How to narrate the narrators? The cases gathered in this "Making of" will jointly analyze: (a) the important role of personal micro-stories in daily life, and (b) the work process through which they became narrated, textualized and staged in visual, written or exhibition formats.
Trivial, funny, nostalgic, filthy, common stories… The everyday is built up by storytelling. When we routinely comment on our deeds, events and affections, we weave a storyline of some sort about the Self, the We and the Others. Conversely, ethnographies, documentaries and museum collections can be seen as narratives which select, edit and connect these fragments taken from daily life, in such a way that they compose an eloquent whole. How to narrate the narrators? This panel invites reflection on the transition from micro-stories to macro-narratives, bringing these two (qualitatively uneven) levels of narrative articulation together: (a) the poetics implicit in daily life micro-stories -with its objects, practices and locations; (b) the textualizing operations deployed in their mise-en-scène by cultural disciplines, in the genres of documentary film, written monography, ethnographic exhibition and live performance. How did I work from others' stories in order to construct a convincing cultural plot of my own? What strategies did I follow to elicit / select / assemble raw materials? From where did I get inspiration for an overarching script? Does it possesses poetic beauty, or logic, or morals? We call for good cases in everyday storytelling as much as for courageous exercises in epistemic striptease. Accounts in several formats (visual, textual, collections, performances) and contents (practices, objects and locations as well as discourse) are welcome. Contributors should ideally (a) present examples of research material in the form of stories, short videos, etc.; (b) analytically dissect his/her own work process.