Possibilities and Tensions in Educational Research
Edited By Ruth Nicole Brown, Rozana Carducci and Candace R. Kuby
1) Disrupt traditional notions of research roles and relationships
2) Disrupt dominant approaches to the collection and analysis of data
3) Disrupt traditional notions of representing and disseminating research findings
4) Disrupt rigid epistemological and methodological boundaries
5) Disrupt disciplinarily boundaries and assumptive frameworks of how to do educational research
Scholars and graduate students interested in disrupting traditional approaches to the study of education will find this book of tremendous value. Given the inclusion of both research examples and reflective narratives, this book is an ideal text for adoption in introductory research design seminars as well as advanced courses devoted to theoretical and practical applications of qualitative and interpretive methodologies.
Chapter One: “She Came at Me Wreckless!” Wreckless Theatrics as Disruptive Methodology
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“She Came AT Me Wreckless!”
Wreckless Theatrics as Disruptive Methodology
RUTH NICOLE BROWN
“She came at me wreckless!” said a 14-year-old master storyteller who often entertained and informed us with the random details of her particular school day. Similar to reckless, but spelled with a “wr” and spoken in Black-girl-to-Black-girl company, “wreckless” was understood in Saving Our Lives Hear Our Truths (SOLHOT)1 to mean a particular approach that is dramatic, semi-confrontational, and passionately argued even in the case of inevitable defeat. As a performative idiomatic expression, “She came at me wreckless” is a useful point of reference to define the disruptive possibilities of what I call “wreckless theatrics”—a particular method of inquiry that makes possible the description, documentation, and demonstration of new images and meanings of Black girls while also reframing Black girlhood as a perpetual encounter of Black girl genius.
SOLHOT as a space of Black girlhood celebration supports the telling of many truths from diverse Black girls and those who love them. Often in partnership with local youth-serving institutions in the Midwest, SOLHOT engages topics relevant to those who attend and uses various arts to express our truths, individual, and collective. I started SOLHOT in 2006 with Black girls and women ages 11–40. It is important to note, in the doing of SOLHOT, we all consider ourselves students and teachers and do not rely on a hierarchal elitist...
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