An Autoethnography of AAW

Two men enter the ring — the “squared circle” — muscles tense, skin already glistening with sweat. They circle the ring, calling out to their fans in the crowd to let their admiration roar and shake the building. The room still reverberates with the booming baselines of their entrance music, leaving the audiences’ ears to ring for the next day or so. The crowd responds in a frenzy, engaging in dueling chants and trying  to outshout the other side as their wrestlers finally step into the middle of the ring to meet.

They size each other up, stare one another down, and give the sense that they do not like one another. Even if they show the sign of respect and shake hands, everything leading up to that handshake and following it is thick with tension and the desire and the drive to overcome the other and win. They may be friends outside of the ring — and that friendship may be completely legit and not just kayfabe (i.e. performance) — but it doesn’t matter. Each man enters the ring to win.

Thus began every single match at the AAW Windy City Classic XI.

This was my first live event. As I have discussed elsewhere on this blog, I am new to this whole professional wrestling phenomenon. In terms of time, I have only been interested in professional wrestling for two years. The 2015 Windy City Classic XI was my first live show experience.

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The Co-Construction of Kayfabe

This blog post expands on the ideas of the co-construction of kayfabe, an idea I presented at the Popular Culture Association 2016 conference in Seattle. For this post, I reflect on a live wrestling event I attended in an attempt to define what my partner, Christopher Olson, and I mean by “convergent wrestling.”

The entire presentation can be heard on Soundcloud, but I will sum up the idea here to address a recent experience with a live wrestling event: AAW‘s “Take No Prisoners” on May 6th, 2016.

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