Creative Selves / Creative Cultures

Stacy Holman Jones is Professor in the Centre for Theatre and Performance at Monash University, Australia. She specializes in critical qualitative methods, particularly critical autoethnography and critical and feminist theory.   Marc Pruyn is Senior Lecturer in the Faculty of Education at Monash University, Australia. His research focuses on civics, citizenship, social education and multiculturalism.

PART I: Researching and Writing Creative Selves/Creative Cultures.- Chapter 1. Creative Selves/Creative Cultures: Critical Autoethnography, Performance and Pedagogy; Stacy Holman Jones.- Chapter 2. Troubling Autoethnography: Critical, Creative, and Deconstructive: Approaches to Writing; Susanne Gannon.- Chapter 3. Performing Teaching, Citizenship and Criticality; Marc Pruyn, Lisa Cary & Luis Huerta-Charles.- PART II: Mapping and Remembering Creative Selves/Creative Cultures.- Chapter 4. Six Sirens and a Broken Oud: Mapping the Self Within the Political Landscape; Stefan Schut.- Chapter 5. Writing Sensation: Critical Autoethnography in Posthumanism; Summer Dickenson.- Chapter 6. Mind and Matter: (Re)membering, Performing, and Being; Juliana Kirschner.- PART III: Embodying Creative Selves/Creative Cultures.- Chapter 7. Mother-Poems: Using the Confessional as Critique in Autoethnographic Poetry; Sandra L. Faulkner.- Chapter 8. I Am a Monument; Anne Harris & Stacy Holman Jones.- Chapter 9.The Last Days of Education? An Attempt to Reclaim Teaching Through Socratic Dialogue; Craig Wood.- PART IV: Rehearsing and Transforming Creative Selves/Creative Cultures.- Chapter 10. Inside our Islands: Confronting the Colonized Muse in the Decolonizing Performance Space; Linden Wilkenson.- Chapter 11. Shrug off the Old Lies: Writing Critical Autoethnography as Decolonality with Helene Cixous; Elizabeth Mackinlay.- Chapter 12. Transformer: More Than Meets the I/Eye; Fetaui Iosefo.- PART V: Tracing, Playing , and Improvising Creative Selves/Creative Cultures.- Chapter 13. Got Lost: Embodied Vocal Performance at the Junction of Autoethnography and Practice-Based Research; Jessica Aszodi.- Chapter 14. Creating Memories: A Cartography of Musical Learning; Phoebe Green.- Chapter 15. Critical Autoethnography Musical Improvisation: Reflections, Conjuctions, and 21st Century Dimensions; Leon de Bruin.- Chapter 16. Creative Selves, Creative Cultures, Creative Futures; Stacy Holman Jones.