ABSTRACT
This chapter explores the emergence of the reflexive methodology by tracing the effect of a single utterance and describes the utterance referenced the role that genies play in research. It focuses on the collaborative research relationships and presents a case for everyday performance as uncharted territory for critical heritage studies. The chapter argues that ontological and epistemological differences can be engaged in research relationships as productive intersections rather than prohibitive impasses. As heritage work is often a collaborative enterprise involving multiple differentially positioned practitioners, anti-racist feminist methodologies offer ways in which to engage critically with intersubjective power. Performances of lived heritage also expand critical heritage discussions which complicate and call into question the false dichotomy of tangible and intangible heritage used within dominant conservation discourse to differentiate between material and immaterial heritage. The contributions to the collection are evidence of how gendered experience has been lacking in both mainstream cultural heritage representations and heritage studies' theoretical engagements.
