Explorative
Shame
Physical hurting, confusion and aloneness
Group Process
You tell yours and I want to tell mine (experience)
Inexplicable connection
Possessiveness
Anger, defensiveness and xenophobia (other groups
dont do it like us)
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Gender-related stories I recognise from my own growing up experience - 6
Yours is the Earth and everything that's in it,
And - which is more - you'll be a Man my son!
Rudyard Kipling, If12
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Plagiarism in Collective Biography13
>
> Back to the
collective. Plgiarism
(can't even spell it!) is
always a
> problem to me in
that as I listen to other
peoples stories, they
become
> part
> of my own story and
it is very difficult to
separate me from them
- does
> that make any
sense? This unit is a
minefield of shared
experience and
> I'm
> not sure that it would
be right to take out the
collective stuff.
>
Sue Dale email
27:11:06 8:34
Yes, lets get back
there! And the
sooner the better
I know that Im using
your ideas and even
your words and I
know that I will sign a
form saying that
these are all my ownwords except the
ones that arent
though God only
knows where my
words come from if
they dont come from
you and you and
you and youAnd yet, of course I
know (connaissance
or savvy?) what
plagiarism is its not
this.
This is my story and
this is your story
this is the riparian
zone14 that is such a
nutrient-rich area
close to the flowing
waters of the river of
my world.
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Although the material products of Collective
Biography can be genuinely the work of one author
(for example, the writings of a member of the
collective who is collating their own experience of
the collective), an explanation of how the product
came to its fruition (a requirement of an academic
assignment such as this) necessarily benefits from
extensive quoting of the written work (or other
recorded communications verbal, non-verbal,
electronically mediated or immediately experienced)
of other members of the collective. In this collective
method of writing it is the very process of savouring
(savoir) the text of others that creates, through the
distanciation, another hermeneutic cycle. This is not
plagiarism.
Gender-related stories I recognise from my own growing up experience - 7
(Hanif) Kureishi made the interesting point that we
are no-longer shocked: It used to be not that long ago
that to shock was shocking, but that isnt the case anymore.
Now to shock is to conform and there doesnt seem to be
such a thing as normalcy if there was it would be shocking.
According to Kureishi, we all desire to be shocked,
and art finds that harder and harder to do now
that is why he wanted to get finished early enough to
get home in time to catch Big Brothers action of the day.
Simon Smith and the Amazing Dancing Bear (2007)
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Conclusion on this Collective Biography
Feelings are embodied; texts are inscribed. On
balance I believe that my experience of gender and
power has been both embodied (through primary
experience) and inscribed (through recontextualised
media). Inscribing is the more painful of the two
processes, though most of the time I cant feel it.
George MacLeod described Iona as a "thin place" - only a tissue paper
separating the material from the spiritual. To spend some time in such a
historic and inspiring setting is to be open to challenge and the exploration
of new horizons.15
I have found another thin place it is a place I can
carry with me into any space it is a place where I
own my understandings a place where I thicken,
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sprout, nurture and fertilize a thin place where I
can touch you through the tissue paper.
Notes
1. Group C was one third of the student and tutor participants of
the October 2006 Collective Biography Unit of the Bristol
University EdD (Narrative Strand) course. Meeting over two
and a half days, the taught course contained substantial
input from tutors and students in addition to approximately
ten hours spent in the small group Collective Biography
workshop on Explorations in Gender and Power.
2. An essential feature of Collective Biography as a research
method is that, compared to other (qualitative and
quantitative) techniques there is more substantial creation of
knowledge (savvy?) though a tight (in terms of time and
space) hermeneutical cycle. An interesting observation here,
and one that aligns Collective Biography with Western
Scientific Knowledge (WSK) rather than Traditional Knowledge
(TK) (see, for example, Dods, 2004), is that in common with
modernist western society, written text is relied on as thedominant producer of savoir (know how knowledge).
Although the distanciation that this produces may allow for a
hermeneutical cycle that thickens understanding within the
Collective, this understanding may be mistaken for
connaissance (know that, true/false knowledge) by the
reader of the research product who necessarily experiences
decontextualisation and recontextualisation within the
context of its reading (see, for example, Ricoeur 1998). This
is perhaps an unavoidable aspect of communicating anyresearch that uses the pathways and dissemination
techniques of WSK! It is a strength of Collective Biography as
part of the Grand Narrative of WSK.
3. Our tutors, Jane Speedy, Tim Bond and Malcolm Reed, set the
rules for our Collective Biography workshop before we began
(see Appendix 1). In practice, Group C discovered such
delight in the story-telling aspects of the process, and such a
sense of immediacy in our first written work, that we ignored
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rules and created an intimate group experience that perhaps
led more towards personal growth than a Collective
Biography. I was happy to take such a rare opportunity to
share intimate life experience, and to enjoy the feelings
engendered. For us, Collective Biography appeared to be
about the outcomes suggested by Bronwyn Davies and
colleagues (2004) though without the ruthless qualities of
questioning and without the fuzzy empathy. Empathy was
not what I, at least, felt connection and intimacy describe
my feelings more accurately. The difference is certainly
subtle!
4. The left hand column is the work of Sue Dale - shared withthe collective (by email) November 2006. I have written a
commentary of my reactions to her words in the right hand
column.
5. In 2002 I kept a Visual Diary (see, for example, Ganim &
Fox, 1999) that involved a daily meditation on a particular
aspect of my experience before translating the feeling of that
experience into a visual piece of art. Since that time I have
occasionally used the technique to clarify my experience
without the use of language and/or text. I began the process
on this occasion by writing the question How do I feel when I
experience Group C?. I meditated on this for five to ten
minutes and then created the image, first with an
extravagant pencil doodle and then using this series of
shapes as a base for pastel colour.
6. I realised later that my embodied feeling of a pool in relation
to reading Sues words (which in turn related to Christines
story) might have been prompted by Christines own words(interestingly, I had altered pond to pool in the text as I
came to the end of the phrase, as the word pond didnt feel
right): Once we start telling, each story seems to lead to the
next, one persons memories triggering anothers. There is
some laughter, but also distress and powerlessness in our
stories and we lean in towards each other as the telling and
responding goes round. I talk of my sense of a gathering
pool of stories in the middle which connect us. After about
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an hour (by this time weve abandoned the bits of paper with
tasks and timings) we have a tea break and, slightly less
connected, get back together again to write a short piece
each. I move my chair out of the tight circle and turn away to
write others do the same. Christine Bell (Collective
Member), 2006.
7. Appendix 2 is the text of the story I wrote on the first day of
the Collective Biography Unit at Bristol on 16 th October 2006.
It concerns my early experience of being aware of my gender,
and how I learnt that I was the wrong gender.
8. This interlude celebrates what has been termed the
rhizomatic qualities of a research methodology that includes
writing on rather than writing up the available data (see,
for example, Amorim & Ryan, 2005).
9. The second album by Al Stewart received early notoriety for
including the word "fucking" in its title track, and reprinting
the word on its inner gatefold sleeve for all to see. Shocking.
The controversy thus gained was probably useful in garnering
sales of the record, but, truth to tell, it overshadowed the real
reason why 'Love Chronicles' was as vital to the student
population of 1969 as Heinz beans, matches and marijuana. It
was, and is, for the most part, a very fine record. Accessed
at http://www.headheritage.co.uk/unsung/review/599 on 3rd
February 2007.
10.After an introduction to the theory and practice of Collective
Biography work the large group of the Collective Biography
unit was split into three working collectives. I found myself in
Group C. I was not aware of any particular choice in the
division of the large group. There was an initial period ofextensive story telling and conversation around the theme of
my earliest experience of gender, before we spent twenty to
thirty minutes writing a story of an early experience of gender
(Appendix 2). We then read these stories to each other, one
at a time, giving limited feedback on our immediate cognitive
and visceral reactions to each others material. That evening
I re-wrote the contemporaneous notes I had made as the
other members of the collective gave me their feedback on
http://www.headheritage.co.uk/unsung/review/599http://www.headheritage.co.uk/unsung/review/599 -
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my own story. It is that which is reproduced here as the
starting point for this section.
11.This quote is from the Guidelines for Collective Biographygiven out to participants as part of the pre-reading for the
module (see Appendix 1).
12. The final two lines of If by Rudyard Kipling accessed on
January 20th 2007 at http://www.allspirit.co.uk/kipling.html
13.The question of plagiarism was raised in email
communications between members of the collective. There
was concern about matching the needs of the assessment
process of the University with the reality of the Collective
Biography process.
14.See Park, 2005.
15. I visited the island of Iona whilst travelling with my partner at
the age of seventeen and it made a lasting impression on me.
The Iona community, based at the Abbey church on the island
(though now comprising members worldwide) was founded in
1938 by the Rev George MacLeod, is an ecumenical
Christian community of men and women from different walks
of life and different traditions in the Christian church that is
committed to seeking new ways of living the gospel of Jesus
Christ in today's world. Text is from
http://www.iona.org.uk/abbey/main.htm accessed on January
27th 2007.
http://www.kipling.org.uk/poems_if.htmhttp://www.iona.org.uk/abbey/main.htmhttp://www.kipling.org.uk/poems_if.htmhttp://www.iona.org.uk/abbey/main.htm -
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References
Amorim, Antonio Carlos & Ryan, Charly (2005) Deleuze, Action
Research and Rhizomatic Growth in Educational ActionResearch, Vol.13, No.4, pp. 581-593.
Bell, Christine (2006) Hoping for Tree Frogs. Draft Assignment forBristol University EdD Collective Biography module, sent by email on6th December 2006.
Dale, Sue (2006) Deconstruction or destruction: Exploring theexperience of a collective biography workshop from a personalperspective. Draft Assignment for Bristol University EdD CollectiveBiography module, sent by email on 27th November 2006.
Davies, Bronwyn, Browne, Jenny, Gannon, Susanne, Honan,Eileen, Laws, Cath, Mueller-Rockstroh, Babette and Petersen, EvaBendix (2004) The Ambivalent Practices of Reflexivity inQualitative Inquiry, Vol. 10, pp. 360-389.
Davies, Bronwyn & Gannon, Susanne, Eds. (2006) DoingCollective Biography. Maidenhead: Open University Press.
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Appendix 1
Collective biography: Guidelines for producing collective biography
within a workshop context: (from Davies, et al, Qualitative Inquiry, June2004)
A process of conjointly reading for meaning, underpinned by notions of
the self as verb, perpetually in process, shaped and shaping, rather
than the self as noun.
The idea is to make visible the discourses through which we make
meanings and make selves, including the discourses informing the
collective biography workshop itself, not just those informing
individuals in their daily/previous lives
1. generate stories on chosen themeeach one threading on to the
last
2. tell stories, others listening carefullyprobing where necessary for
further images and details to support the imagined story in their
own minds eye
3. to take off, in new directions with new stories noting linkages and
differences.
4. repeat the process
5. after about an hour of this process, participants go off and write on
this theme by themselves for half an hour or so writing not only
autobiographically, but also with the aim of writing into the space
that makes discursive processes and practices transparent, ie:
noticing the histories in which they have been caught up (eg: as
Europeans, moral beings, music lovers, etcetc) and developingan explicit awareness of the constitutive process of writing
Questions for listeners to ask of a first draft:
1. Is it plausible/does it ring true?
2. Does it work for me?
3. Was it well remembered/clearly described?
4. Was there sufficient detail for listeners to imagine it?
5. Could listeners make sense/meaning of the story?
6. Were there clichs generalisations, value-laden pieces where
sharper clearer language might have been?
7. Have other details, memories, particularities come to mind duringthis process that shed further/new/unexpected light on the story?
By removing the general, the vague, the unclear (as far as the
collective imagination goes) we are not trying to get closer to the real,
but rather, exposing more of the discursive processes and imperatives
that are at play
To quote Davies, et al: (2000:19) this process is not the warm fuzzy
pursuit of empathy and The questioning and challenging of each
others stories can take on a ruthless quality
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This perhaps seems a little stark but the purpose is not to tell the
original storytellers story to their own personal satisfaction, it is to tell
it in a way that can be vividly imagined by others (for which sharply
accurate and specific reflections and questions from others arerequired)
The writing thus becomes, itself, a self-conscious, reflexive, and
innovative act that seeks to avoid the repetition of well-practiced ways
of knowing and includes, instead, detailed, embodied memories
(2004:372)
Davies, B. (2000a). A body of writing 1989-1999. Walnut Creek, CA: Alta
Mira Press.
Bronwyn Davies, Jenny Browne, Susanne Gannon, Eileen Honan, Cath
Laws, Babette Mueller-Rockstroh, and Eva Bendix Petersen (2004) The
Ambivalent Practices of Reflexivity, in: Qualitative Inquiry, 10: 360 -389.
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Appendix 2
Ive lost control. Im not who I thought I was. I was I was me.
I was a child if I was anything at all, and now Im not who I should
be and theres even worse. But Ill come to that later firstthings first.
It slipped out. My father speaking, you shouldve been a girl.
One boy, one girl. Maybe I looked aghast. A dumb pause. Hes
speaking again, after your brother, mum and I wanted one of
each. He looks thoughtful for a moment, and now she cant.
Blank silence. Im not understanding. I look up to his matter-of-
fact face, curiosity written in my young childs frown. She gotso damaged having you, she cant have anymore children - you
were too big.
The shock, the momentary re-writing of a life so far. I am the
guilty one, The one who has taken away everything that my
father and my mother want. How can I put this right? I have to
please them. They dont want me. I have to please them, the
doctor said it would be fine you were a month overdue. But I
wasnt listening now. I was wondering how to make amends.
The car pulls up outside the school gates and I pull open the
door. Its a boys school. A boys preparatory school. Can I be
prepared anymore? How to please my parents, to be the girl
they want but somehow cant have because of me?
My God! If Im not going to be a boy, perhaps I cant be part of
this. The noise of the slammed door.
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The car pulls away, the engine gently moving things on. The
exhaust still steaming in the autumnal dampness. The leaves,
perfect symmetrical figures, intense orange and red, fallen onthe tarmac now marked with the tracks of tyres.
I become aware that the rain is not so gentle as I thought. The
heavy drops are tumbling on my life. I put my satchel over my
head, the smell of comforting wet leather closer to my face. I
check in both directions and cross the road.