This paper examines specific forms of what anthropology (ethnomusicology) calls reflexivity and it is based on research of 'Balkan music' in Prague. The author is also a musician in the given 'soundscape' (following Shelemay 2006).
Her role as a participating observer opens a specific way of using the reflexivity to achieve valid and relevant results of an ethnographical work. Ethnographic reflexivity cannot be understood as a one-time introspection, directed towards a clarification of the researcher's position in the field (dichotomy insider-outsider).
It must rather be a separate dimension of the ongoing research: it starts with an activity in the given field, continues with a constant data-processing, use of theoretical texts and, finally, with an analysis (Abu Ghosh & Stöckelová, 2013). An ethnographer always affects her field (Murphy 1998), and she must research it as such.
Being a part of the research field brings in several advantages: an intimate knowledge of the field, its language, social actors, and issues. On the other hand, the approach 'going-native' is far from being a risk-free one: a potential omission of important moments in the analysis and interpretation is the most obvious one (Hammersley & Atkinson, 1995).
As an active member of the soundscape, the author directly (co-)creates the field; hence, she is facing dilemmas associated with ethics and engagement: 'To what extent am I being objective, if it is also me who (co-)creates what I later research?' and even: 'Do I use my colleagues-musicians?' The paper is partly based on the method 'Autoetnography' (Chang 2009), complemented with Bigenho's 'Intimate Distance' approach (Bigenho 2012). The author of this paper uses a self-reflexive approach to observe herself and her own attitudes towards the others in such a complicated terrain.
She thus puts herself into a specific role which goes way beyond the dichotomy insider-outsider.