In Shapeshifters,’ Cox effectually portrays how Black women both embraces and tries to

transcend their social structure by immersing herself with them and investigating their
symbols, through the lens of black feminist anthropology and women of color
feminism.1shapeshifters(19) In doing so, she finds that concept of choreography and shapeshifting
play an integral role as their symbols. She delves in deeper by approaching and examining
her ethnographic research in various ways, including from the effect of politics, to gender
inequality to historical background. In order to correctly interpret her ideas, it is important to
understand her methods and insights through viewing her remarks and assertions.

Throughout the text, it can be seen that the ways Cox perceives and undertakes her study
were heavily shaped by earlier anthropologists one way or the other. Although her methods
seem to be newer in that she differed from Strauss and Glaser,2femisit(82) because she takes her
experiences to check her theoretical models, she was still influenced by methods that were
introduced prior to her, such as Geertz’ concept of thick description.3shapeshifters(viii),4balinese
cockfight(412-453)
Throughout the text, it is evident that she has a special relationship to her subject
of study. She indicates that she has “developed close and complicated relationships with the
girls,”5shapeshifters(32) and also says, “my relationships with both the young women and the staff
were shaped through eight years of daily contact that often challenged the boundaries
between the social land professional, intimate and public, work and home.”6shapeshifters(31) It is
from this relationship—one that requires a substantial engagement—where she shows one of
the aspects of thick description. Nonetheless, it is important to note it is also from this
relationship where we can see one of her another method, observing participant.

In her work, she essentially becomes an observing participant, being “fully and inevitably
present,”7shape and thus gains a complete way to thickly describe. In this sense, the fact that she
becomes an observing participant is similar to Skeggs method8warwick(par6),9shapeshifter(33)s, also
undertaking a view in the light of feminism. Nevertheless, it is important to note the
difference between participating observer and observing participant to fully grasp her intent.
According to Brewer, the main difference between participating observer and observing
participant is in taking of new role: former takes on a new role whereas latter employs its
existing role to observe certain setting.10warwick(par4) In Shapeshifters Cox makes various
observations while working for the facility in which subject of her study is, observing while
being a participant, other than participating as an observer, hence the term observing
participant. This method is important in that, by placing her inside, she is able to make more
accurate, thicker description, fully understanding the semiotic context of her subjects’
symbols. For example, Janice, one of her subjects, says “they[participating observers] miss
the middle because they are always focused on the outside and making assumptions about
who we are. There’s a lot in the middle…”11 shape((10) From this context, Cox remarks “the
missing middle is the thick, complex, richly textured, and uncategorizable aspects…and that
is what constitutes their ‘truth,’ or their legibility as fully human,”12ibid(10) substantiating her
status as observing participant. Nonetheless, Cox develops her own style of ethnography,
trying to overcome some inherent problem ethnography has.

The most notable aspect of her style is that she overcomes the fundamental problem of
ethnography—author’s bias13int. cult. pg345—by acknowledging and embracing her bias while
being an observing participant. Throughout her text, she acknowledges and reveals her intent
and bias. She says, “through each stage of the process of producing Shapeshifters…I was
confronted with my own collusion with the structural, institutional, and ideological forces
that constrain the possibilities for Black girls.”14 shape(33) Although participant observer may be
able to take the “dual role as art insider and part outside,”15warwick(4) because she frankly
embraces her view and role as a full insider, she transcends the question of objectivity by
being so clearly subjective. With this in mind, she allows her intent to broaden her scope of
research, thus developing a more distinguished style. Furthermore, despite the political intent
of both Cox and Ladner16shape(19),17slt, Cox broadens her attention to more areas. For instance,
Cox not only delves into the semiotic context of Black girls’ choreography and shapeshifting
but also explores their role of citizenship and perception of the world.18shape(19,ch4) After all,
Cox, as an observing participant, successfully overcomes the subjectivity of ethnography by
accepting and implementing her view of feministic anthropology and women of color
feminism into her writing, and furthermore, finds her own way of approach by widening her
scope of focus.

Bibliography
Cox, Aimee Meredith. 2015, Shapeshifters: Black Girls and the Choreography of
Citizenship.
Duke University
1. Skeggs, Beverly. 1994, ‘Situating the Production of Feminist Ethnography’ in Maynard,
Mary. Researching womens lives from a feminist perspective.
London: Taylor & Frances, 1994.
2. Geertz, Clifford. 1973, Interpretation of Cultures: Selected Essays.

Anthropology