Abstract
Within this final chapter, I reflect on an artist’s need to extrapolate elements of self to be able to continue to blend autobiographical performance, and as part of this reflection I observe how mesearch does not merely use a present lens to articulate an understanding or interpretation of the past, but it engages with the hybridity and temporality of the human experience, triangulating the past, present and future selves. This ending chapter considers how mesearch is self-analytical, embodied, creative and a collaborative enterprise which can serve other practitioners and researchers. It is a process which allows the researcher to be self-critical.
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Notes
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Through contracting a viral infection (while travelling abroad) I have developed myalgic encephalomyelitis (ME) resulting in body-wide pain and cognitive disruption. Thus now having to renegotiate the effects of pain and lack of memory commitment alongside age(ing) and obesity within my performance projects.
Bibliography
Custer, D. (2014) ‘Autoethnography as a Transformative Research Method’ in The Qualitative Report, 19(21). pp. 1–17.
Edward, M. with Bannon, F. (2017) ‘Being in Pieces: Integrating Dance, Identity and Mental Health’ in Karkou, V., Oliver, S. and Lycouris, S. (Eds.) The Oxford Handbook of Dance and Wellbeing. New York: Oxford University Press.
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Edward, M. (2018). Reflections on Mesearch. In: Mesearch and the Performing Body. Palgrave Pivot, Cham. https://doi.org/10.1007/978-3-319-69998-1_8
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DOI: https://doi.org/10.1007/978-3-319-69998-1_8
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