In this article, we develop, through drawing forward fragments of our experiences, a concept of reciprocity as always situated within the relational ontology of narrative inquiry. Reciprocity is most commonly understood within a transactional sense, an exchange of goods. We show important aspects of reciprocity in narrative inquiry, including the importance of intentionally creating and responding to spaces where reciprocity occurs and can be sustained over time and place, and the potential reciprocity holds to change who we, and those with whom we work, are. As we reconsider the ways in which reciprocity is not understood as a transaction in a relational methodology, new questions about the entanglement of reciprocity and recognition emerge. We understand that recognition does not necessarily have to be reciprocal, but recognition is necessary to compose a space where reciprocity can live in our ordinary interactions with others.

The rhythmic interplay of accent, tempo, and musical mood is expressed in the bodily postures, gestures, and expressions of attuned responsiveness in , a genre of salsa music from the 1970s featuring improvisational dance solos. These dancers embrace the feelings and flows of soloing musicians and breaking free from any predictable form and structure. We inquire into how world-class salsa dancers and educators feel themselves moved by such intricate rhythms to experience soul connections. Video recordings and interviews yield insight into the call and response dynamics of this essentially tactful practice of alterity.

In this article, we reflect on our teaching practices that include the development of an artist-in-residency program in one teacher education course and one graduate course in the Fall of 2022 at The University of British Columbia. During these residencies, Carrier Wit'at artist and printmaker Whess Harman and Indigenous scholar and a/r/tographer Jocelyne Robinson of the Algonquin Timiskaming First Nation demonstrate through their art practices how love and land are central tenets to relational ethics. We engage with Cherrie Moraga and Gloria Anzaldua's alongside the artists-in-residencies as we consider an anti-colonial future in art education. We propose the concept of as a reflexive, embodied, social justice-oriented way of being in the world.

In this Editorial, we discuss 's approach to critical walking methodologies grounded in queer-feminist, anti-racist praxis, and argue for the need to critically account for understandings of place in times of ongoing crises. We then introduce the articles featured in this special issue. Authored by international scholars, each article in the special issue engages critically with walking methodologies and the concept place from oblique angles.

This Special Issue aims to advance critical qualitative inquiry in China studies and contribute to a vibrant, inclusive global community. It builds upon debates and efforts in the behavioral and social sciences among area specialists in two eras: researchers in Taiwan, Hong Kong, and the diaspora in the 1980s who sought to sinologize behavioral and social sciences, and sociologists in China in the 2000s who are seeking to indigenize these fields. The Issue takes a two-pronged approach toward advancing critical reflection in knowledge production: (a) it aspires to diminish the current influence of Western and positivistic paradigms on behavioral and social sciences research; (b) it seeks to challenge discursive hegemonic influences to create and sustain space for critical qualitative inquiry. The Issue traverses disciplinary boundaries between history and behavioral and social sciences within China Studies. It opens dialogue with the non-area specialists who are the primary audience of the .

This article analyzes feminist praxis and nongovernmental organization (NGO) activism in the Heyang Project, which endeavored to increase women's political participation in rural governance through village elections in Shaanxi Province, China (2004-2013). It presents an NGO-centered framework to challenge the Western and state-centered lenses that have been used to frame and assess the development of NGOs, civil society, and the women's movement in China. I disrupt the exclusive power upheld by the researcher by inserting the interpretative voices of the researched. I demonstrate that the Project transcends the predicament of a binary conceptualization. The NGO successfully interweaves and juxtaposes seemly contradictory forces.

The ever-rising threat of environmental catastrophe and the continuing displacement, dishonor, and attempted erasure of Indigenous Peoples and their traditional lands are linked by capitalism's externalizing the costs of conquest, whether ecological or human. This work investigates efforts to address these intertwined issues of social, economic, and environmental justice through interweaving Indigenous and settler ways of knowing in resource-development projects in Canada. In seeking to dramatize the need for further informed and engaged public dialogue on how to redress the twin menaces of extractivism and colonization, this arts-based research unfolds as a script for a semi-satirical radio play or podcast. Here, our researcher seeks to explain research findings and advance environmental protection and decolonization on a radio talk show, only to be confronted by a skeptical host and a battery of opinionated guests reflecting real-world challenges to those two emancipatory goals. We close with a brief methodological reflection.

If there is any throughline to COVID-19, it lies within a narrative of capriciousness. To explore the paradox of the pandemic as proliferation meets obliteration, I alternate randomization with redaction within a riotous combining essayistic principles of "prepositional thinking" with bricolage. Neologisms meet of responses to the 21 prompts of the Massive and Micro experiment. comes with a helping of "lala" in a froth of babble, doubt, rage, and whimsy. It is a textual grappling with the shock and awe of the everyday, girded by a notion of "meaningful irreverence" that underpins my current research.

This is a critical autoethnography of my "plugging into hope" through engagement with the Massive_Micro project as I was, literally and simultaneously, plugging into my computer during the COVID-19 pandemic isolation. In this article, I demonstrate the art of #plugging into hope. Through drawing on a range of visual, poetic, and narrative data generated throughout this project, I write my story, creating an assemblage of plugging in moments with human and non-human. Adding to an ongoing conversation with art-making, writing, and my scholarly ghosts. Highlighting the significance of deliberately plugging into embodied intra-action with our world/s-connecting to hope.

This article troubles touch as requiring embodied proximity, through an affective account of virtual touch during coronatime. Interested in doing academia differently, we started an online Barad readingwriting group from different locations. The coronatime void was not a vacuum, but a plenitude of possibilities for intimacy, pedagogy, learning, creativity, and adventure. Although physically apart, we met daily through Zoom, and we touched and were touched by each other and the texts we read. A montage of writing fragments and a collective artwork, based on the Massive_Micro project, highlight virtual touching. Undone, redone, and reconfigured, we became a diffractive human/nonhuman multiplicity.

In 5 months of COVID isolation, living out of a suitcase in temporary housing, countless fractal patterns emerged. I can't say if I created these patterns by looking for them, or that I know the whole world by looking at a grain of sand. The truth of the matter is that it feels like the key for massive scale change is just in front of us, but slipping from our grasp. As we move through these days, weeks, and months, we have very little time before the difference recedes again. I address this matter of concern as a matter of method in performative grounded theory piece.

This essay has three autoethnographic, interconnected, temporal vignettes that narrate my lived pandemic experiences of mothering a teenage daughter, performing socially isolated housework, and teaching online classes. These personal experiences are located in specific Indian contexts through thick descriptions that accommodate more massive perspectives. Adapting Sarah Sharma's concepts of power-chronography and temporal politics, I problematize my COVID-enforced slow time, and explore more deeply how my fraught COVID time experiences intersect with the multiple COVID times of others. I use this methodological format-autoethnography, thick description, and theorization-to make sense of my pandemic experiences at both microscopic and massive levels.

This essay uses several of the prompts from the experiment as a jumping off point for considering how affect theory and critical autoethnography offer us a framework for understanding, creating, and acting together in the time of COVID. Through stories of cloud-watching, mindfulness meditation, and other encounters with atmospheres and movements, we connect individual experiences of the pandemic to Buddhist understandings of a universal "we." As a research practice committed to joining microscopic with macro lived experience, critical autoethnography offers a speculative method for collective reckoning with our infinitesimal selves in relation to the infinite of a pandemic.

In this article, we "write-to" time from an autoethnographic perspective. Working intra-actively via a dialogic play script form, we collaboratively wonder about time during our experiences of COVID-19 as it relates to a compression of offline into online spaces. Presenting conversations we've had together over email, WhatsApp, and Google docs, with the reviewers of this Special Issue, and with scholarship, we foreground three main questions: What does time mean? How has our sense of time changed? And what is the link between these meanings and changes and the relationship between online and offline spaces?

Embodied imagination is a learning theory that reverses the accepted Western "think first, then act" learning sequence though movement improvisation followed by reflection and reflective methods across verbal and nonverbal, including embodied-kinesthetic, modalities. Healing the Cartesian divide might have positive effects on world cultures and people across socioeconomic strata, especially urgent during the COVID-19 pandemic as multiple disruptions to daily life have quickly increased uncertainty and stress, compromising health and well-being, especially of traditionally marginalized excluded People of Color. Expanding the performative reflexive autoethnographic project through embodied imagination broadens and deepens this global, transcultural, transdisciplinary effort through the human body, traditionally not considered human thinking's locus. Benefits across global societies include greater self-care, the ability to act effectively quickly in response to a world with exponentially increasing complexity, and awareness that creativity is a global communitarian human birthright, not a rarity relegated to exceptional people.

This article explores the micro- and macro-level implications of the dual global pandemics of COVID-19 and racism through a narrative structure based on Barad's discussion of "timehops." Weaving personal, national, and international stories, the article explores qualitative research's responsibility and potential to offer new ways to respond to the entanglements of people, places, moments, materials, and these pandemics.

Based on a collaborative endeavor, we present an autoethnographic textual collage of three fictionalized narrative accounts produced as a result of an amalgam of personal experiences encountered during the corona pandemic. The narrative accounts serve as illustrating examples of and critical reflections on how the pandemic and the increased use of digital technologies during the pandemic have affected the experience of reality and (trans)formed thinking and social relations alike. The crisis invites us to reflect on how the current confinement saturated with the ubiquitous presence and influence of digital technologies can be used as an occasion for large-scale reflections.

In this article, we share our engagement with Indigenous methodologies in a research study focused on teacher candidates in inner-city education. The study is conceptualized through ethical relationality as developed by Dwayne Donald (Papaschase Cree), and the principles of Indigenous Storywork as developed by Jo-ann Archibald (Stó:lō and St'at'imc). The study was enriched through encouraging a wholistic embodiment of ethics, revealing the presences of land and more-than-human teachers, and providing opportunities to transcend dualisms. We conclude with a consideration of the complexities, possibilities, and limitations of ourselves as Euro-descendant researchers, and the ethical requirements of Indigenous mentorship, time, and responsibility.

Qualitative interview styles have been guided by precedent within academic disciplines. The nature of information sought, and the role of interviewer and interviewee are key determinants across styles, which range from doxastic (focused on understanding interviewees' experiences or behaviors) to epistemic (focused on co-constructing knowledge). In this article, we position common interview styles along a doxastic-epistemic continuum, and according to the role of the interviewee (from respondent to equal partner). Through our typology and critique of interview styles, we enhance epistemic interviewing by introducing "deliberative interviews," which are more debate oriented and closer to equality in the interviewee and interviewer relationship than existing interview styles. Deliberative interviews require a comprehensive, pre-interview briefing on the subject matter followed by interactive deliberation wherein complex issues are debated across viewpoints in an effort to devise solutions. The effectiveness of this interview style in generating new knowledge warrants empirical testing across academic disciplines.

This paper queries the pharmaceutical industry's concept of "ready-to-recruit" populations by examining its recruitment strategies for clinical trials and the types of human subjects who participate in these drug studies. The argument is that the pharmaceutical industry has profited from a system comprised of what can more aptly be characterized as ready-to-consent populations, meaning populations who do not have better alternatives than participation in clinical trials. Further, through qualitative research, this paper aims to highlight some of the limitations of current U.S. federal regulation and to show how these limits signal problems that are not normally discussed in the medical ethics literature about research on human subjects. It does this by examining the impotence of informed consent - both as a concept and as a practice - in light of recruitment strategies and the structural reasons motivating individuals to participate in clinical trials.