Publications:
Post humanist Collaborations in Performance: A Praxis-based Approach to Qualitative Inquiry https://www.routledge.com/Posthumanist-Collaborations-in-Performance-A-Praxis-based-Approach-to-Qualitative-Inquiry/Brisini-Simmons-Spry/p/book/9781032610276
Autoethnography and the Other: Unsettling Power Through Utopian Performatives
https://www.routledge.com/Autoethnography-and-the-Other-Unsettling-Power-through-Utopian-Performatives/Spry/p/book/9781611328608?srsltid=AfmBOooQ2m6HLixATQ1VtZCOmJaTyN2RfxkY1tThwH6s4FEGAj5tWhqs
Body Paper Stage: Writing and Performing Autoethnography
https://www.routledge.com/Body-Paper-Stage-Writing-and-Performing-
Autoethnography/Spry/p/book/9781598744873?srsltid=AfmBOopcMaydhDyZEMVeds85pehbQ4PkqfyFoe9s6tqXLhXCQxmeUDV4
How Writing Touches: An Intimate Scholarly Collaboration
https://www.cambridgescholars.com/product/978-1-4438-3625-8
Bibliography:
Essays
o (2024) Desert Garden Fieldnotes. Desert Times, Spring Edition.
o (2023) Performative Autoethnography: A Matterphor of Things. The
Routledge Handbook of Performance Studies. Eds. Craig Gingrich-Philbrook
and Jake Simmons Routledge.
o (2022) The Matter of Performative Autoethnography. Handbook of
Autoethnography 2 nd ed. Eds. Tony Adams, Stacy Holman Jones, and Carolyn
Ellis. Routledge.
o (2022) Embodiment, Utopian Performatives, and the Inappropriate/d Other.
The Wiley Blackwell Handbook of Performance Studies. Ed. Stacy Holman
Jones.
o (2019) Canvasing the Body: A Radical Relationality of Art, Body, and Vibrant
Materiality. Qualitative Inquiry at Crossroads. Eds Norman Denzin and
Yvonne Lincoln, Routledge.
o (2017) Skin and Bone: Beauty as Critical Praxis. Qualitative Inquiry 1, 3.
o (2016) Performative Autoethnography: Performative Embodiment and a Bid
for Utopia. Sage Handbook of Qualitative Research: Sage.
o (2016) Ordinary Flow. Departures in Critical Qualitative Research
o (2015) An Unsettled “I”: Response to Robin Bylorn’s Sweetwater. Departures
in Critical Qualitative Inquiry, 4,1.
o (2015) By The Roots: A Postscript to Goldilocks. Text and Performance
Quarterly, 36, 2.
o (2014) with Marla Kanengeiter and Daniel Wildeson. Possibilities and
Positionalities, Text and Performance Quarterly, 34, 1.
o (2013) Performing Academic Bodies, Text and Performance Quarterly
o (2012) Unseating the Myth of Horse and Girl, Now That’s True Grit. Cultural
Studies<=> Critical Methodologies, September 2012.
o (2011) The Accusing Body. Cultural Studies <=> Critical Methodologies
August 2011, vol. 11 no. 4 410-41
o (2011) Performative Autoethnography: Critical Embodiments and
Possibilities. The Sage Handbook of Qualitative Research 2010. CA: Sage,
2010.
o (2010) Call It Swing: A Jazz Blues Autoethnography Critical Studies<-
>Critical Methodologies, 10, 4, 271-282 .
o (2010) Entanglement and Rapture. International Review of Qualitative
Research, 3 (2).
o (2010) Some Ethical Considerations in Preparing Students for Performative
Autoethnography. Qualitative Inquiry and Human Rights. Eds. Norman
Denzin and Michael Giardina. CA: Left Coast Press.3
o (2009) Bodies of/as Evidence in Autoethnography. International Review of
Qualitative Research
o (2008) Systems of Silence: Word/less Fragments of Race in Autoethnography.
International Review of Qualitative Research, 1, 1, 75-80.
o (2006) Performance, Autobiography, and Subjectivity in Mirror Image. Text
and Performance Quarterly. 26, 3, 313-316.
o (2006) A Performance-I Copresence: Embodying the Ethnographic Turn in
Performance and the Performative Turn in Ethnography. Text and Performance Quarterly, 26, 4, 339-346.
o (2003) Illustrated Woman: Autoethnography in Performance. Voices Made
Flesh: Performing Women’s Autobiography. Lynn Miller and Jaqueline
Taylor eds. Madison: U of Wisconsin Press.
o (2001) From Goldilocks to Dreadlocks: Hair-raising Tales of Racializing
Bodies. The Green Window: Proceedings of The Giant City Conference on
Performative Writing (pp. 52-65). Carbondale: Southern Illinois University.
o (2001) Performing Autoethnography: An Embodied Methodological Praxis.
Qualitative Inquiry, 7, 706-732.
o (2000) Tattoo Stories: A Postscript to Skins. Text and Performance Quarterly,
20, 84-96.
o (1998) Performative Autobiography: Presence and Privacy. The Future
of Performance Studies: Visions and Revisions Sheron Dailey ed. VA:
National Communication Association Publication. 254-259.
o (1997) Skins: A Daughters (Re)construction of Cancer. Text and Performance Quarterly 17, 361-365.
o (1995) In the Absence of Word and Body: Hegemonic Implications of “Victim” and “Survivor” in Women’s Narratives of Sexual Violence. Women and Language, 18, 27-32.
Numerous panel presentations. Listed are from 2014; 1991-2014 upon request.
National Communication Association:
o 2022: “Almost the Lily: Staging Matterphor"
o 2020: "Enchantments and Incantations: Performative Autoethnography as
Alter-Tale"
o 2018: "Canvasing the Body: The Radical Relationality of Art, Body, and Vibrant Materiality"
o 2017: “The Willful Embodiment of "We""
o 2016: Autoethnography: Have We Said Enough About Ourselves? Panel Discussion.
o 2015: …And Stage to the Page: Theorizing From Embodied Aesthetic Practice. Panel Discussion
o 2014: “The Feminist Aesthetics of (Disciplinary) Kinship: Centralizing the Gendered Body in/as
o Performance”
o “Performing Utopia: Critical Modalities of the Flesh"
o “Scholarship of the Heart: The Embodied Influence of Ronald J. Pelias”
o Respondent: "Fabric of the Universe" Violet Juno, Performance Artist
Central States Communication Association:
o 2019: “The Politics of Trolling” Tami Spry, St. Cloud State University
o “Posthumanism and the Dialogical Performance of Literature” Tami Spry, St. Cloud State University
o 2018: Performance Studies and Autoethnography: Living with the Tensions. Panel Discussion.
o “Rock and a Hard Place”
o 2014: Elevating Deliberative Democracy and Civic Engagement in the Basic Course
International Congress of Qualitative Inquiry:
o 2008-2023:All Conference Workshop: Performative Autoethnography
o 2023: Collective Speculation
o Respondent: Honoring the Scholarship and Performative Acumen of Tami Spry
o “Cutting”
o Plenary Performance “Faces” : Directed and Performed
o 2022: Lifetime Achievement Award
o “Breathing”
o 2021: Collective Speculation Plenary
o 2020: “Transfixed, Transformed, and Incantated: Performance as Enchantment”
o 2019: “Bones, Stones, and Humility: Embodying Relationality at the CAC”
o Arts-Based Research: Flipping the Script: Performance of Literature in/as Recovery, Remembrance and Resistance, Panel Discussion.
o “Rock and a Hard Place: The Embodied Politic of Storied Matter”
o 2018: Plenary: Standing together/four blooms on a sturdy stem/we bow to ur sides/ …
o “Canvasing the Body: The Radical Relationality of Art, Body, and Vibrant Materiality”
o 2017: “The Inappropriate/d Other and the Unsettled-I: A Girl and Her Horse”
o Autoethnography: Writing About Writing: The Work of Words, Panel Discussion.
o “Utopian Blues: Autoethnographic Vocality”
o 2016: “Utopian Performatives: The Willful Embodiment of ‘We’”
o Plenary: The Work of Writing
o 2015: Autoethnographic Presents and Futures
o Spotlight: Autoethnography: Moving Forward, Looking Back, Panel Discussion.
o “’Between My Jug and My Heartache’: Heartbreak, Heresy, and the Blues”
o “Flow and Arrest: Encountering Kathleen Stewart”
Awards
-Lilla A. Heston Award for Outstanding Scholarship in Interpretation and Performance Studies from the National Communication Association for 2018.
- Honorable Mention for Qualitative Research Book of the Year Award for
Autoethnography and the Other: Unsettling Power Through Utopian Performatives,
International Congress of Qualitative Inquiry; 2017.
- Outstanding Contributions to Veteran Student Development. Veterans Affairs,
SCSU; 2017.
- Leslie Irene Coger Award for Distinguished Performance from the National
Communication Association for 2014.
- Body, Paper, Stage: Writing and Performing Autoethnography nominated for the
Book of The Year Award at the 2012 Congress of Qualitative Inquiry.
- Central States Communication Association Performance Studies Division
Outstanding Scholar Award for 2012.
Performances
Solo performances: performative autoethnographic guest artist engagements at
universities, academic conferences, and venues around the country. University engagements include Univ. of Texas at Austin; Emerson College; Southern Illinois U; U of Bristol, UK; Cambridge, UK; Oxford, UK, more.
o “Almost the Lily”
o “Be the Rock”
o “By the Roots”
o “Call It Swing”
o “Paper and Skins: Bodies of Loss and Life”
o "From Goldilocks to Dreadlocks: Racializing Bodies"
o "An Eating Outing: Anorexia, Spectacle, and Desire"
o “Shapeshifting: Far Afield in Chile”
o “Tattoo Stories: A Postscript to Skins”
o “Skins: A Daughter’s (Re)construction of Cancer”
o “Ode to the Absent Phallus”
Performance workshops: (U of Cambridge, UK; U of Texas, Austin; U of Oxford,
UK, U of Bristol, UK, U of Plymouth, UK; more available upon request)
o Plant kinship 2021-2024
o Autoethnography in performance 2010-present
o Group performance technique
o Solo performance technique
o Ritual performance and spirituality
o Boal technique
o Politics and performance
Directing and script compilation for the Players Performance Group: Collaborative
student written autoethnography, woven with poetry and critical theory designed to critically reflect upon sociocultural issues in understanding human communication. The PPG often receives special invitation from universities to keynote performance festivals. More available upon request:
“Working the Critically Creative” 2018
o “What Does It Mean to be American?” 2013
o “What I’m Telling You is ‘Yes’” 2009
o “Fitting Room” 2008
o “Why Be Involved in Social Justice?” 2007
o “Doing Time” 2006
o “A Female Gaze” 2005
o “Body Matters” 2004