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This essay builds on Lawless’s call to name and chronicle emotional work. The authors draw attention to the emotional labor that has become an institutional expectation of the academic position, particularly among people with marginalized identities, to name this labor as such and to use this documentation as evidence for compensation. The authors’ emotional labor is grounded in critical communication pedagogy (CCP), which compels them to engage in a fundamentally different form of emotional labor, one that depends on relationship-building and the recognition of systemic and structural forms of oppression through reflexive care and performative listening. This form of emotional labor strives to understand people in context to account for how experiences are always enabled and constrained by various institutional structures and to generate possibilities for change. The authors offer autoethnographic accounts of their CCP-centered emotional labor, and then draw conclusions from a critical communication pedagogy perspective.

Performing failure presents radical opportunities for reimagining the world. Drawing from critical autoethnographic accounts, I utilize performance as a method to examine individual and structural ...

In this piece, we contend with what it means to craft a pedagogy during an ongoing global pandemic. Our experience is fluctuating, frenetic, and fragmented. Drawing on our commitment to critical pe...

In this semester-long activity, I describe how to create a collaborative cabinet of curiosities that engages critical methods of inquiry as an alternative summative assignment.Courses: Communicatio...

The performance showcase is a rich opportunity to employ critical performative pedagogy as an embodied engagement with, interrogation of, and disruption to institutional and ideological structures ...

In this chapter, we present the musical practice session as a creative process that reveals insights about the function of routines and experimentation. This chapter offers an extended discussion of specific musical practices as generative forms of inquiry that can be used to extend critical approaches to pedagogy.

This chapter focuses on the pedagogical function of creative practices and performances of crafting. The practice space for crafting and handmade art offers a metaphor for thinking through the ways artful and creative practices enable new ways of reflexively and critically thinking about, understanding, and making sense of the world and our interactions with others.

In this chapter, we describe the first of our five practice sessions. This first practice session focuses on the practice of the performance workshop.

We first met in 2007. The summer had been a hot one and the fall semester promised no relief from the heat as we separately unloaded our belongings and readied ourselves for our new lives in Carbondale, Illinois.

In this chapter, we present and consider the performance of writing as a creative pedagogical practice that can work toward moments of social justice. Using the language of performance, we discuss the pedagogical value of writing for experimentation, rehearsal, and enactment of new ideas.

In this essay, the relationship between directing and critical approaches to pedagogy is considered as a starting place for theorizing directing as an act of critical performative pedagogy. Performance and directing create opportunities for relational, collaborative, and experiential approaches to students, learning, and the classroom. Connecting critical approaches to pedagogy with the act of directing offers new ways of conceptualizing both the act and the role of the director, as well as transforms the way we approach and work to enact critical performative pedagogy in our classrooms.

This story of coming to performance studies reveals how performance and pedagogy intricately weave themselves together in my experience.