[The post below was contributed by guest blogger Ali Kenner, and is part of a series on the relationship between academic precarity and the production of ethnography, introduced here. Read Ali’s prior posts: post 1 & post 2]
In this post I’m going to diverge a bit, writing not about my work for Cultural Anthropology, but about that other project of mine: an ethnography of breathing, and how the breath registers embodied signs of late capitalism (in the contemporary asthma epidemic and U.S. yoga industry). It’s a project grounded in my own yoga practice, a risky set-up, I think, for someone already working on the margins.
Deepa’s weekly prompt asks us about the relationship between form and content in our work. This prompt called to mind the way I position myself to my project, leveraging embodied practice for ethnography. Rereading Carole McGranahan’s post on teaching ethnography, I keep coming back to Ortner’s understanding of ethnography as “the attempt to understand another life world using the self—as much of it as possible—as the instrument of knowing.” Tomie Hahn’s ethnography of dance transmission, Sensational Knowledge (2007), is a powerful example of how body and self become instruments of knowing. Working in the Japanese tradition of nihon buyo, Hahn shows how cultural knowledge is embodied through her own experience and practice of nihon buyo, a practice sustained over three decades. What I find most interesting about Hahn’s work is the way she translates movement and sensation into graspable material for analysis. The argument that culture flows through dance transmission is performed back to readers through Hahn’s own transmission; thick descriptions of sight, sound, and touch.
Hahn also speaks to the challenges and drawbacks of embodied ethnography – studying her own culture, wearing various hats, and negotiating multiple identities. Although my project, and my relationship to it, is quite different from Hahn’s, Sensational Knowledge is an enduring touchstone that inspires my work. It’s important to have one or a few of those in reach.
In the sections that follow I put yoga in conversation with ethnography. In the first section, breathing becomes an instrument of knowing; in the second, I consider how my yoga practice situates me as ethnographer. Continue reading