Carolyn Downs, Mike Ryder and T. Bartosz Kalinowski
This study aims to explore the socio-cultural barriers to enterprise in economically disadvantaged communities across five countries: UK, Poland, Romania, Bulgaria and Greece.
Abstract
Purpose
This study aims to explore the socio-cultural barriers to enterprise in economically disadvantaged communities across five countries: UK, Poland, Romania, Bulgaria and Greece.
Design/methodology/approach
This study’s EU-funded project took the form of community-based participatory action research. This study focusses on the data from the interviews and network mapping exercises. A total of 40 individual interviews took place, with interviewees from communities with entrenched disadvantage and limited opportunities for employment and education and low rates of business start-ups.
Findings
The research shows that barriers to entrepreneurship can be overcome where a trusted representative (or “mediator”) can act as a bridge, facilitating access to new knowledge and networks. This approach can be used to support micro/SMEs for growth and innovation. In targeting these businesses, policymakers need to recognise the power imbalances between actors and take steps to overcome these, by establishing links with community-based mediators who can act as trusted interlocutors, enabling sustainable relationships to be developed.
Originality/value
This research targets many often hard-to-reach groups and offers insights into the lived experiences of those who often operate at the peripheries. In doing so, it shows how trusted individuals can be used to remove barriers and promote growth, making clear links between theory to practice.
Details
Keywords
Thushari Wanniarachchi, Kanchana Dissanayake and Carolyn Downs
The purpose of this study is to assess sustainability across the handloom industry in Sri Lanka and identify opportunities for sustainable innovations supporting new markets…
Abstract
Purpose
The purpose of this study is to assess sustainability across the handloom industry in Sri Lanka and identify opportunities for sustainable innovations supporting new markets, development of small-and-medium enterprises (SMEs) and growth in the Sri Lankan craft sector.
Design/methodology/approach
Using a multiple case studies methodology, 10 case studies and 37 semi-structured interviews were analysed along with the triple-layered business model canvas.
Findings
The study reveals the handloom industry to be fundamentally sustainable but with structural barriers that hinder both innovation and growth. The environmentally conscious production process and social inclusion within weaving communities are the key driving forces of sustainability in the sector; however, the structure of the industry and lack of access to markets and information act as barriers to both innovation and growth. The incorporation of design interventions, closed-loop manufacturing strategies and the encouragement of community-based entrepreneurship would support sustainability-orientated business innovation in the handloom industry.
Originality/value
The rapidly increasing market share for high-quality, hand-made goods indicates the potential of the creative industries to accelerate socio-economic growth. Handloom textiles is attracting growing interest in fashion markets because of increasing concern about exploitation in production, thus encouraging interest in the economic benefits of fairly traded, high quality materials and the potential contribution of handloom to sustainability in the fashion industry. The results of this study will support the handloom industry and policy-makers in developing support for sustainable innovation in the handloom industry.
Details
Keywords
Larry looks at me and asks, “Do you know Carolyn Ellis?” Larry, like me, is a new doctoral student at the University of Texas. He says this so sweetly, so simply in his recently…
Abstract
Larry looks at me and asks, “Do you know Carolyn Ellis?” Larry, like me, is a new doctoral student at the University of Texas. He says this so sweetly, so simply in his recently rediscovered Texas drawl that I am instantly dubious.
Shelley Green and Douglas Flemons
Shelley:I suppose we should explain the title.Douglas:“From Lingua Franca to Scriptio Animi”: Sounds so scholarly, eh? So learned.S:In an uptight, un-Carolyn kind of way.D:We…
Abstract
Shelley:I suppose we should explain the title.Douglas:“From Lingua Franca to Scriptio Animi”: Sounds so scholarly, eh? So learned.S:In an uptight, un-Carolyn kind of way.D:We first heard about her in that profile in Lingua Franca.S:I was teaching a qualitative research class. The idea of reflexive ethnography jumped off the page. She sounded so fascinating and courageous.D:And so close by! Living just across the swamp from us in Tampa. Was it then that you went out and bought Final Negotiations?S:Yes, and found myself drawn into her life and her writing in an intense way.D:How did reading her work change your approach to the research class?S:I became more and more interested in personal experience methods, and ultimately created a class devoted almost exclusively to autoethnography. I guess you could say Carolyn was a ghost member of our curriculum committee.D:Oh, I love the image of her hovering around us.S:She actually sort of entered my blood stream, and I’d never even met her yet, though I certainly wanted to.D:And during that same time, I happened to email this guy named Art Bochner to thank him for his amazing “Forming Warm Ideas” chapter in Rigor and Imagination (Bochner, 1981). He and I started corresponding back and forth, developing an online friendship, and all the while I didn’t have a clue that he and Carolyn were together.S:One day you came home and said, “You know Art, the guy I told you I’ve been chatting with via email? You’re never going to believe who his partner is!”D:The coincidence was wonderful! I was clueless!S:The Latin formality of the title is doubly ironic then. “Scriptio Animi.” Brother!D:How so?S:Well, for one thing, Latin is not the first language that jumps to mind for capturing the intimate, speaking-in-vernacular nature of Carolyn's scholarship.D:Right. Despite the fact that the term lingua franca has to do with speaking a common language and scriptio animi translates as “writing of the heart-and-mind-and-soul.”S:That's the first irony – using a dead language of disembodied scholarship to refer to Carolyn's lively and embodied first-person voice.D:And the second irony?S:The use of Latin makes us sound like we’re these all-knowing academics. But neither of us knows anything about Latin. In you’re words, we’re clueless.D:Absolutely. I was trying (and failing) to cobble together a meaningful phrase by working backwards in the O.E.D. Our friend John brought his expertise in classical languages to bear on my first few attempts and very sensitively suggested I torch them. Without him, we’d never have come up with “Scriptio Animi” (John Leeds, personal communication, March 9, 2003). A Liberal Arts colleague at the university, however, kindly normalized my ignorance: “Native Latin speakers,” he assured me, “are either dead for over a thousand years (in Rome) or in prison for child molestation” (Mark Cavanaugh, personal communication, March 7, 2003).S:Irony and our cluelessness aside, the title does a pretty good job of capturing the spirit of Carolyn's work. After all, she values “narrative soul” (Ellis, 2000, p. 274) – pretty close to the “writing of the soul” of “scriptio animi.”D:But irony and cluelessness shouldn’t be put to the side – they belong at the center. Carolyn's whole enterprise is grounded in the irony of knowing and the importance of maintaining a not-knowing stance.S:Okay, so the Latin stays. Besides, I like the reflexive paradox of the title, and Carolyn is nothing if not reflexive.D:Little did Lacan know that social science would go through its own “mirror stage,” using an ethnographic looking glass to encounter and transform the self-in-context.S:Right. Carolyn says reflexive stories should have “therapeutic value” – that they should change the reader in some significant way. Her stories, and her students’ stories, transformed me as a researcher and as a teacher. I invited personal experience into class discussions in a way I wouldn’t have thought possible. After hearing her perform her story of her brother's death, I found that her voice was often with me in the classroom; it was very powerful.D:Therapeutic not only for the reader, but also for the writer. Last fall when I was traveling back and forth to Calgary while my mom was dying, I started writing an autoethnographic account of what I was going through. Carolyn and Art were in my head and my heart a lot as I storied my experience.S:Yes, I remember. And Carolyn's stories about her mother's illness and her many trips to West Virginia to be with her became entwined with your stories.D:Yeah. And something odd happened – something that unsettled me at the time and that cries out for a Carolyn consultation. It was like I couldn’t put down my pen. At some of the most tender, most difficult, most intimate times, I was composing sentences in my head, wondering how I could best grab the color and texture of what I was living. But in doing so, I felt removed from it. There I was, in the moment, crafting sentences rather than breathing life, forming descriptions rather than facing death.S:Carolyn talks about how writing autoethnographic texts has intensified her living (Ellis, 1996, p. 243).D:Maybe she isn’t plagued like me. Maybe she can have the experience without being interrupted by the anticipation of setting it down.S:She certainly recognizes that “written reality is a second-order reality that reshapes the events it depicts” (Bochner & Ellis, 1996, p. 26).D:Sure, but I’m troubled by the reshaping that was going on in the moment. It wasn’t a forced thing; it happened automatically. I was (and am) still struck by, and stuck on, the irony of it all.S:Still more irony? What do you mean?D:Let's say when I complete my narrative, I give it to Carolyn, and it manages to engage, evoke and provoke (Ellis, 2000, p. 274) her. Her reading will allow her to immerse in an experience that I, because I couldn’t turn off my goddamn autoethnographic eye-and-ear, felt distant from. So what's with that? She – or any reader – ends up being able to drink in my experience more than me? That's a hell of a price to pay. Rather than being with the fear in my mother's eyes, rather than being with the words and short phrases coming out of her mouth, expressions I hadn’t heard in forty years and so were transporting me back to my childhood, rather than being with the dry thin skin on her hands, rather than being with her sitting bolt upright in the middle of the night, scared to death, rather than being with her, I was a step ahead of both of us, getting it all down in my head so I could later transpose it to paper so some reader I don’t even know could get a handle on what it was like. But how the hell could I write what it was like if I was so damn busy writing what it was like, I wasn’t quite there? A curse! I wouldn’t wish it on anyone.S:The curse of rendering experience.D:Exactly! Rendering in both senses of the word. When you render something personal [writes in the air], you render it [rips the air apart].S:Carolyn points out that “the world as we ‘know’ it cannot be separated from the language we use to explain, understand, or describe it” (Bochner & Ellis, 1996, p. 20).D:Maybe the “known” world can’t, but how about the felt world, the sensed world?S:Which is where “not knowing” comes in.D:Another link to our way of approaching therapy. It's about engaging in discovery, not about imposing what you think you already understand.S:We’ve brought autoethnography to our therapy students as a way of enhancing their ability to understand their own and their clients’ experiences – a mirror inversion of Carolyn's bringing “therapeutic sensitivity” to her autoethnography students.D:Right. She tells her students that one of the goals of writing about their lives “is that they should become their own therapist…. Writing can help them have insights about themselves, help them work through problems themselves” (Flemons & Green, 2002, p. 116).S:Carolyn is right about stories having “therapeutic value,” but I think Carolyn herself – the in-person-Carolyn – does, too. Her way of being embodies her work. Because she is so intrigued by personal experience, she brings a unique intensity to her relationships. Her curiosity and genuine not-knowing stance allow her to know others deeply.D:And care about them. For someone who has done so much self-reflection, she's the least self-absorbed person I know.S:Autoethnography as a method has been criticized as a form of narcissistic self-indulgence (Sparkes, 2002), but that is the antithesis of what Carolyn does as a person and a scholar.D:She reaches in, but also out.S:Both personally and professionally, she touches us.
Carolyn Ellis and I have been partners for more than a decade. Shortly after we met in 1990, Carolyn sent me a draft copy of a book manuscript she had written entitled Final…
Abstract
Carolyn Ellis and I have been partners for more than a decade. Shortly after we met in 1990, Carolyn sent me a draft copy of a book manuscript she had written entitled Final Negotiations (Ellis, 1995). The book described in detail the history of Carolyn's nine-year relationship with Gene Weinstein who died of emphysema in 1985 (Ellis, 1995). As I read through the chapter in which Carolyn told the story of her brother's death in an airplane crash, I felt as if all my senses were being pricked. I had never before read a social science article in which the researcher wrote from the source of her own grief, openly expressing what it felt like to be stricken so suddenly, refusing to gloss the layers of conflicting feelings, the exciting rush of adrenalin countered by the deadening fog of numbness, the waves of hope and despair, and finally, the struggle first to choke down, then to grope toward an understanding of the meaning of her suffering and loss.
A luminescent purple glow expands, refracting holographic light in the background. As the perspective shifts, each color of the rainbow appears and disappears along multiple axes…
Abstract
A luminescent purple glow expands, refracting holographic light in the background. As the perspective shifts, each color of the rainbow appears and disappears along multiple axes of a prismatic spray. Our Diva, Carolyn Ellis, sits alone on a stool in the midst of the purple glow, extending her hand, palm up, with outstretched tapered fingers, beckoning us to join her. “Don’t be afraid,” she smiles, “we are all the same.”
Patricia Geist Martin and Jeanine Minge
The room is packed. I mean jam packed. Carolyn is beaming. Just five minutes’ till show time, all but a few seats are taken. As I place my file folder of notes on a seat next to…
Abstract
The room is packed. I mean jam packed. Carolyn is beaming. Just five minutes’ till show time, all but a few seats are taken. As I place my file folder of notes on a seat next to Carolyn, I look around to see people lining the walls, some ducking in to claim the floor in front, and still people keep filing in. Carolyn dressed in flowing purple and green mingles, continuing to beam as she says hello with her sparkling eyes. For just a moment, Art and I scowl at each other with a knowing look of “How could they have put us in such a tiny room!”. But Carolyn, well she beams brighter. Christine and I jump to action, pilfering through an adjoining room searching for just a few more chairs. None to be found. I tell a passing hotel staff member “We need more chairs, please.” “Yes, sure.” the automatic reply came with the look of “I’ll get on that right away – tomorrow.”
In the spirit of celebrating the wonder that is Carolyn Ellis, I considered developing a David Letterman-style “Top Ten List” of the most powerful lessons I have learned as a…
Abstract
In the spirit of celebrating the wonder that is Carolyn Ellis, I considered developing a David Letterman-style “Top Ten List” of the most powerful lessons I have learned as a student, colleague, co-author, and friend of Carolyn. However, when I got quiet inside and poised my fingers over the keyboard to begin constructing my list, I imagined Carolyn pulling up a chair beside me, wearing something fabulous and purple, of course. When I look over at her, she smiles knowingly.
Peter Y.K. Chan and R. Carl Harris
This study examined teachers’ cognitive development when interacting with video ethnography. It used grounded theory to discover embedded meanings and relationships that emerge…
Abstract
This study examined teachers’ cognitive development when interacting with video ethnography. It used grounded theory to discover embedded meanings and relationships that emerge from descriptive data collected from six teachers. Findings revealed (a) the categories of cognitive activities when using video ethnography, (b) the influence of experience and beliefs on these activities, (c) the scaffold that video ethnography provides, and (d) teachers’ progression in a cognitive development process through interaction with video ethnography. The study has implications in improving technology use in teacher development, production of multimedia cases, and research on case-based pedagogy and other related areas.