Paper Short Abstract:

I will critically interrogate the confinement of Graphic Ethnography—and multimodality, more generally—to the broader field of social scientific methodology, at the exclusion of their potential for critical analysis, or generation of unique theoretical perspectives.

Paper Abstract:

I am reflecting upon multimodality through the lens of Graphic Ethnography, a field that I supported since its conception. Contemporary Graphic Ethnography has emerged as a self-conscious multimodal subfield, building upon conceptual developments in the Anthropology of Drawing, and Visual Anthropology. It has now acquired academic legitimacy, and attempts to unsettle ethnographic production, challenging—albeit very politely—the hegemony of textual representation. Nevertheless, and to a great extend, Graphic Ethnography is accepted primarily as a medium of illustration, dissemination and academic impact. Undoubtedly, Graphic Ethnography has made a contribution in all these respects; but this is, one may say, recognition for providing context or popularising, not a contribution in making social theory. This encourages us to consider the theoretical potential of Graphic Ethnography. Is this hidden behind its auxiliary role as an innovative medium? To what degree is the multi-modal turn confined to the realm of anthropological (or social scientific) methodology? I will explore these questions from a critical angle, hoping to undo some preconceptions regarding the role of Graphic Ethnography, and multimodality more generally.