Rights statement: The final, definitive version of this article has been published in the Journal, Millennium: Journal of International Studies, 50 (2), 2022, © SAGE Publications Ltd, 2021 by SAGE Publications Ltd at the Social Psychological and Personality Science page: https://journals.sagepub.com/home/SPP on SAGE Journals Online: http://journals.sagepub.com/
Accepted author manuscript, 1.08 MB, PDF document
Available under license: CC BY-NC: Creative Commons Attribution-NonCommercial 4.0 International License
Final published version
Licence: CC BY-NC: Creative Commons Attribution-NonCommercial 4.0 International License
Research output: Contribution to Journal/Magazine › Journal article › peer-review
Research output: Contribution to Journal/Magazine › Journal article › peer-review
}
TY - JOUR
T1 - Seized
T2 - Performance Autoethnography in the UK Border Force National Museum
AU - Rowe, Cami
N1 - The final, definitive version of this article has been published in the Journal, Millennium: Journal of International Studies, 50 (2), 2022, © SAGE Publications Ltd, 2021 by SAGE Publications Ltd at the Social Psychological and Personality Science page: https://journals.sagepub.com/home/SPP on SAGE Journals Online: http://journals.sagepub.com/
PY - 2022/2/28
Y1 - 2022/2/28
N2 - This article examines representations of border security within public museums, through the example of the UK Border Force National Museum. It begins by discussing the way that international borders are theatrically experienced, and the parallel characteristics of museum spaces. I then suggest the value of performance autoethnography when analysing such phenomena, which arises from the ability to creatively situate personal experience alongside institutional scripts of border control. The article then presents a performance autoethnography that illustrates my experiences within the Border Force museum. This provides new insights into the theatrical framing of the museum and its effect on visitor interpretations. The article demonstrates that the Border Force museum replicates the theatricality of border control sites, and thus supports the ordering of bodies into insiders and outsiders; however, creative methods for knowledge production might offer a means of challenging existing border taxonomies, especially when personal experience is circulated through theatrical means.
AB - This article examines representations of border security within public museums, through the example of the UK Border Force National Museum. It begins by discussing the way that international borders are theatrically experienced, and the parallel characteristics of museum spaces. I then suggest the value of performance autoethnography when analysing such phenomena, which arises from the ability to creatively situate personal experience alongside institutional scripts of border control. The article then presents a performance autoethnography that illustrates my experiences within the Border Force museum. This provides new insights into the theatrical framing of the museum and its effect on visitor interpretations. The article demonstrates that the Border Force museum replicates the theatricality of border control sites, and thus supports the ordering of bodies into insiders and outsiders; however, creative methods for knowledge production might offer a means of challenging existing border taxonomies, especially when personal experience is circulated through theatrical means.
KW - Borders
KW - Museums
KW - Migration
KW - Performance
KW - Autoethnography
KW - Theatricality
U2 - 10.1177/03058298211063933
DO - 10.1177/03058298211063933
M3 - Journal article
VL - 50
SP - 379
EP - 404
JO - Millennium : Journal of International Studies
JF - Millennium : Journal of International Studies
SN - 0305-8298
IS - 2
ER -